#johnny corncob | Explore Tumblr Posts and Blogs

transfemstarscream · 1 year

Text

#.txt #i still don't know why they translated jános vitéz as ''johnny corncob.''

6 notes · View notes

khagihan2000 · 2 years

Video

Little Dark Age - Foreign animation These are the foreign animations that deserved love. A response to Oscar. Version: Vimeo GD Youtube (Extended)

Song: Little Dark Age - MGMT Inspiration: https://www.youtube.com/watch?v=dae1m2Z6fQ0&t=7s https://www.youtube.com/watch?v=DwlCXVujrWE&t=28s

List of the clips (including overlays): Breadwinner Song of The Sea The Secret of Kells The Phantom Boy The Illusionist Birdboy: The Forgotten Children The Swallow of Kabul Klaus The King of Pigs The Congress Waltz with Bashir The Tragedy of Man April and The Extraordinary World Calamity, A Childhood of martha Jane Cannary The Bear’s Famous Invasion of Sicily. Flee Johnny Corncob Son of The White Mare Wolfwalker Yellow Submarine Where is Anne Frank? The Swallows of Kabul Have A Nice Day Gandahar The Time Masters Fantastic Planet The Triplet of Belleville The Rabbi’s Cat Nocturna The Cat in Paris Felidae Plague Dogs Watership Down The Prophet Chico and Rita Another Day of Life MFKZ Funan Cinderella The Cat The King and The Mockingbird I Lost My Body Kirikou and The Sorceress The Crossing Marona’s Fantastic Tales Long Way North Josep Mia and The Migoo The Summit of Gods Ernest and Celestine Eleanor’s Secret My Life as a Courgette Aya of Yop City One Night In City The Big Bad Fox and the Other Tales Ruben Brandt Collector The Painting Loving Vincent Azur and Asmar The Red Turtles Buñuel in the Labyrinth of the Turtles Crulic Allegro Non Troppo The Nose or The Conspiracy of Maverick Wrinkles My Sunny Maad Ethel and Ernest

1K notes · View notes

sneez · 4 months

Note

Lara von Trier anon (might need a better nickname, ha) here. So glad I found someone who also dislikes his films and him as a person... A lot of self-proclaimed cinephiles I've come across say they like him (or at least pretend to, which is likely). I might give him another shot since I haven't watched Melancholia, Dogville, or Nymphomaniac, but my expectations are very low. Besides Antichrist I've seen The House That Jack Built, which is what you'd expect and for the most part feels forced and boring, however it has its good moments (like the way the house is visualized or the fact that it has a whole Dante-Virgil motif where Bruno Ganz plays Virgil..he's as good as always but that's because he's Bruno Ganz after all). Can't say it's worth watching in its entirety though. Anyway, started rambling for a bit there. Would like to hear more kino thoughts from you :^)

hello again lars von trier anon! my sympathies about your nickname, a better one may indeed be in order :D i am also glad to have found a comrade in lars von trier hating! (hate is a strong word i know but man. if i hate any films which i have watched i hate those ones.) i haven't seen any of his other films except melancholia and antichrist, so i definitely intend to try out some of his others to see if i can find one i like (or at least don't actively despise), but i don't have particularly high hopes. i feel like his films have that Artsy quality which makes people want to say they love them because otherwise they will get accused of not understanding them, but there are so many Artsy films out there which actually have something to say and don't leave an unpleasant taste in my proverbial mouth in the process.

anyway, it has been so long since i watched one of his films (and indeed since you sent this ask, i am so sorry!) that i can't actually remember what i hate about them specifically, but for the sake of Kino Thoughts, here is my list of the top ten films i watched this year if you are interested:

The Colour of Pomegranates (1969)

Cries and Whispers (1972)

Johnny Corncob (1973)

The Fifth Seal (1976)

Autumn Sonata (1978)

Angel's Egg (1985)

Dead Man's Letters (1986)

Where Is The Friend's House? (1987)

A Visitor to a Museum (1989)

Morphine (2008)

#ive watched something like 130 films so far this year so it was very difficult to pare down! it took a while i can tell you :D #i am so sorry again that i have taken so long to answer this my friend i hope you have been well in the meantime #my Cinema Friend :D #<3 <3 <3 #asks #Anonymous

11 notes · View notes

gabrielisdead · 4 months

Text

jankovics marcell is turning in his grave because I dreamt about johnny corncob being gay af and now trying to recreate it in his style

