It’s a bit cheeky, but in today’s post, I’m sharing with you the same video I posted on The Melbourne Flâneur vlog last week. The same, that is, but different.
I just got back some Super 8 footage I shot in Bendigo from the folks at nano lab, Australia’s small gauge film specialists. At the time I wanted to get the video above online, the reel of Kodak Tri-X was at their lab in Daylesford undergoing ‘magic’.
So I sneakily put some ‘placeholder’ shots into the intro and outro which I hoped I would be able to later replace with some Super 8 footage—if it was any good.
Tri-X, as Kodak’s signature black-and-white film stock, is very difficult to wrangle. You can get some absolutely magical shots with Tri-X, but it doesn’t peer into the shadows very well, so you have to be either very good or very lucky—or both—to get consistently good results from it.
I’m not that good. In Bendigo, I was experimenting with the manual exposure settings on my trusty Minolta XL 401 Super 8 movie camera, so much of what was on the reel came back overexposed.
But when I dragged the gamma way down on the footage, I got some lovely shots of the Venus Pudica in Rosalind Park and the Alexandra Fountain—the more so, I think, for their being so grainy. Brief as they are, I think they add a nice bit of contrast to the digital footage in the video, and I’d love to hear your reactions.
People are always a bit nonplussed when they discover I’m so hipped on Super 8. As I was finishing up the shot of the Talking Tram trundling into Pall mall, a guy came up to me and asked me why I was shooting on film—as if I was breaking some bourgeois law of conformity.
‘Most people are using digital,’ Constable Plod of the Conformity Police complained as he signed my citation.
Shooting on Super 8 is indeed an expensive hobby, but there’s a qualitative æsthetic difference to Super 8 which sends me.
In my previous post, I stated that flânerie is an ‘altered state’: the invisible poetry which hovers behind objects in the urban environment is made visible through the flâneur’s ‘long, immense et raisonné dérèglement de tous les sens,’ as M. Rimbaud puts it.
And in my recent post on flânography, I argued that this artform I had coined was the ‘poetry of photography’. I declined in that post to set forth my thoughts on the relative merits of analogue and digital photography vis-à-vis flânography, but a discussion of Super 8 seems like a good place to examine that distinction.
For me, the medium of film—and particularly Super 8—goes much further than digital photography and videography can in manifesting that ‘invisible poetry of the visible’ I talked about in the earlier posts. The chemistry of film grain does something magical that pixels cannot do in making that elemental molecular and atomic substrate vibratingly visible.
You can see that most pointedly in the overexposed shots I inserted into the video, where raking down the gamma reveals the Venus Pudica and the statues of the Alexandra Fountain as hardly anything more than dense constellations of buzzing black and grey atoms on a white field.
For me at least, the ‘murkiness’ of film is more like how I actually see and experience the world—a kind of ‘darkness at noon’.
Don’t get me wrong: I’ve got 20/20 vision the same as you. But those of you who have read Dean Kyte’s books will know that they’re a bit of a ‘trip’: even the most banal and quotidian experience erupts for yours truly (c’est moi in the snappy chapeau) in recursive dimensions of abstract meaning, and much more than digital videography, Super 8 has the ‘look’ of my life—the flâneurial experience of groping mole-like through the dazzling, sun-bright darkness of the blindingly obvious.
There’s a high-resolution quality to the experience of flânerie which the low-resolution quality of Super 8 paradoxically matches in a Baudelairean correspondance.
If you compare the video footage to the Super 8, I don’t think we will be in too much disagreement when I say that the digital footage looks more ‘like’ the things depicted in Bendigo than the film footage, the same way a realist painting of a person, tree or building looks more ‘like’ the subject than an impressionist version of same.
But when I got my Super 8 footage back from nano lab, the black-and-white flâneurial footage looked more like how I remembered Bendigo to look from the distance of a week and a few hundred kilometres. There is not that dead, flat ‘factuality’ which raw digital footage has, but a reconstitutive ‘being’ in film footage—as though it’s happening all over again, but for the first time.
