USA 1932

Right from its opening moments, White Zombie declares its intention to be
a different kind of film. It begins, not with the standard credits, but with a
scene; a native funeral, set at night and overlaid by chanting. Instantly, the
viewer is swept up into the mood of the piece. Arthur Martinelli’s
photography throughout is quite exceptional; this is one of the most
visually beautiful films of its time. Although White Zombie is not classically
Expressionistic, wonderful use is made of light and shadow, which adds
immeasurably to its atmosphere and its air of menace. The camera is also

White Zombie also differs from many contemporary productions in its
welcome determination to wring as much as possible out of its sets and its
special effects. This attitude gives us not just the shivery scenes of the
zombies emerging from the cemetery, or passing over the horizon at
twilight, but the glass matte shots of Legendre’s castle, and above all the
fabulous deep shot inside the hall of the castle, with the zombie Madeline
playing the piano at one end of the room, and Beaumont, sprawled in a
chair, listening to her, at the other – and all the details of the production
design around and in between.

The eyes were the worst. It was not my imagination. They were in truth like
the eyes of a dead man, not blind, but staring, unfocused, unseeing. The
whole face, for that matter, was bad enough. It was vacant, as if there was
nothing behind it. It seemed not only expressionless, but incapable of

The donkey’s tail is an experimental, abstract, free noise, improv, garage
ensemble using electric guitars, drums and percussion teamed with
trumpets, cello, triangle, squeaking dog toys and alike. The group is formed
in early 2007 by artist john Nixon as a recording project.

The ensemble for the concert is comprised of John Nixon, John
Bartley, Ljiljana Green, Danny Lacy, Warren Taylor, Sean Bailey, Francis
Plagne, Merryn Lloyd & Dylan Martorell.