DC's

The blog of author Dennis Cooper

DC’s 15th annual Bûche de Noël Beauty Pageant

 

‘The earliest recipe of the Bûche de Noël shows up in Pierre Lacam’s 1898 Le memorial historique et géographique de la pâtisserie. The earliest mention however is a couple of years earlier in Alfred Suzanne’s 1894 La cuisine anglaise et la pâtisserie where he notes in passing that it is (was?) the specialty of a certain Ozanne, presumably his friend Achille Ozanne (1846-1898). Of course we have no idea of what this looked like. An article in the French newspaper Figaro adds an interesting tidbit (see Pierre Leonforte, “La bûche de Noël : une histoire en dents de scie,” Figaro, 17 December 2000): according to Stéphane Bonnat, of chocolatier Félix Bonnat her great grandfather’s recipe collection from 1884 contains a recipe for a roll cake make with chocolate ganache. Admittedly she makes no claim to this being the first bûche de Noël.

‘One of the famous stories about this French dessert is associated with Napoleon Bonaparte of France. He issued a proclamation, as per which, the people of Paris were ordered to close the chimneys of their houses, during winters. It was thought that entry of cold air into the houses was causing spread of illnesses and the proclamation was aimed at prevention of such diseases. It was during this time that Buche de Noel or yule log cake was invented in Paris. As use of hearths was prohibited, they needed some sort of traditional symbol that can be enjoyed with family and friends during the festive season that falls in winter. Thus, this cake became a symbolic substitution around which the family could gather for storytelling and other holiday activities.

‘It makes sense that the cake, like so many other Christmas traditions (think Santa, decorated Christmas trees, Christmas cards, etc) dates to the Victorian era, to a time of genteel, bourgeois domesticity. In France, in particular, a certain romantic image of peasant traditions had become part of the story the French told themselves about themselves and while the average Parisian bourgeois could hardly be expected to hoist logs into their 4th floor apartment, they could at least show solidarity for their country cousins by picking up a more manageable bûche at the local pâtisserie. That the result was a little kitsch fit the middle class sensibility too.’ — collaged

 

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This year’s candidates

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The trompe-l’œil (La Felicita)

This winter, La Felicità is tackling a legend: Parmigiano Reggiano, king of Italian cheeses and a star in all our kitchens. The result? A trompe-l’œil yule log that looks exactly like a wheel of 24-month aged Parmesan. Stamped rind, golden hue… it’s all there. Except, surprise: here, the Santa Parmigiano is completely sweet.

Conceived by pastry chef Thomas Zachariou, this decadent treat plays
with appearances: pecan joconde sponge, intense praline crunch, crispy pieces, and an ultra-light vanilla mousse. All encased in a
white chocolate shell that maintains the illusion until the very last second. A creation that pays homage to Italian craftsmanship in a sweet version, and that makes us raise our glasses (and our forks) to those who produce these exceptional cheeses we love so much.
So, is it cheese or dessert? Answer: It’s almost Christmas, it’s both.

€44 for a Yule log (serves 6-8) available for click & collect from mid-November at La Felicità

 

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L’Adage à la rose (Café de la Paix)

In a setting reminiscent of a stage set, snowflakes fall silently, and the curtain rises. On stage: two icons of French refinement. One has mastered the art of fine dining since 1862. The other, the art of the perfect step since 1947.

Together, Café de la Paix and Maison Repetto reinvent the Christmas ballet: a couture dessert, a tutu to savor, a Yule log like a curtsy. Grace graces the table, dressed in festive attire.

Conceived by Pastry Chef Simon Letaillieur, L’Adage à la rose (The Rose Adage) is inspired by the famous moment from the ballet Sleeping Beauty, where Princess Aurora, surrounded by her suitors, dances with a rose in her hands. This emblematic tutu, from the Maison Repetto archives, becomes a pastry costume, crafted like an ephemeral jewel. Tulle, pleats, silk? More like
sponge cake, mousse, and a crispy layer. But always the same balance, between lightness, precision, and magic.

