#John Batchelor

[holding-achilles-fan]

The staging in this show is Incredible. Takes my breath away every time.

(Please excuse the single auto-generated subtitle. And the other iPad nonsense in the screenshots)

[garadinervi]

Colour is, Text by David Batchelor, Waddington Custot, London, 2017 [Exhibition: March 1 – April 28, 2017]. Designed by A Practice for Everyday Life. Feat.: Etel Adnan, Josef Albers, David Annesley, David Batchelor, Anthony Caro, Ian Davenport, Paul Feeley, Sam Gilliam, Peter Halley, John Hoyland, Donald Judd, Joseph Kosuth, Jeremy Moon, Kenneth Noland, Hélio Oiticica, Yuko Shiraishi, Frank Stella, Joe Tilson and William Tucker

(on the way of Art Books & Ephemera)

[spectaculardistractions]

Most traditional of the cartoon producers are Halas and Batchelor, whose Animal Farm was in the Disney tradition. Their graphic progress since then may be exemplified by the Hoffnung Symphony Orchestra, a bright, après-Punch piece spiritedly solving the problem which gave every Hollywood cartoon unit, from Disney to U.P.A., such difficulty; how to reconcile emphatic laugh gags with smartish-post-Disney graphics. Their Automania 2000 is a Tati-spirited spoof on technology and piecemeal planning, with cars enjoying a population explosion and covering the globe with a mile-high traffic jam.

Raymond Durgnat, A Mirror for England

[actorsinunderwear]

John Batchelor in Red Dog (2011)

[running-with-the-feels]

Alright, y'all, I need some help

I'm doing research for the Ainu Hanzo headcanon, specifically regarding the naming customs, and I remembered hearing about a custom to call babies by an impermanent nickname that usually meant something like "little excrement" but I couldn't find a source anywhere to confirm that it was a real custom other than fucking fandom wiki (which is not a reputable source)

I have found a source that confirms this custom exists (Ainu: Spirit of a Northern People, chapter 38) but it does not offer any examples of what those nicknames were.

Every example I have found comes from a source I can't trust bc it's either fandom wiki, has no bibliography, wasn't written by or with an Ainu person, or all three. Of those examples, Shipo, Poyshi, Shion, Ayay, Shontaku and Setashi, I have only seen the first four recur across multiple sites, and Ayay and Shion are the only ones I can confirm are actually words through the book An Ainu-English-Japanese dictionary (including a grammar of the Ainu language) by John Batchelor who is ASTONISHINGLY biased as an author (he has another book that goes into Ainu culture and ways of life, The Ainu and Their Folk-Lore which just reeks of Missionary Colonialism) and he just translates both as Baby

Does anybody know of any sources that discuss Ainu naming customs, specifically baby names, in detail?

Or any dictionaries that translate the word Excrement bc the dictionary I have doesn't translate it or any of it's synonyms (I have Checked) other than Dung which it translates as Osoma, which isn't any of the options I've seen before so I have no idea if it can be used in this context or not?

[cryptid-quest]

Cryptid of the Day: Akkorokamui

Description: Akkorokamui is a giant octopus of Ainu folklore, which supposedly lurks in the Funka Bay in Hokkaido, and has even been seen in Taiwan and Korea since the 19th century. Missionary John Batchelor recounted an encounter that three men had with the beast, claiming that the men caught the octopus while hunting sword fish.

[philosohappy]

Great works of art in all cultures succeed in capturing within the constraints of their form both the pathos of anguish and a vision of its resolution. Take, for example, the languorous sentences of Proust or the haiku of Basho, the late quartets and sonatas of Beethoven, the tragicomic brushwork of Sengai or the daunting canvases of Rothko, the luminous self-portraits of Rembrandt and Hakuin. Such works achieve their resolution not through consoling or romantic images whereby anguish is transcended. They accept anguish without being overwhelmed by it. They reveal anguish as that which gives beauty its dignity and depth.

Excerpt from Buddhism Without Beliefs, by Stephen Batchelor

Photo of the Rothko Chapel, a non-denominational chapel in Houston, Texas, founded by John and Dominique de Menil

[legend-collection]

Mintuci

The mintuci is a water sprite or an aquatic supernatural creature, a half-man-half-beast, told in stories of Ainu mythology and folklore. It is also considered a variant of the kappa and therefore a type of yōkai.