As a medium, Super 8 has a look more like our memories—fuzzy, fragile, juddery and inexpertly framed. And shot on Tri-X, even cars and people look different when rendered through the rheumy eyes of Super 8: a scene as modern for me as two weeks ago now looks like it took place in a distant past.
In the altered state of flânerie, you are aware of the density of things, but also of their porous transience, and somehow the fragility of Super 8 captures the ‘eternality of the ephemeral’. You can see the grand buildings of Bendigo’s Charing Cross passing behind the Talking Tram in the footage: these magnificent buildings have lasted for over a century, but they too will eventually fall into dust.
As Céline (Julie Delpy) says to Jesse (Ethan Hawke) in Before Sunrise (1995) as they regard a poster for a Seurat exhibition: ‘I love the way the people seem to be dissolving into the background. … It’s like the environments, you know, are stronger than the people. His human figures are always so – transitory.’
I feel the same way when I look at the shots I took of the Venus Pudica: the tenacious endurance of inertia in marble sculpture—and also its fragility—are equally manifest when you see the outlines of this goddess fading in and out with the buzzing, porous granularity of changing sunlight registered so subtly and yet so roughly and approximately on Super 8 film.
Last year I asked and answered the question, ‘Are there flâneur films?’, and my conclusion was that the flâneur in film is more a quality of certain films themselves—something in the way they are shot and edited—than a human character or presence within them—prototypical flâneur movies like Before Sunrise to the contrary.
Despite the expense of shooting on film, Super 8 seems to me to be the perfect medium to produce such a ‘flâneur cinema’ or ‘cinema of flânerie’ precisely because the medium itself is attuned to this more impressionistic way of seeing the world, and because the camera itself is lightweight, discreet and versatile—ideal for a dandy engaged in curious æsthetic espionage.
As Jeff Clarke, the CEO of Kodak, has rightly observed, we—human beings—are analogue too; we’re not digital.
Our bodies and the world we live in are not made up of pixels. We’re not reducible to passels of ‘data’. It’s meet that we should see the world with the same messy, organic frame as Super 8.
And it’s the handcrafted, artisanal experience of working with film, working with something as real and tangible and fragile as myself, that really sends me when it comes to shooting on Super 8.
I feel a sense of vital involvement, my total being is engaged when I work with film. It’s the rapport of one physical, analogue being working with another. And this vital engagement of energies between real, living things is one of the qualitative æsthetic differences of working with film.
If I could have said one thing to Constable Plod which explained why I was using film instead of digital to capture the shot of the Talking Tram, it would have been that. As a ‘film maker’, I felt like I was actually ‘making’ something which required art, craft and skill to accomplish.
There’s no particular ‘skill’ required in digital photography or videography, but using film demands the development of skill—particularly the skill of patience, which is hardly required in our HD, ADD world where you can carelessly click a pic with your phone.
I had to wait twenty minutes at the corner of Pall mall and Mitchell street to ultimately get the shot of the Talking Tram passing through Charing Cross. I had my camera set up on my dinky tripod, my settings checked, double-checked, and triple-checked. I had tested the tension of the pan lever several times and the position of the spirit level. I had all my senses on high-alert for the least spectre of a tram shimmering in the furthest distance of that broilingly hot day—all so I would have enough time to get set for it when it passed into frame.
And one of the upsides of working with film is that I think my videography has benefited enormously from the development of the skills demanded by film. I’m much more deliberative in my framing and composition when I set up digital camera, and much more attentive to the qualities of light.
It’s over to you, chers lecteurs. What do you think?
Do you agree with ‘us analogue purists’ that film is far superior to digital in every æsthetic respect, or would you rush to the fray to defend ‘the way of the future’ against the infidel Luddites?
Are you interested in getting into film? Were you once into film and ‘went digital’—and would you like to go back?
I look forward to having a lively discussion with you in the comments below.
And if you would like to look at all the raw footage I shot on Super 8 in Bendigo (including some alternate takes which didn’t make the cut in the video above), I’ve posted that below. Nothing fancy, no music or sound effects, just the facts, ma’am.
Today on The Melbourne Flâneur, I take a flânerie around Bendigo, pausing only in my perambulations to breathe some poetic airs upon your ears in beautiful Rosalind Park.