Yule log for 6 to 8 people – €90 Available to order 48 hours in advance from December 8th to 25th, 2025

 

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Le Rêve de Casse (Maison Caffet)

Beneath a thin shell of 70% dark chocolate, sculpted like precious armor, lies an intense and silky mousse. At its heart, a compote of Morello cherries and Amarena cherries brings freshness and a subtle fruity acidity. The base combines a soft chocolate-buckwheat biscuit with roasted notes, a smooth and enveloping Bourbon vanilla cream, and a hazelnut-almond praline crunch for a final touch of indulgence.

This creation is available from €99.00

One size, serves 10 to 12 people.

 

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Voyage Extraordinaire (Jules Verne)

This year, Chef Frédéric Anton and Kévin Rabateaud (pastry chef at Jules Verne) are offering an elegant, bold, and poetic culinary experience for the holidays, reflecting the ambiance of their restaurant nestled on the second floor of the Eiffel Tower. Voyage Extraordinaire invites guests on a festive and sweet ascent, a suspended interlude between heaven and earth, in keeping with the refined style that characterizes this two-Michelin-starred establishment.

Beneath a delicate shell of lightly spiced, subtly sweetened white chocolate lies a rolled sponge cake soaked in a blood orange-scented syrup. It encases a creamy heart of vanilla-infused citrus and yuzu confit, offering a tangy and harmonious freshness.

Practical Information:
Yule log for 6 to 8 people.
Price: €150.
Available only on December 24th and 25th, 2025.
Collection on site (Eiffel Tower forecourt).
Sales begin November 25th.

 

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La Bûche Sucre d’Orge (Hotel Ritz)

With its red and white twists, this candy cane evokes the sweet treats hung on Christmas tree branches.

Both a nod to this charming tradition and a very contemporary creation, it consists of a Savoy sponge cake with roasted Papua New Guinea vanilla, enhanced by a creamy filling, a crunchy layer, and a mousse of Ugandan and Papua New Guinean vanillas. Its decoration, created using an infusion of vanilla-infused hibiscus flowers, reveals its delicately fruity notes.

And, to complete the magic of childhood, this exceptional Yule log, available in a limited edition of only fifty numbered pieces, comes in a toy chest containing an assortment of forty shortbread cookies, extending the enchantment of the holidays…

250 € (8 à 10 personnes)

 

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LE SAC À MAIN (Rouje x Angelina)

For Christmas 2025, the renowned Angelina tea room has a delightful surprise in store. Chef Christophe Appert has orchestrated a collection of Yule logs that blend tradition and daring, headlined by a handbag-shaped log born from the collaboration between Angelina and Rouje, the Parisian label by Jeanne Damas. This fashionable and indulgent creation is joined by three other equally enticing Yule logs, available in the brand’s tea rooms and boutiques, notably on Rue de Rivoli in the 1st arrondissement, Rue de Vaugirard in the 6th, and even at the Palace of Versailles.

The Angelina x Rouje collaboration has resulted in a stunning centerpiece: a Yule log that takes the form of Rouje’s iconic 90s handbag. This delectable trompe-l’œil combines a hazelnut crunch, a dark chocolate ganache, a caramel cream, and a flowing center, all enhanced by a mirror glaze. This couture creation, conceived as a fashionable accessory for the festive table, exudes a resolutely Parisian and modern character. Discover it for €95 for 8 people at the Maison’s various locations, from Rue du Bac in the 7th arrondissement to the salons at the Palace of Versailles in the Yvelines.

This perfectly balanced creation is available for 95 € for 8 people or €10.50 per person.

 

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La bûche de Noël du George V (Hotel George V)

The George V’s Yule log is among the most beautiful Christmas logs in Parisian luxury hotels. This exceptional creation by Chef Michael Bartocetti is sure to be a sensation on Christmas Eve tables, both for its beauty and its comforting flavors.

Draped in its immaculate white mantle, this 2025 Yule log is a true nod to the childhood of the pastry chef, originally from Lorraine. He used to gather these delicate Christmas roses, these winter flowers that brave the cold, in the forests of his native region. Conceived as a wood and floral sculpture, this creation, with its ivory tones and velvety, frosted texture, evokes the brilliance and purity of freshly fallen snow. A visual poetry that immediately transports you to the cozy atmosphere of the holiday season.

