The Memory of The Netherlands is an extensive digital collection of illustrations, photographs, texts, film and audio fragments from a large variety of Dutch cultural institutions. There are about 50 collections (in english).
posted by peacay on Feb 19, 2006 - 7 comments

YELLOW PERIL
"Imagine a person, tall, lean and feline, high-shouldered, with a brow like Shakespeare and a face like Satan, a close-shaven skull, and long, magnetic eyes of the true cat-green. Invest him with all the cruel cunning of an entire Eastern race, accumulated in one giant intellect, with all the resources of science past and present, with all the resources, if you will, of a wealthy government--which, however, already has denied all knowledge of his existence. Imagine that awful being, and you have a mental picture of Dr. Fu-Manchu, the yellow peril incarnate in one man."
Sax Rohmer's tales of the sinister Dr. Fu Manchu and his arch enemy Sir Denis Nayland Smith of the British Secret Service (the nephew of Sherlock Holmes whose name is also invoked in Thomas Pynchon's Gravity's Rainbow), have fascinated readers and cinemagoers alike for the best part of the twentieth century. Two things make Fu Manchu all the more monstrous a villain: his proximity to the West, and his intellect. His base is in Limehouse, the Chinese area of London. So by allowing him to live in the country, England is vulnerable to his insidious plans (and so becomes a validation of strict immigration policy). His intellect comes from Western learning, and it is often emphasized that he has been educated in a University. So we see the evil Asian as using the West's own knowledge against it.
It is up to Nayland Smith and Dr. Petrie to stop Fu Manchu's plans in each story. As Smith remarks in The Hand of Fu Manchu, "the swamping of the white world by Yellow hordes may be the price of our failure." (more inside)
posted by matteo on Nov 10, 2004 - 16 comments

Discovering Japan. As a perennial outsider at loose in Japan, writer Donald Richie captures the joyous freedom of being foreign. The foreign observer is likely to be happy only if he sees his foreignness as an adventure, and recognizes that he has given up a sense of belonging for a sense of freedom, traded the luxury of being understood for that of being permanently interested. Richie, the philosopher-king of expats in Asia for the past half-century, arrived in Tokyo in 1947 as a typist with the U.S. government and never really left, writing dozens of books , on Japanese movies, temples, history and fashion, while enjoying himself as an actor, musician, filmmaker and painter. The Japan Journals: 1947-2004 is a monument to the pleasures of displacement. Richie watchers can observe, more intimately than ever, a man who is generally happiest observing. More inside.
posted by matteo on Nov 9, 2004 - 12 comments

Himmler's Crusade: The True Story of the 1938 Nazi Expedition to Tibet.
In 1935, the Reichsführer SS Heinrich Himmler founded an organisation called Ancestral Heritage , to uncover the hidden past of the Aryan race he and his Führer regarded as the noblest and most vital force in human history. One of the scientific missions Himmler sponsored was a multitasked expedition to Tibet under the leadership of ornithologist Ernst Schäfer, an expert on rare Tibetan birds who liked to smear the blood of exotic kills on his face. Schäfer recruited an anthropologist to measure noses and skulls and to make face-masks; a geographer who specialised in the earth's geomagnetism; and a botanist who was also handy with a film camera. They managed to con their way into Tibet, past the British. The expedition is at the basis of a masterful story by Jim Shepard, the author of Love and Hydrogen (full text). More inside.
posted by matteo on Oct 25, 2004 - 12 comments

Memories of a Dog . Moriyama Daido's pictures are taken in the streets of Japan's major cities. Made with a small, hand-held camera, they reveal the speed with which they were snapped. Often the frame is tilted vertiginously, the grain pronounced, and the contrast emphasized. Among his city images are those shot in underlit bars, strip clubs, on the streets or in alleyways, with the movement of the subject creating a blurred suggestion of a form (warning: NSFW images if you scroll down the page) rather than a distinct figure. His best known picture, Stray Dog, (1971) is taken on the run, in the midst of bustling street activity. It is an essential reflection of Moriyama's presence as an alert outsider in his own culture. Moriyama is also a toy-camera enthusiast (his favorite is the Polga) . He has worked in the US, too: "N.Y. 71". (more inside)
posted by matteo on Sep 27, 2004 - 6 comments