3 notes · View notes

instruth · 2 years

Text

PEACE IS AN INSIDE JOB

Peace is fully an inside job

A coating on the corncob

No labor, no help, no wits

Do-it-yourself tailored fit

Good will, fortune to share

Be vulnerable all you dare

Talk less, actions brisk

Be it a twitch or a whisk

Let nasty emotions be closed

A kind response well disclosed

Curt reaction, a loss of intimacies

A self gain is a loss of opportunities

It is manufactured within

To churn out clean and thin

Peace offering to the outside

Truest intention from the inside

©Johnny J P Lee

13 June 2022

Photo: J. P. Lee

#instruth #instruthpoems #poetryportal #13cupsofteareblog #writerscreeds #smittenbypoetry #writtenconsiderstions #acrobat888 #the subservient human #peace is an inside job

29 notes · View notes

thejewofkansas · 10 months

Text

The Weekly Gravy #146

Hugo the Hippo (1975) – **½ Or, in Hungarian, Hugó, a víziló. Hungarian animation had actually just moved into feature films with 1973’s Johnny Corncob (by Marcell Jankovics, whose work I’ve reviewed elsewhere) when their leading studio, PannoniaFilm, joined forces with Brut Productions (and yes, that’s the same Brut who makes aftershave, cologne, and so forth) to make Hugo the Hippo, one of…

View On WordPress

#Film Reviews #Hugó a víziló #Hugo the Hippo #The Hollywood Revue of 1929 #The Weekly Gravy #Witness

2 notes · View notes

ja-khajay · 2 years

Note

while i was reading your list i thought "i bet they would like persepolis and belladonna of sadness" so i was very happy to see both on your to-watch list

:D I've actually read Persépolis, it was one of the many comics we had growing up, and I enjoyed it a lot even if I have not read it in years! As for Belladonna, I discovered it weirdly late, only last year or so in class where we saw some of it. I'm very excited to see both.

Considering organizing a discord movie night around 70s aesthetic in animated movies with Belladonna, and maybe Yellow Submarine, Johnny Corncob and Cobra... But given the only one of these I've seen is Yellow Submarine, and it's for a younger audience, so I did not put it on the list. (i might make one for kids movies? the demand is less high)

#answered #j #do recommend movies if you have any you think i would like #or any you think fit the list!#i am especially on the lookout for CG stuff #as well as movies that are NOT french or japanese

11 notes · View notes

100yearoldcomics · 2 years

Text

July 24, 1922 The Five-Fifteen by E.C. Segar

Oh boy, a new recurring character! Let's see how ungrateful Sappo is towards him.

[ID: Myrtle opens a letter in the foyer and reads it. /end] Myrtle: John, here's a letter from your Uncle Amos. He's coming to visit us. You'll have to hurry down to the station and meet him.

[ID: Sappo grumbles his way down the road, angrily smoking a cigar, hands in his pockets. /end] Sappo: He's my blood relation - my father's brother - but doggone it, he gets on my nerves. He's SO out of date. I hope he doesn't stay long.

Sappo: He couldn't pay the mortgage on his farm and about a month ago, he lost everything. Good-night!! Could he be coming to live with us!?

[ID: Sappo lights another cigar. /end] Sappo: Holy smoke! If I see a bunch of trunks, I'll drop dead...!!

[ID: Sappo looks on from the train platform as Amos walks out. /end] Amos: Carry my grip for me, Johnny, I'm perty much done up. Sappo: Hoo-ray!! He's only going to stay a few days. All he has is a grip.

[ID: Sappo carries Amos's suitcase as the man - twice Sappo's height with the look of a grizzled frontiersman, wearing a cowboy hat and bolo tie, corncob pipe in his mouth - walks alongside him with a cane. /end] Amos: Exceptin' for ten acres of corn land, that grip holds every darn thing I own in the world. [ID: Sappo looks up, shocked. /end] Sappo: ?? !