The name is mintuci according to modern Ainu orthography, but it is also commonly spelled mintsuchi in folkloric study literature written in Japanese.

The mintuci has been defined as "fabulous animal", purported to be "half human and half animal and to inhabit lakes and rivers" in the Ainu dictionary c. 1900 compiled by British missionary John Batchelor. But he also perceived it as a type of water spirit, and stated it was considered by the Ainu to be a type of "koshimpuk" (normalized spelling: kosimpuk, kosimpu), which is a word glossed as meaning 'fairy' or 'daemon'.

Others characterize it as a yōkai, closely akin to the kappa, but others point out that there are legends peculiar to the Ainu that are attached to the mintuci, not seen in kappa legends.

The Ainu word mintuci is considered to be borrowed from the Japanese word mizuchi (or variants thereof) that are local appellations for the kappa, ultimately deriving from the term mizuchi which signifies a type of dragon.

However, Batchelor has given a strictly Ainu etymology for mintuci, explaining it as a compound of mimi (or mim) meaning 'flesh' and tumunci meaning 'devil'.

According to some Ainu elders, mintuci was a name that people on the Japanese mainland used to refer to kappa, and the correct Ainu term was Shiri-sham-ainu literally denoting a "mountain-side-person". Its bald-headedness and reference to the mountain-side suggests a hypothetical connection to, or conflation with, the generic Japanese mountain deity, the Yama-no-Kami.

The name manifests local variation, and the creature is called mimtuci in the Chitose dialect and mintoci in the Ishikari region.

The creature is known by the name hundoci or slight variants thereof in the Tokachi and Kurshiro regions. It is said to make an occasional grunting noise like "hunn", according to the folklore of the town of Ikeda in the eastern part of the Tokachi Plain, where the hundoci appears the guise of a diminutive old person of indeterminate gender.

The kappa of the Ainu may otherwise be called "mintoci kamuy, nintoci kamuy, or huntoci kamuy".

The mintuci are reputedly of the height and stature of a 3-year old to a 12 or 13 year-old human, and it has a head of hair without a "plate" like the kappa (though having fleshy, bald patches on their heads), and though they may be bald-headed the males and females still can be distinguished, or so it has been told in tale where the mintuci appears in the Ishikari River.

Its skin is purplish or reddish, with sea turtle-like texture, and they have either bird-like feet or four sets of hooves, with one supposed witness discovering sickle-like footprints. There also exists oral tradition that both its arms are attached, so that tugging one arm makes the other become shorter, or pulling on one arm hard enough will cause both arms to be ripped out; however, this curious anatomical lore may not be original, since it is told of the kappa in some regions of Japan.

The mintuci are said to hunt people and livestock by dragging them under water, but this prankishness is also a trait frequently ascribed to the kappa, cf. the motif of the kappa komabiki ("the water-imp dragging a horse into the water").

People may also become possessed by the mintuci, and women possessed by one may attempt to seduce men. According to a legend circulating in Kushiro, on a foggy nights, a victim may detect what seems to be human presence that has abruptly appeared ahead of him, and trying to engage this entity in conversation will go unanswered; it continues to walk onward until the victim notices the odd bird-like footprints, and just then the mintuci's shadow would vanish and come around from behind, dragging the victim into the water.

Although the mintuci is generally considered an "evil dispositioned" type of fabulous aquatic creature, reputed to "disembowel and devour human beings when they catch them", there are also benevolent types called pirika mintuci (lit. "good mintuci") which inhabit the mountains according to John Batchelor.