The good burghers of Bendigo named their green space after the heroine of As You Like It, but as you can see in the video, there is something otherworldly about this ‘emerald isle’ in the midst of the city, such that it reminds one of the enchanted island of The Tempest.
It’s the perfect locale for a little poetry-declaiming, and with the rather Parisian skyline of Bendigo’s Pall Mall mansard-bristling at my back, I read you my translation of Charles Baudelaire’s sonnet “L’Idéal”, from my book Flowers Red and Black: Love Lyrics & Other Verses by Baudelaire.
There’s always an erotic edge to my writing, and like a pendulum, I oscillate between the sublimely romantic and the frankly pornographic, so it should come as little surprise that I am such an admirer of Baudelaire, or that I have translated so many of his love poems.
Though I had some slight acquaintance with M. Baudelaire beforehand, it was as a flâneur in Paris—the city of flânerie, the city of Baudelaire—that I really got to know the divine, diabolical M’sieu.
As I perfected the art of wandering the streets of Paris, the Latinate rap of Baudelaire’s high-flown rendering of low-brow subjects was a constant cicerone in my ear, directing me towards the tawdry tableaux which Paris flashes like her undergarments at the voyaging connoisseur of voyeurship.
‘Parisian life is abundant in poetic and marvellous subjects,’ Baudelaire observed. ‘The marvellous envelopes us and suckles us like air, but we cannot see it.’
Certainly I feel the same way when I set up my camera to capture those little vignettes of Bendigo, shots of rien de tout, which bracket the video above. Statues, street art, architectural details, empty vistas:—Bendigo (which bores the Bendigoans) is fecund in that surreal quality of the marvellous, the poetry which hovers behind the banality of things much-seen.
Baudelaire’s ambition was to make the Parisian see this invisible air in which he ambulated, to turn the exquisite flâneur experience of the ephemeral into a flâneur poem. In the same way, if there is any ‘poetry’ in the shots of nothing I insist on boring you with in my videos, it is the poetry of the ‘boring’ urban life which Baudelaire, lover of novelty and ennui, both wanted to escape from and escape more fully to.
Flânerie is an ‘altered state’ which reveals the invisible poetry of the visible city. Baudelaire, as the père of flâneur philosophy, was an inveterate chasseur after artificially-induced altered states which liberated the surreal poetry that is the resident spirit of the banal.
He praised the state of drunkenness as the essence of the poetic experience, and wrote a scholarly treatise on the poetic effects produced by hashish. And of course, Baudelaire was an amateur of that other intoxicating, protean substance which produces a poetic effect on men: la femme.
As a flâneur, he was a Daygamer avant la lettre, as may be witnessed by his ode to an anonymous passer-by. It’s one of Baudelaire’s most delicate and evanescent love poems, ineffably romantic and yet unmarred by any effeminate sentimentality whatsoever.
In a handful of lines, Baudelaire perfectly conveys that ephemeral experience which all men of the city know:—the lightning-flash moment when you see a woman you desperately want to approach surge forward from out of the crowd; the single second in which you clearly see a whole parallel existence with her; and the second afterwards when, jostled on by the crowd, you decline to embrace the destiny with her which you so clearly previsioned:
A bright light… then the night! Fugitive beauty
In whose glance I have been suddenly reborn,
Will I never see you again in all eternity?
Elsewhere, very far from here! too late! perhaps even never!
For I know not where you fly, and you know not where I go,
O you who I might have loved, O you who knew it!
Translating Baudelaire is not easy. As Alan Ginsberg remarked, if you can’t read him in the original, you have to take the aggregate of all the translations in English to get a sense of what he is saying.
It’s not that Baudelaire’s French is particularly difficult, although he does some vexing things with tense that English is not supple enough to elegantly convey. It’s rather that the images he manages to paint by combining a lofty, distant tone with the startling incorporation of things deemed ‘unpoetic’ produces a remarkably lucid effect with remarkable compression.
As with Shakespeare, there’s quite an unusual ‘range’ in Baudelaire’s language. He’s equally at ease with the most recherché classical allusions as he is with the slangy argot of the Parisian gutter, and he demands not only a requisite range from his English translator but a sense of how to convey in modern English the quality of ‘shock’—and even of ‘offence’—produced by this admixture of tone.