#newspaper comics #vintage #history #1922 #the 5:15 #sappo #transcript available #1920s #haha dysfunctional family #old timer #behind the times

0 notes

honeygleam · 2 years

Text

the transformation of two lovers johnny corncob (1973) dir. marcell jankovics

#johnny corncob #marcell jankovics #anikó nagy #györgy cserhalmi #film aesthetic #film stills #film #film quotes #70s film #70s cinema #70s #hungarian films #hungarian cinema #eastern european cinema

9K notes · View notes

clemsfilmdiary · 1 year

Text

The Best of March 2023

Best Discovery: Johnny Corncob

Best Rewatch: Night Moves

Most Enjoyable Fluff: The Boost

Runners Up: Garage Sale Mysteries: Searched & Seized, The Ice Follies of 1939, Love Crimes, A Paris Proposal, Scream, Sweet Carolina

Oddity of the Month: Massacre at Central High

Runner Up: Night Tide

Best Performance: Gene Hackman in Night Moves

Most Enjoyable Ham (tied): James Woods and Sean Young in The Boost

Runners Up: Joan Crawford in The Ice Follies of 1939, Tyler Hynes in Sweet Carolina, Matthew Lillard in Scream, April Telek in Garage Sale Mysteries: Searched & Seized, Sean Young in Love Crimes

Best Mise-en-scène: Johnny Corncob

Runners Up: The Astronomer's Dream, Despair, Hardcore, The Hot Spot, Night Moves, Night Tide, Spring Night Summer Night, The Touch

Best Locations: The Hot Spot (sleepy Texas towns)

Runners Up: Night Moves (various Los Angeles and Florida locations), Night Tide (Santa Monica boardwalk, Venice slum), Spring Night Summer Night (rural Ohio locations), The Touch (Gotland Island)

Best Score: Johnny Corncob (János Gyulai-Gaál)

Runners Up: Despair (Peer Raben), Night Moves (Michael Small)

Best Leading Hunk: Gene Hackman in Night Moves

Runner Up: Klaus Löwitsch in Despair

Best Supporting Hunk: David Triacca (flashback dad) in Love Crimes

Runner Up: Goffredo Unger in The War of the Planets

Assorted Pleasures:

- Outrageously trivial queer decadence in The Ice Follies of 1939

- Melty surrealistic worlds of color and shape in Johnny Corncob

#list #best of the month

1 note · View note

dare-g · 3 years

Photo

Johnny Corncob (1973)

#johnny corncob #marcell jankovics #gyorgy cserhalmi #aniko nagy #erzsi partos #antal farkas #gabor madi szabo #talks

401 notes · View notes

mad-prophet-of-the-airwaves · 2 years

Photo

Johnny Corncob (1973, Marcell Jankovics, Hungary)

#johnny corncob #marcell jankovics

5 notes · View notes

princesschinatsu · 4 years

Photo

Johnny Corncob or “János Vitéz” (1973) dir. Marcell Jankovics

#johnny corncob #János Vitéz #marcell jankovics #film #animation #hungary

218 notes · View notes

bens-things · 3 years

Text

Johnny Corncob (1973) dir. Marcell Jankovics

#Johnny Corncob #Marcell Jankovics #movie night

2 notes · View notes

letterboxd · 4 years

Photo

Animated Enchantment.

A recent restoration of Son of the White Mare sends our animation correspondent Kambole Campbell on a quest for a few words with legendary Hungarian filmmaker Marcell Jankovics, about the external cosmos, inner spiritual worlds, and the latest season of Vikings.

“The true arts are receiving less and less space in every genre.” —Marcell Jankovics

Much adored and highly rated by Letterboxd animation fans, Marcell Jankovics’ 1981 masterpiece Son of the White Mare is, frankly, some of the wildest imagery ever put on the big screen. A swirl of psychedelic depictions of folkloric beings are flattened out into a gorgeous 2D tableau. The titanic figures of the characters twist into impossible and often abstract shapes, all realized with eye-popping and heavily contrasting color.

Arbelos Films recently restored Son of the White Mare to 4K, and it was due for release in cinemas this year. Instead, the film is now available for US animation fans on Vimeo OnDemand, and it’s unmissable. “The restoration made everything pop so much, that at a point I think my brain melted,” writes Bretton, on Letterboxd. “The kind of film that makes me happy to be human,” raves Will. “Appropriately immense imagery for a creation myth,” agrees Lindy.

Hungarian filmmaker Marcell Jankovics.

Based on Hungarian folk tales and poetry, Son of the White Mare begins at the gates of the Underworld, at the base of a massive, cosmic oak tree that holds seventy-seven dragons in its roots. To combat these monsters, a dazzling white mare goddess gives birth to three heroes—the protagonist, Fanyüvő (‘Treeshaker’), and his brothers—who embark on a journey to save the universe. In the telling, Jankovics is clearly only interested in the kind of imagery that, well, only animation can provide.

