The ‘?’ Motorist is a 1906 British short silent comedy film,commonly called “The Mad Motorist” or “Questionmark Motorist” and directed by Walter R. Booth. Released in October of 1906, the film features a couple on the run from the police. While running from the police, they end up driving over the policeman, who magically recovers seconds after and continues to run after the car. Soon the couple comes to a building and their car magically drives up the wall, evading the stunned policeman and leaving an amazed crowd behind. The car drives past stars on clouds, around the Moon, and around the rings of Saturn before crashing through the roof of Handover Courthouse. The car drives through the courthouse and outside once more, interrupting the hearing. Outside on the road, a policeman and court officials stop the car which suddenly turns into a horse and carriage. The couple drives off in the carriage victoriously having escaped a ticket. The trick film is “one of the last films that W.R. Booth made for the producer-inventor R.W. Paul,” and, according to Michael Brooke of BFI Screenonline, “looks forward to the more elaborate fantasies that Booth would make for Charles Urban between 1907 and 1911, as well as drawing on a wide range of the visual tricks that Booth had developed over the preceding half-decade.”
Booth later remade the film as The Automatic Motorist in 1911.
The film has also been compared to the work of Georges Méliès and “The Impossible Voyage.”
The Automatic Motorist
Walter R. Booth (1911)
A Trip to the Moon
Georges Méliès (1902)
A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. It’s considered one of the first science fiction film.
The Impossible Voyage
Georges Méliès (1904)
The Impossible Voyage (French: Voyage à travers l’impossible) is a 1904 French silent film directed by Georges Méliès. Based in part on Jules Verne’s play Journey Through the Impossible and modeled in style and format on Méliès’s earlier, highly successful A Trip to the Moon, the film is a satire of scientific exploration in which a group of geographers attempt a journey into the interior of the sun. Since the film is silent and has no intertitles, the proper names and quotations below are taken from the English-language description of the film published by Méliès in the catalog of the Star Film Company’s New York Branch.
In the video, you also get to experience the world premiere of an animation technique, which Hockney himself calls “time-based brush painting.”
David Hockney is a British painter, printmaker, photographer and stage designer, who is considered among the most influential and versatile British artists of the 20th century. Hockney is a notable contributor to the pop art movement in Britain, both in its foundation and growth, beginning with his participation in an annual exhibition called ‘Young Contemporaries’ in 1960, which also marked the start of his recognition in the art world. Hockney is the recipient of several prestigious awards including the Praemium Imperiale for Painting (1989), and the Lifetime of Artistic Excellence Award (Pratt Institute) in 2018. His work can be found in numerous collections worldwide, including National Gallery of Australia in Canberra, National Portrait Gallery and Tate Gallery in London, Museum of Modern Art and Metropolitan Museum of Art in New York, Centre Pompidou in Paris, De Young Museum in San Francisco, Louisiana Museum of Modern Art in Humlebæk, and Museum of Contemporary Art in Tokyo.
David Hockney was interviewed by Marc-Christoph Wagner at his home in France in March 2019.
Many thanks to David Hockney for providing the works and the animation shown in the video.
This early film by renowned animators the Quay Brothers is structured as a series of little lessons in perception, taught by a puppet simulacrum of Jan Svankmajer, whose head is an opened book, to a doll whose head the master empties of dross and refills with a similar open book. Each of the nine segments or chapters “refers variously to the importance of objects in Svankmajer’s work, their transformation and bizarre combination through specifically cinematic techniques, the extraordinary power of the camera to ‘make strange’, the influence of Surrealism on Svankmajer’s work, and the subversive and radical role of humor. Taken out of the context of the original Visions television documentary on Svankmajer, for which they served as illustration/commentary, these vignettes might at first sight seem a trifle bewildering. They ideally need to be viewed more than once before they begin to work effectively as quirky introductions to the Svankmajer universe. Then, however, they emerge as surprisingly charming and delightful excursions into this astonishing (and often deeply disturbing) directors work.” –Julian Petley