The Grip of the Octopus: A Schematic Serial in Black and White

Proposal for a new project

Barnaby Dicker

In 1928, chief surrealist Andr Breton recalled seeing a film called The Grip of the
Octopus. No such film was ever made. It seems Breton was referring to The Trail of
the Octopus, a 1919 fifteen part cinema serial. The Grip of the Octopus: A Schematic Serial
in Black and White (re)imagines the nonexistent film recalled by Breton over fifteen
short episodes (c.2-3 minutes each) combining filmed storyboards, voiceover and
musical soundtrack.
The storyboards schematic, notational, sometimes semi-figurative (as above)
will be drawn in ink on large sheets of paper. Ink has been specifically chosen to
reflect the octopuss ability to discharge inks to escape predators, creating
obfuscating clouds or distracting decoys (pseudomorphs). The voiceover will be
presented as if an explication of the storyboards. However, just as the storyboards
challenge legibility, so will the narration challenge classical story logic. While the
episodes can be played back-to-back, they are purposefully designed to be played
separately or clustered: each episode is self-contained, while, obviously, working
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within the total framework of the project. Hence, the episodes could be presented
at any suitable location and time during the course of Fourth Wall.
In passing from the trail of an absent octopus, to being held in the grip of one at very close
quarters, hunter becomes prisoner. Bretons confusion of trail and grip allows the inky
pseudomorphs of the misunderstood octopus to permeate each scene, guiding the hand of the artist,
and clouding the agency of the fictional characters who oppose it. After fourteen cliffhangers, can the
serial find resolution?
The episodes will carry the same titles as the original Trail of the Octopus (they cannot
be bettered!): 1. The Devils Trade-Mark; 2. Purple Dagger; 3. Face to Face; 4. The
Hand of Wang; 5. The Eye of Satan; 6. Behind the Mask; 7. The Dance of Death;
8. Satans Soulmate; 9. The Chained Soul; 10. The Ape Man; 11. The Red Death;
12. The Poisoned Talon; 13. The Phantom Mandarin; 14. The House of Shadows;
15. The Yellow Octopus.

~
Barnaby Dicker is an artist-filmmaker, researcher, lecturer and curator. His
practice is generally aimed at dismantling meaning and notions of content, this is
achieved through attention to visual rhythm and, more often than not, a degree of
playfulness. His film Devolution (2008) a collaboration with Cardiff-based
composer Charlie Barber and other artists and filmed in tactileBOSCH was
screened at Bath Film Festival (2008), S n Festival, Cardiff (2008), Film House at
the National Library of Wales, Aberystwyth (2008), AVPhD, International Film
School, Newport (2008), Framework Social, Swansea (2008), West Dean College,
Chichester (2010). He is currently working with Barber on an Arts Council, Wales
funded cross-media tour combining music, dance and video entitled Michelangelo:
Drawing Blood that will premiere next Spring. He holds a doctorate in experimental
stop-frame cinematography and teaches on BA Film Production at University for
the Creative Arts, Farnham and at the Royal College of Art, London.
barnabydicker@yahoo.co.uk
07909626562

01792 449312

Devolution is available to view at:

http://www.youtube.com/watch?v=LgRyEgWr04k
Sound Affairs Michelangelo: Drawing Blood page:
http://www.soundaffairs.co.uk/#/michelangelo/4527655869
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