Few translators who have ‘tried their hand’ at Baudelaire have a good sense of him, methinks, for with the grotesquerie of his subject matter, it is too easy to make a schlocky parody of Baudelaire in English.
One requires an exquisite sensibility for the sublime horror (or horrific sublimity) of everyday life to approach Baudelaire on his own terms of unquiet desperation with normal, bourgeois existence. In fine, one requires an ample dose of that quality which he himself defined (finding no better word for it in French) as good old-fashioned English ‘spleen’.
It’s the most sensual, erotic poem in the collection, and the one I am always asked to read at poetry gatherings because it’s almost like a short story: in the space of a few minutes, people feel as though they have been completely transported into the small, stuffy chamber, lit only by firelight, in which Baudelaire and his Creole mistress, Jeanne Duval, are engaged in foreplay.
The heady incense of the smoke, the play of weird lights rising from the fire, the music of Jeanne’s ‘chiming jewels’, and the way she undergoes a metamorphosis before the bard’s eyes, changing into a tiger, swan, slutty angel and classical catamite by turns, always gives people the hallucinatory sense, sans drugs, of the ‘altered state’ which Baudelaire experienced in sexual love.
And yet, because the banality of this everyday scene takes on a heightened potency and is attenuated to such an exquisite degree, there is a stifling, almost suffocating sense of sublimity into which an erotic horror enters, like the almost painful pleasure of the ‘petite mort’.
As romantic as his love poems are, there is nothing wilting and effeminate about Baudelaire, which is perhaps why women like this book. His voice is forceful and potent, and it seems to combine well with my own style as a writer, such that we make some ‘beautiful music’ together.
I’m thinking of publishing a second edition of Flowers Red and Black, revised and expanded, even including some of Baudelaire’s prose poems. But that project is some way in the future.
In the meantime, I have a very limited stock of the first edition on hand—about a vingtaine. It makes an original St. Valentine’s Day cadeau, and the dames do grok it. As I say in the video, I’ve been reliably informed (regrettably post facto) that ladies have regaled one another with my verses in bed.
I’ve also had a friend rip off my translation of “Les Bijoux” and try to pass it off as his own poem to placate a squeeze who wasn’t in the mood to be squeezed. (She saw through his play at once, which only served to further inspire her ire.)
You can purchase a copy through the Dean Kyte Bookstore, but if you want to buy a copy from me directly, you can do so either by clicking this link, or by registering your interest with me via the Contact form.
This allows me to get in touch with you to arrange payment and delivery details. It also enables me to get some particulars from you so that I can write a thoughtful, personalised message on your behalf to the lucky person you want to give the book to.
Plus, I will flourish the magic wand of my Montblanc Noblesse over the flyleaf and affix my personal seal in wax to it, so your first edition will be doubly exclusive.
Is Melbourne too cold for you right now? Are you sick of shivering at your desk in Kensington, or feeling uninspired in Flemington?
If writing is your hobby, you may often feel uninspired by the everyday. A useful habit is to take your notebook to an art gallery and describe what you see and the thoughts that works of art inspire in you.
What you are practising here is the discipline of writing. The trick is to be less concerned with writing sparkling prose than with describing as precisely as possible not merely what the artwork looks like, but the thoughts, feelings and associations it inspires in you.
When it comes to publishing a book for the first time, it’s developing and maintaining this discipline of writing over the long haul that matters—even when you feel uninspired. A skilful and sensitive editor can always help you to shape the prose, but there must first of all be words on the page to work with.
Like the indefinable frisson you feel before a work of art which inspires you, the experience of working in real life with another writer to shape your words into their perfect form inspires you with the confidence that your book will look its best.
Through his Artisanal Desktop Publishing service, Dean Kyte offers you an authentic artisanal experience, the feeling of confidence that comes from collaborating with a craftsman who cares as much about the perfect presentation of your words as you do.
To experience the real deal and discover how Dean can help you to publish your own book, get in touch with him via the Contact form.