It is not strictly just the mountain type which assists humans (bringing bounty of the mountain, i.e., luck of hunting), because the aquatic mintuci are also known to help (bestow bounties of the waters, i.e., luck in fishing), and there are also dangerous consequences when the mountain mintuci is crossed, as detailed below:

As the mintuci is a deity which controls the fish, it may bring luck to fishermen, but at a price, because as long as it is present it will be responsible for an increase in deaths by drowning. In an anecdote set in the Ishikari region, the mintuci allowed a bountiful catch of fish, but it was sure to take several lives each year, so that the people begged it to move elsewhere to the town of Shizunai in Hidaka (now incorporated into the town of Shinhidaka, Hokkaido), and as a result, the drownings ceased, but the fish catch plummeted afterwards. In another tale, a mintuci became the adopted husband and came to live with the bride's family in the hamlet of Chikabumi in Asahikawa, and he brought about a rich harvest of fish, but was discovered to be the cause of increased drownings in the rivers, so was expelled, and thereafter it moved to Shibichari River (in town of Shizunai). The prosperity of Asahikawa and Saru River was attributed to mintuci protection.

The mintuci also blesses the hunter, rewarding him with game in plenitude according to folk tradition. According to one piece of lore, the chieftain of the mintuci is called mintuci-tono, and he is a bearer of bow and arrows, known to aid humans in need, or giving the gift of bow and arrows, but in return demands offering of sake or hei type ornaments, and people are obliged to comply. But the ornament in question should not be the inaw usually offered to the gods, but a more simplified version.

The mintuci is thought capable of transforming into a youth and becoming an adopted husband at a home with only daughters, bringing about fortune and luck of the hunt, but once the village incurs his wrath, he will depart, absconding with the community's food spirit, causing famine. There are tales of the mintuci acting as guardians for humans in Asahikawa and Saru River areas. In one tale set in Saru River, a mintuci who helped the chieftain carry his load demanded a banquet afterwards, rewarding his hosts with a golden tobacco case said to be an amulet of protection from night raids. When another village attacked, those who participated in providing hospitality to the spirit were intact, but those who failed to come to the gathering all lost their lives. The motif of the golden tobacco case amulet as a gift also occurs in a variant tale entitled "Kappa no hanashi" where the benefactor is the kappa-deity or nintoci kamuy.

According to one origin myth, long ago during the epoch when the god Okikurumi descended on earth and ruled over the Ainu (human) world, there came far from the sea the smallpox divinity known to the Ainu as Patum-kamui, and many succumbed to disease. Okikurmi then created a set of 61 Chishinap-kamui made by braiding mugworts into a cross shape, breathing life into them to fight the smallpox divinity/demon. All but one of the puppets drowned and grand general who remained managed to defeat the smallpox demon. The puppets that drowned thereafter became the mintuci kamuy, helping people in case of illness or adversity.

A (less mythologized) and historical folk tradition blames the arrival of the pox to Japanese traders and their merchant ships. According to tradition, the Smallpox Deity (smallpox demon) sneaked on the bezai boats  which the Japanese sailed into Hokkaido to establish trade relations with the Ainu during the Edo period. A smallpox outbreak killed many Ainu. And this led to the custom of creating the weed dolls for protection from this disease, namely, the Ti-sinap-kamuy was not invented by a god, but by the Ainu people. In fact, the literal meaning of Ti-sinap-kamuy is 'god whom we bundled/bound'.

[kwebtv]

The Jewel in the Crown - ITV - January 9, 1984 - April 3, 1984

Period Drama (14 episodes)

Running Time: 60 minutes

Stars:

