EQMM – Iconic Detectives

Sherlock & Poirot Here are some EQMM covers, plus an Alfred Hitchcock Mystery Magazine cover featuring some well known  detectives from the realm of classic mystery. Notice the differences in cover layout of the two magazines . While both are effective, they construct a different emotional tone to draw in the reader. The classic detective portraits, do not reflect the content of the magazine directly, rather they play on the atmosphere of classic quality and  collectible status.

The Hitchcock cover is introducing a character that most would be unfamiliar with, so there is a need to establish identity and setting. Direct eye contact with a potential reader entices the buyer to pick up the magazine and check look at the interior. This is basic AIDA – Attention, Interest, Desire & Action. 



Tom Wasp & Philip Marlowe

The Economics of Pratfalls


The Slapstick Linguist explored the both the codes and conventions and the values, beliefs & ideologies of the slapstick genre in cinema through visual culture. It evaluated the language usage and meaning in the lingo, signposts and slang of the slapstick genre; a genre usually discussed in non-linguistic terms because of their highly visual style and stereo typically silent form.
In the Economics of Pratfalls the blogger looks at the connection of the slapstick & screwball comedy genres to the development of age of mass production in the early 20th century and failure of that economic driver during the 1930s.

Originally posted on theslapsticklinguist:

Slapstick, like Noir, is a film genre tethered to the industrialized modern world. The most famous jokes involve enormous buildings (Harry Lloyd), coal-powered trains (Buster Keaton), unforgiving factories/nations (Charlie Chaplin), etc. There is further evidence of this link throughout the 20’s and 30’s in Hal Roach productions, early Capra, and on and on. Those of you following along at home can perform a pratfall as such:

What is it? It’s a wide shot, confirmed by Chaplin and Keaton. Why? Because we have to see the entire fall, the whole fall, uninterrupted, uncorrupted, unadulterated. It is a beautiful thing and therefore can speak for itself.

But as sound enters into films – 29-ish – the pratfall begins to obscure and fragment, as though filmmakers (except Hitchcock) have forgotten how to use them. We see by end of the twentieth century they have all but disappeared from movie houses.

There is the…

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This post from  All My Own Work! ~ A history of pavement art!  demonstrates how visual arts have been exploring other venues for expression for much longer than many people realize, though anyone who has seen Disney’s  Mary Poppins, knows chalk paintings are magical worlds until the rain comes.

One of the basic principles of Mass Media, is that as a dominant form of Mass Media loses its place in the media hierarchy, it will adapt or innovate to offer something unique. In the world of colour printing, photography and emerging cinema, visual arts had to offer something new in the way of content/style or presentation, such as  production in public spaces.

Originally posted on All My Own Work!:

Chalking for Charity

Today, charity chalk pavement art events are very popular, especially in the United States; chalk sidewalk festivals are raising money for a myriad of good causes, from providing aid to Vietnam veterans to supporting religious institutions. But as the old saying goes “there is nothing new under the sun” as this feature from the Daily Express, 1922, perfectly illustrates.

Girl pavement artists: Hyde Park Corner, London 1922

Girl pavement artists: Hyde Park Corner, London 1922

“Sketching on paving stones is much more difficult than working on canvas.”

That was the verdict of two pretty girl art students, who staked a “claim” at Hyde Park Corner early yesterday morning, and became pavement artists for the day, for the benefit of St. George’s Dispensary (children’s hospital), Pocock Street, Blackfriars

Girl pavement artists: Hyde Park Corner, London 1922

Girl pavement artists: Hyde Park Corner, London 1922

“We find this work extremely difficult and tiring,” said one of them. “We practised for a while in the…

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Poppy Shadow Heart – Film Noir

Poppy Shadow Heart


Poppy in Black

To go along with my B&W poppy compositions, I decided to include the   official video of Caro Emerald’s song, “I Belong to You”.  The video’s style and the song exhibits the mix of 1940s cinema’s lush romanticism with the subtle suggestion of the film noir’s figure of the femme fatale.

The Shocking Miss Emerald 2

The opening ( establishing shot) is a wide-angle long shot in B&W of the mansion, with the only signs of activity a flock of bird rising up into the air, as if startled by a menace. The camera slowly, in time to the music, moves in before sharply cutting to an interior shot of a darkened staircase camera low angle moving upward towards the lighted landing above.

I Belong to You - establishing shot

Another sharp cut takes us into a upper room, the camera at eye level and approaching the windows. All the camera motion follows the pace of music and the the sharp cuts  matching the tango beat. The setting and cinematography tropes allude to such classic films as Murder My Sweet (1944) , Double Indemnity (1944) , and The Big Sleep (1939).


In Caro’s video, the young man with “the retro-contemporary-needs-a-shave” should look a bit more worn and world weary – instead of a youthful hipster trying to look worldly and mysterious. Considering the target audience, it still works, if not perfectly.

The Shocking Miss Emerald 3

Caro’s own role plays out some of the ambiguity of the femme fatale character. In classic style she starts as an isolated woman in an otherwise empty mansion awaiting the arrival of the man. The use of cuts of Caro preparing for the role in muted colours plays on the femme fatale as woman playing out a role and set of social expectations; expectations and a role the femme fatale attempts to use to her advantage, so it is no longer a trap controlled by a society of dominant men. 

The Shocking Miss Emerald 4t

  The scene of the couple sitting  having some tea (?) with  fancy cups suggests the beginning of the relationship – the young man appears shy/distant/uncertain, while Caro almost appears almost demure, but the accompanying lyrics seem to propel relationship much further in time & intensity.

We overlooked
as ocean deep
But now this river that we’re swimming through
is promises we keep ,,,,,,,,

 From here the video transitions with cuts to colour and back to B&W.  This parallels a transition to a change in setting, a musical performance at a concert/club. We see the young man now alone watching the departing Caro. It shifts to the club setting on stage as Caro comes out and continues singing. The young man is now in the audience; introducing the cinema trope of the nightclub singer ( creative feminine-spirit trapped in a male controlled reality ).

I Belong to You

This  movement of both characters to the new setting generates an interesting meta-textual element. The young man now represents the audience. The relationship in the song & the video now becomes a metaphor for the singer’s relationship to her audience. Whether intentional or not, it re-enforces the nightclub singer persona that was part of 40s cinema’s constructed reality.


The afterglow that’s down below
Is when I see your smile
And in your eyes, true love assigns
Forever is a word that cries

That I belong to you
That endless nights of far away
Are gone, and you
Could never love another
And I love you too
I see up above

And now I feel the truth -
I belong to you.

Note the degree to which there was an attempt to extend this tone to the CD packaging. The purchaser has entered a world by acquiring a physical  artifact. This is more than a digital download or a virtual experience. It is a world of physical substance that is part of a  very sophisticated and elaborate constructed reality that will appeal to an audience that wants more than just the music.

I Belong to You 2



The CD case together with the accompanying book re-creates a personal diary & photo album of a young woman from the late 1930s-early 40s.

I Belong to You 3 TpBrdCaro Emerald plays out the role visually through photographs and short entries linking the songs to events in this fictional world, thereby extending the immersive experience of listening to the vocals performances. To complete the effect the CD is designed to resemble a record from the time period.

The Shocking Miss EmeraldIn closing, may I just say, Miss. Caro Emerald, if you see this, hope you enjoy the poppies and thanks to my wife, the copy of your CD is mine. 


Note : The official video for Caro Emerald’s song “That Man” uses the tropes 1960s cinema opening animated title sequences.  For a short analysis see – Implied Spaces: Running Between the Line


For more of my poppy images see – After the Petals – Antique Impressions