Tag Archives: 60’s psychedelia

Doctor Who?

20 Jun

What we are dealing with here in this batch of clips, is not the  program “Doctor Who” itself, but with the various main title sequences that were produced for it since it was  launchec in 1963 and were always styled with spacey/psychedelic visuals… But the program also offers some far-out  ideas to fuel your imagination with (like time travel, communication with aliens, etc.)

Well, here are the opening titles from the original 1963 production, one version in black and white and one colorized version which looks even better:

And a web clip which compiles all the opening sequences from the show’s history, and provide different styles of sci-fi inspired animation:

I love to laugh – A high dinner

10 Jun

A very high dinner, from Mary Poppins (1964).

(Link: Galia. Thanks!)

Kaleidoscope-Colours

16 May

So many colors in this one, it makes you feel like you’re really out there. Mexican psych-rock from 1968 with some beautiful kaleidoscopic visions.

(Link: Shakti. Thanks!)

Jerry Abrams – Eyetoon (1968)

24 Jan

A classic of psychedelia. Jerry Abrams’s “Eyetoon” is an 8 minute short film, a kleidoscopic torrent of partly disturbing images, myterious shadows and “lysergic sex” made by one of the pioneers of the psychedelic film culture of the sixties.

The German voice which presents the clip in the beginning informs that “at the time, a critic called the film ‘a perfect synthesis of  metaphysical, spiritual and sexual feelings'”.

(Link: Rea. Thanks!)

Broadcast- Papercuts

22 Jan

I used to love this band so much! long stoned afternoons of a Jerusalem summer listening to Broadcast, but that hadn’t happened for a couple of years now. Sadly, I started looking for their videos only this week, when I heard about the untimely death of Trish Keenan, their lead singer.  The hypnotic object spinning in this video is a dream machine, that 7eit posted about here. So beautiful.

 

 

Yokoo

26 Oct


Oh, I just love the work of Japanese psychedelic pop artist/designer Tadanori Yokoo. It’s not really surprising to find out he also did some animation, but still, it made my day.

Earth, Wind & Fire, 1976

poster for the movie The Trip (1968)

Emerson, Lake & Palmer concert poster, 1972

Tripping with friends

18 Sep

“The camera won’t catch it” I told J. when we went on our last mushroom trip, overlooking the city from a near mountain. he said that whatever the camera can catch will be enough. It’s true, some home videos depicting people in trips can make one almost share their state of conciseness. maybe it’s because of the DIY feel, a slice of life that is less flamboyant but can be more convincing than any computer generated psychedelic visualization. So call some friends, film yourselves from the other side, just add a cheap effect and dreamy sound and spread your experience to millions of youtube viewers!

Ryan Larkin

31 Jul

Ryan Larkin (1943-2007) was a Canadian animator, who in 1969 was nominated for the Academy Award for is short psychedelic animation “Walking”. Three years later he released the acclaimed film “Street Music”,  again, a tripy colorful short film, hand drawn with no narrative, but with a  distinct and simple theme.

Soon after that, Larkin fell into severe drug abuse, alcoholism and homelessness. In 2002, another Canadian animator, Chris Landreth, Made this short film about him and won an Oscar for it.

Alice in Wonderland (1966)

24 Jul

In 1966, the height of the psychedelic revolution, this television-play was made by British theater director Jonathan Miller. There is nothing Disney-like in this film, no talking animals and no flamboyant settings. Still, it has a strong haunting atmosphere of a deep plunge into the unconscious of the Victorian mind. The soundtrack is by Ravi Shankar.

Follow the white rabbit!

2001: A Space Odyssey

4 Jul

This is just another classic of psychedelic visualization. And a gorgeous one it is!

The sequence within the movie is far too long to be reduced to a mere sign or reference to the psychedelic counter culture of the time (’68). It ripps right through the fabric of a reality of symbolic economies by showing itself immune to any reduction of meaning; it has to be watched.
After this sequence an orgy of symbolism takes place (in a baroque “life as dream” setting). But for the time of the flow of images even the anticipated junky for meaning will enjoy the spiritual peace of tripping.

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