Peggy Ashcroft as Barbara Batchelor

Janet Henfrey as Edwina Crane

Derrick Branche as Ahmed Kasim

Charles Dance as Sgt Guy Perron

Geraldine James as Sarah Layton

Rachel Kempson as Lady Manners

Art Malik as Hari Kumar

Wendy Morgan as Susan Layton

Judy Parfitt as Mildred Layton

Tim Pigott-Smith as Supt./Capt/Maj/Lt Col Ronald Merrick

Eric Porter as Count Dmitri Bronowsky

Susan Wooldridge as Daphne Manners

Ralph Arliss as Capt. Samuels

Geoffrey Beevers as Capt Kevin Coley

James Bree as Maj/Lt Col Arthur Grace

Jeremy Child as Robin White

Warren Clarke as Cpl "Sophie" Dixon

Rowena Cooper as Connie White

Anna Cropper as Nicky Paynton

Fabia Drake as Mabel Layton

Nicholas Farrell as Edward "Teddie" Bingham

Matyelok Gibbs as Sister Ludmila Smith

Carol Gillies as Clarissa Peplow

Rennee Goddard as Dr Anna Klaus

Jonathan Haley and Nicholas Haley as Edward Bingham Jr

Saeed Jaffrey as Ahmed Ali Gaffur Kasim Bahadur, the Nawab of Mirat

Karan Kapoor as Colin Lindsey

Rashid Karapiet as Judge Menen

Kamini Kaushal as Shalini Sengupta

Rosemary Leach as Fenella "Fenny" Grace

David Leland as Capt Leonard Purvis

Nicholas Le Prevost as Capt Nigel Rowan

Marne Maitland as Pandit Baba

Jamila Massey as Maharanee Aimee

Zia Mohyeddin as Mohammad Ali Kasim

Salmaan Peerzada as Sayed Kasim

Om Puri as Mr de Souza

Stephen Riddle as Capt Dicky Beauvais

Norman Rutherford as Edgar Maybrick

Dev Sagoo as S.V. Vidyasagar

Zohra Sehgal as Lady Lili Chatterjee

Frederick Treves as Lt Col John Layton

Stuart Wilson as Capt James Clark

Leslie Grantham as Signals Sergeant

[tales-from-the-boneyard]

Akkorokamui

The Akkorokamui, also known as the Ashketanne Mat (long-fingered woman) is a part-human-part-octopus creature from Aino and Shinto folklore. The Akkorokamui is said to lurk in Funka Bay in Hokkaidō, Japan.

~~~ Legend ~~~~

Millennia ago, vengeful spirits cursed Rebunge, a villager of Abuta Toyoura, to see the destruction of his town. They sent a part-spider-part-human creature, called Yaoshikepu , to fulfill the curse. Yaoshikepu ran rampant throughout the town, causing destruction and slaughtering so many that the streets turned with crimson blood. After hearing the townsfolk’s prayers, the sea kami, Repunkamui, transformed Yaoshikepu into an octopus, and cast her into the sea.

After Yaoshikepu was cast into the sea, she grew and grew and grew. Eventually, she began to hunt and consume larger prey, like whales and ships. One day, Akkorokamui swallowed a boat full of fishermen whole. In her stomach, they called for help. Hearing the cries, Repunkamui poisoned Akkorokamui, allowing the fishermen to escape as she cried out in pain. However, Akkorokamui learned to use the venom Repunkamui inflicted on her to attack her prey.

Since then, there have been many recoded sightings of Akkorokamui throughout history.

~~~~~~~~~~~~

1800s sighting - John Batchelor

John Batchelor was on an expedition to Japan in the 1800s and wrote about his encounter with the Akkorokamui in one of his books. He stated that the beast was around 120 meters in length and confirmed the striking colour of the creature, Batchelor likened the red tone of the monsters skin “to the colour of the reflection of the setting sun upon water”. Batchelor’s account also corroborates the idea of Akkorokamui harnessing the poison inflicted upon her, stating that the creature’s lips “emitted a dark guild which has a very powerful and noxious odour”.

So what do u guys think? Is the Akkorokamui real or not? Let me know and have a debate in the comments if u want!

(Also first real post wooooo! It’s a shitty drawing but who gives a fuck :) and to the person who has decided to click on my post, have a great day friend!)

[czardas23]

"Viejitas pero con un gran mensaje"

Rebelión en la granja (1954)

"Una antitesis de los clasicos de Disney"

Esta novela adaptada al cine animado es originaria George Orwell  en ella se nos narra la historia de unos animales que se hacen con la granja en la que estaban siendo explotados por un tiránico granjero. El problema es que el poder corrompe, y al final ellos mismos se convierten en los tiranos. Los encargados de adaptar el libro a película fueron el matrimonio compuesto por Joy Batchelor y John Halas, que ya habían trabajado para el gobierno británico en diversas animaciones propagandísticas durante la guerra y la posguerra.

Orwell en esta versión tipo Disney a modo de código animal narra la historia de la Unión Soviética y de cómo Stalin corrompió el socialismo, pero esta fábula sirve perfectamente como alegoría de cualquier totalitarismo.

