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H. R. Giger - 5 – Poltergeist II: Drawings 1983–1985

H. R. Giger - 5 – Poltergeist II: Drawings 1983–1985

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L'édition fac-similé des croquis visionnaires et des notes du maître surréaliste pour le film d'horreur Poltergeist II de Brian Gibson.

Grâce à son travail sur la créature iconique pour le film Alien de Ridley Scott (1979) – dont rend compte en détail l'ouvrage Alien Diaries (2013, Edition Patrick Frey) – H. R. Giger avait profondément marqué de son empreinte les genres de l'horreur surnaturelle et de la science-fiction à Hollywood. Giger a ensuite conçu tous les fantômes pour Poltergeist II: The Other Side (Brian Gibson, 1986). Contrairement à son travail sur Alien sur le plateau des studios de Shepperton en Angleterre, Giger a collaboré au film à distance depuis Zurich, en basant ses créatures sur le scénario de Michael Grais et Mark Victor et en envoyant ses dessins à l'aérographe à Los Angeles. En raison de son absence, de malentendus avec le réalisateur et le studio et d'un maigre budget de production, la sombre ambiguïté et l'étrangeté des esquisses initiales de Giger se sont perdues sur le celluloïd, pour donner lieu à des monstres de série B, loins des intentions de l'artiste. Dans certains cas, les croquis psychédéliques de Giger ont été conçus comme des séquences montrant la métamorphose d'un fantôme ressemblant à un ver en un nain grotesque qui finit par se transformer en un monstre dévoreur d'âme ressemblant à tête de gorgone appelé « La Grande Bête ». Poltergeist II – Drawings 1983-1985 est une édition en fac-similé du carnet de croquis original de Giger, contenant 135 de ses remarquables dessins ainsi que des ébauches de lettres exprimant des doutes et des suggestions au réalisateur Brian Gibson.

Plasticien, peintre, graphiste, illustrateur, sculpteur et designer surréaliste suisse, Hans Ruedi (Rudolf) Giger (1940-2014) est l'auteur d'une œuvre puissante aux multiples facettes, développé notamment dans le cadre de collaborations dans les domaines du cinéma, de la musique ou du design, qui a marqué son époque par une esthétique « biomécanique » fascinante et dérangeante peuplée de créatures fantasmagoriques fortement sexualisées.


Thanks to his work on the iconic creature for the film Alien (Ridley Scott, 1979)—a detailed account of which is given in his Alien Diaries (2013, first edition, Edition Patrick Frey)—H. R. Giger was firmly established in Hollywood’s supernatural horror and science fiction genres. Giger went on to design all the ghosts for Poltergeist II: The Other Side (Brian Gibson, 1986). Unlike his work on Alien on the set at Shepperton Studios in England, Giger collaborated on the movie remotely from Zürich, basing his creatures on Michael Grais and Mark Victor’s screenplay and airmailing the airbrushed designs to Los Angeles. Due to his absence as well as misunderstandings with the director and the studio and a meager production budget, the dark inscrutability and amorphous plasticity of Giger’s initial shape-shifting sketches ended up falling flat on celluloid, coming to resemble cheap-looking monsters in a campy B-movie. Giger’s in some cases psychedelic sketches were designed as sequences showing the metamorphosis of a worm-like ghost into a grotesque dwarf that ultimately morphs into a soul-devouring Gorgon-like monster called “The Great Beast”. Poltergeist II—Skizzen 1983–1985 is a facsimile edition of Giger’s original sketchbook, containing 135 of his remarkable drawings as well as drafts of letters expressing doubts and suggestions to director Brian Gibson.

Designer: Claudio Barandun
Hardcover
304 pages
17 x 24 cm
ISBN: 978-3-907236-20-8
English

© Edition Patrick Frey

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