Son of the White Mare (Fehérlófia) is one of four feature-length films by the animator—his others are Johnny Corncob (János Vitéz, 1973), which was Hungary’s first feature-length animated film, Song of the Miraculous Hind (2002) and the drama The Tragedy of Man (2011), which took Jankovics almost three decades to complete. These features have found continuing acclaim in the animation industry and amongst cult enthusiasts. Jankovics’ shorts are just as celebrated: Sisyphus (1974) was nominated for the Academy Award for Best Animated Short at the 48th Academy Awards, and The Struggle (1977) received a Palme d’Or for short film at the 1977 Cannes Film Festival.

Born in Budapest in 1941, Jankovics began his career almost casually; after realizing his family’s status meant no higher education would be available to him, he passed a test to work at Pannónia Filmstúdió. He has said that the animated Russian film The Humpbacked Horse (1947) directed by Ivan Ivanov-Vano was the first cartoon he remembers watching, but that art books inspired him more than films. His career has traversed post-war Hungary, including the end of the Communist regime in 1989, and Soviet military regime in 1991. These events led to greater storytelling freedom, a shift that can be spied in his art, which has included television documentaries, commercials, books, teaching, and a Disney paycheck (for work that was never seen in The Emperor’s New Groove).

In our interview, Jankovics remains steadfast in his commitment to his “chosen path”, celebrating—but not being distracted by—others in his field, and revealing glimpses of his renowned sense of humor.

This restoration and re-release marks the first time that your film has been distributed in America in decades. Have your views on Son of the White Mare shifted in the time since? Marcell Jankovics: They have not changed.

A lot of Son of the White Mare unfolds on a flat, often circular plane. What inspired you to frame things this way? I never considered 3D. I don’t use it even today. The circularity is a part of what I have to say. A fairy tale (all fairy tales) traverses a particular arc, the year, of the eternal cycle.

Could you run me through the development of the style of Son of the White Mare? Use of the color wheel accompanied the above-mentioned circularity; this was partly adapted to the circle of time and partly to the characters. I wanted to get rid of contours. I could manage this because my characters are illuminated, this is why I could take advantage of light contours.

I notice that a number of your short films have focused on Greek mythology, while your features have mostly drawn from Hungarian folklore or influenced by Judeo-Christian religion. Did your interests shift? Absolutely not! All are projections of a similar spirit of the same world. I’m currently writing a book about Biblical symbolism, and in it I make numerous references to (Hungarian) folk tales.

What fascinates you about these myths and legends? They remain eternally true. They are harmonizations of the external cosmos and man’s inner, spiritual, unconscious world.

Looking at some of the sequences of Fehérlófia, I was reminded of the sequence where Susano’o battles the Fire God in The Little Prince and the Eight-Headed Dragon (1963), directed by Yūgo Serikawa and Toei Dog. Is that a film you’re familiar with? No. And I don’t need to [be]. Tales and myths are universal, the differences are stylistic. Of course, I’d love to see it. When I designed the Fehérlófia figures, I drew countless Japanese woodcuts. I also used Japanese theatrical masks for my heroes’ facial expressions. It’s not common knowledge but the Hungarians and the Japanese consider themselves to be related.

I’ve read in an old interview that you don’t watch much new animation. Is that still true? Yes. I don’t want to be distracted from my chosen path.

What films, live-action or animated, would you say have made the greatest impression on you? I’d rather give you directors: Eisenstein, Kurosawa, Fellini, A. Wajda, Ken Russell. In animation: Frédéric Back, Richard Williams, John Hubley. I don’t know if they influenced me but I have the greatest respect for them and I always enjoy watching their films.

What’s the first film you would suggest to someone looking to discover more animation? My own Sisyphus. It might be particularly shocking for anyone who has never seen animation before.

What was the film that made you fall in love with animation? It was a little different for me, I was rather forced into it as a career. It’s a long story and I’ve told it many times. As a young kid I only watched Soviet cartoons, but still I was enchanted because animation impressed with its own kind of genre surrealism. When I started working in the profession and I had the chance to see others as well, I realized that everything was possible in this world, even what I wanted to do.

Do you have a favorite myth, or one that you’ve been wanting to adapt? Not any more. At the age of 79, I yearn for less laborious work.

Are there any upcoming films you’re excited to see yourself? I haven’t been to the cinema for a very long time. The sort of films that I would be interested in are broadcast on TV late at night. I usually look forward to the latest season of the Vikings series.

How do you feel about the future of animation? The true arts are receiving less and less space in every genre. It is sufficient for me merely to mention the latest restrictive aspects of the Oscars. I hope that the marginalization of the arts and this kind of restriction prove to be only temporary.