Con un estilo de otra época, Halas & Batchelor presentan una especie de cuento de hadas sin príncipes ni princesas, pero con malos muy malos, como el cerdo Napoleón que se hace con la granja y acaba sometiendo al resto de animales. Lo que en principio era una utopía democrática .«Todos los animales son iguales») se acabó convirtiendo en una dictadura del terror y corrupción («Todos los animales son iguales, pero algunos son más iguales que otros»).

Dicho filme representa la corrupcion que puede presentarse en el gobierno de cualquier pais en como la corrupcion es algo que afecta el estado del pueblo y que quienes que estaba con el pueblo al pirncipio . Con el peso del poder y lo que este represnetan su juicio se puede ver nublado. Esta historia nos hace un llamado a tomar conciencia sobre a quienes elejimos como nuestros mandatarios a saber escoger y reconocer cuando nuestros derechos como ciudadanos son vulnerados.

Recuerda:La democracia debe ser el gobierno del pueblo por el pueblo y para el pueblo!

[nogetron]

Kotan-kar-kamuy, the supreme Ainu creator god. Their name directly translates to Creator, Home maker, or World maker spirit. Kotan-kar-kamuy is said to have manifested the cosmos upon the back of a mighty trout. Kotan-kar-kamuy is also responsible for the creation of the Kamuy, mighty deities who govern over the many aspects of the world. Kotan-kar-kamuy is said to sit atop the hierarchy of the heavenly Kamuy. There has been whispers of a counter part to this great Kamuy, a dark and evil one who originates the dastardly kunne-kamuy, however this god’s origins are shrouded in mystery as even speaking about it can bring about its wrath. Kotan-kar-kamuy battled this demon when it consumed the sun Kamuy: Tokapcup-kamuy. Despite Kotan-kar-kamuy’s victory, every morning that same evil attempts to swallow the sun once more, but Kotan-kar-kamuy banishes the demon back into the abyss in the form of a flock of crows.

Kotan-kar-kamuy fills the supreme god mythological niche. But the unique thing about Kotan-kar-kamuy is that it also acts as a chief deity of sorts. While John Batchelor (a Christian missionary who studied and lived among the Ainu for many years) compared Kotan-kar-kamuy to the Abrahamic god, so much so that he even called the spirit god throughout most of his notes. I believe it’s more apt to compare it to the Zoroastrian Ahura Mazda, as an omnipresent god who’s subordinates are lesser deities draws more similarities between the two.

[magicmattie]

Automania 2000

John Halas and Joy Batchelor

UK, 1963

Another married couple making excellent films, Halas and Batchelor started out by making war information and propaganda shorts for Great Britain during WW2, and later made the famous animated adaptation of Animal Farm. More on that some other time- in this post I want to show you Automania 2000.

The year 2000 has come and gone- look, some of you are Noughties Kids, but I remember the fantastic dreams and predictions for the millenium. Everyone would have flying cars! We'd live on the moon!

Unfortunately Halas and Batchelor's anti-consumerist satirical prediction turned out more accurate. Well, it's not quite as bad as they drew it...yet. But if it seemed like cars and wasteful consumption of superfluous goods were starting to become a problem back in 1963, then 2022 is so much worse.

H&B make their point about reckless supply and manipulated demand using excellent graphics. The film artfully mixes the textures of paper cut outs and painted backgrounds with the clean colours of cel animation. Every frame is a little masterpiece of graphic design.

The dystopia is horrifyingly beautiful.

[icephas]

7 Keys to a Long Life with 100 Year Old Dr. John Scharffenberg & Doug Batchelor.

[ulkaralakbarova]

Meet Jack Foley, a smooth criminal who bends the law and is determined to make one last heist. Karen Sisco is a federal marshal who chooses all the right moves … and all the wrong guys. Now they’re willing to risk it all to find out if there’s more between them than just the law. Credits: TheMovieDb. Film Cast: Jack Foley: George Clooney Karen Sisco: Jennifer Lopez Buddy Bragg: Ving Rhames Maurice ‘Snoopy’ Miller: Don Cheadle Glenn Michaels: Steve Zahn Marshall Sisco: Dennis Farina Adele Delisi: Catherine Keener Kenneth: Isaiah Washington Richard Ripley: Albert Brooks José ‘Chino’ Chirino: Luis Guzmán Moselle: Viola Davis Bank Employee: Jim Robinson Bank Customer: Mike Malone Bank Teller: Donna Frenzel Bank Cop: Manny Suárez Bank Cop: Keith Hudson Lulu: Paul Soileau Pup: Scott Allen Parking Lot Woman: Susan Hatfield White Boxer: Brad Martin Himey: James Black Daniel Burdon: Wendell B. Harris Jr. Library Guard: Chuck Castleberry Shock Lock FBI Man: Chic Daniel White Boy Bob: Keith Loneker Old Elevator Lady: Connie Sawyer Old Elevator Gent: Philip Perlman Raymond Cruz: Paul Calderon Officer Grant: Gregory Alpert Ripley Personnel: Mark Brown Ripley Receptionist: Sandra Ives Ripley Guard: Joe Hess Waitress: Betsy Monroe Philip: Wayne Pére Andy: Joe Chrest Third Ad Guy: Joe Coyle Midge: Nancy Allen Ray Nicolette (uncredited): Michael Keaton Hejirah Henry (uncredited): Samuel L. Jackson Federal Marshal: Stephen M. Horn Airport Patron (uncredited): Oscar A. Diaz Waitress (uncredited): Jennifer Dorogi Airport Passenger (uncredited): Deborah Smith Ford Xenon Light Guard (uncredited): Mike Gerzevitz Flight Attendant (uncredited): Thelma Gutiérrez Bank Manager (uncredited): Wayne V. Johnson Bank Patron (uncredited): Pati Lauren Shopper (uncredited): Sherrie Peterson Gas Station Attendant (uncredited): Ronnie Stutes Film Crew: Director: Steven Soderbergh Producer: Danny DeVito Executive Producer: Barry Sonnenfeld Novel: Elmore Leonard Screenplay: Scott Frank Executive Producer: John Hardy Producer: Michael Shamberg Producer: Stacey Sher Original Music Composer: David Holmes Director of Photography: Elliot Davis Editor: Anne V. Coates Makeup Artist: Bill Corso Digital Compositor: Sean MacKenzie Second Assistant Director: Trey Batchelor First Assistant Director: Gregory Jacobs Second Second Assistant Director: Michael Risoli Supervising Sound Editor: Larry Blake Set Dresser: Mike Malone Casting: Kathy Driscoll-Mohler Casting: Francine Maisler Production Design: Gary Frutkoff Art Direction: Philip Messina Set Decoration: Maggie Martin Costume Design: Betsy Heimann Makeup Artist: Margot Boccia Key Hair Stylist: Bonnie Clevering Makeup Artist: Anita Gibson Key Makeup Artist: Katherine James Hairstylist: Deborah Mills-Whitlock Hairstylist: Waldo Sanchez Makeup Effects Designer: David LeRoy Anderson Hairstylist: Mary L. Mastro Makeup Artist: Mark Shostrom Unit Production Manager: Frederic W. Brost Production Supervisor: Pat Chapman Post Production Supervisor: Caitlin Maloney Production Supervisor: Mary Morgan Additional Second Assistant Director: David M. Bernstein Second Second Assistant Director: William D. Robinson Set Dresser: Shane L. Ashton Set Dresser: Tristan Paris Bourne Art Department Assistant: Andrea Brody Leadman: Jon J. Bush Set Designer: Lauren Cory Set Designer: Keith P. Cunningham Standby Painter: Chuck Eskridge Property Master: Emily Ferry Set Dresser: Harry Frierson Construction Foreman: Gary Gagliardo Paint Coordinator: Hank Giardina Construction Foreman: William Gideon Props: Brett Gollin Assistant Property Master: Otniel Gonzalez Set Dresser: L. David Gordon Props: Charles Guanci Jr. Art Department Coordinator: Blair Huizingh Set Dresser: James E. Hurd Jr. Paint Coordinator: Steven Kerlagon Set Dresser: Alexander Kirst Set Dresser: Chris Patterson Leadman: David C. Potter Set Designer: Mary Saisselin Construction Coordinator: Chris Snyder Assistant Property Master: Joy Taylor Painter: Mark Woodworth Carpenter: John Blanchard Set Dresser: Kurt Braun Painter: Tammy DeRuiter Greensman: Michael ...