Upon tasting, the dessert reveals a symphony of textures and deliciously nostalgic aromas. Round and comforting notes that transport the palate on a journey of generosity and sweetness. Enveloped in a generous Madagascar vanilla Bavarian cream, the Yule log reveals at its heart a delicious vanilla crème brûlée, which the chef has playfully paired with hazelnut caramel and a caviar of Tahitian and Malagasy vanillas. This blend of vanillas brings rounded, floral, and deliciously indulgent flavors to the creation.

Available for pre-order from October 15th, it can be picked up from December 18th, 2025.

 

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CERTAINS L’AIMENT SHOW (Kimpton St Honoré)

For Christmas 2025, the Kimpton St Honoré Paris and its restaurant Montecito are offering a Yule log unlike any other in the Parisian scene. Forget the classic wooden logs: here, the focus is on a giant ice cream cone that’s a truly convincing illusion. This creation by pastry chef Alexis Beaufils plays with trompe-l’œil, with its pink icing reminiscent of the Californian ice creams of our childhood.

Located on Boulevard des Capucines in the 2nd arrondissement, the Montecito restaurant draws on the Californian roots of the Kimpton Hotels & Restaurants brand to create this quirky pastry called “Some Like It Show – A Winter Under the California Sun.” The concept? An “upside down” dessert that literally turns the waffle cone on its head, an invention popularized in the United States at the beginning of the 20th century. The aesthetic evokes Hollywood sets with its playful pink and decidedly pop style, bringing a touch of Californian sunshine to the heart of a Parisian winter.

DATES AND TIMES: December 10, 2025 to December 31, 2025
PRICES: 6/8 people: €100

 

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Noël en Alsace (Nina Métayer)

Nina Métayer’s 2025 creation is a Yule log shaped like a giant Christmas bauble. This exquisite piece evokes the moment when you choose the most beautiful ornament to decorate the tree. Beneath the hand-painted milk chocolate sphere lies a delicate entremets with flavors of citrus, gingerbread, honey, passion fruit, and cinnamon cloves. The combination of spices, honey, and citrus has won us over! And the delightful little bonus: the base contains 20 small Christmas chocolates and mendiants hidden under a breakable chocolate shell. Perfect for extending the fun with the family.

Limited edition signature Yule log: €150

 

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la Fleur de Vanille (Shangri-La Hotel)

For the 2025 holiday season, Timothy Lam, the new pastry chef at the Shangri-La Paris, presents his first Yule log, the Vanilla Flower, an exceptional creation offered in a limited edition from December 1st to 31st, 2025.

For his first holiday collection, Timothy Lam makes a stunning debut at the Shangri-La Paris with a sculptural creation: the Vanilla Flower Yule Log. Inspired by the Bauhinia—the iconic orchid flower of Hong Kong and symbol of the hotel’s eponymous restaurant—this exquisitely delicate piece embodies the subtle interplay between French elegance and Asian refinement that defines the Palace.

Here, there’s no ostentatious sugar… the Chef and his team focus on lightness. Immaculately white, the Yule log resembles a piece of pleated, lustrous silk, with an almost ethereal delicacy. Upon tasting, the vanilla reveals itself in all its nuances. The soft vanilla biscuit yields gently to the spoon, before the dulce de leche adds a warm, enveloping caress. The lightly toasted cream prolongs the sensation, becoming warmer, almost woody, immediately refreshed by the airy mousse—fine and melting. The vanilla crisp, meanwhile, crackles slightly under the tooth, awakening the whole with a textured note. And then there’s the white chocolate shell, so thin it breaks silently, allowing the vanilla to unfold until the very last bite.

€128 (serves 8)

 

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LA CLÉ DU 6E (Yann Le Douaron)

For his first creation at the hotel, pastry chef Yann Le Douaron has designed a Yule log as precious as it is evocative: La Clé du 6e, inspired by the actual key to the elevator leading to the former apartments of Madame Jeanne Augier, now the exceptional Jeanne and Paul Suite. “My intention is to tell the story, through this pastry creation, of a unique moment: the inauguration of a place that is emblematic of the Negresco,” explains Yann Le Douaron.

Beneath its sculptural lines, the Yule log reveals a golden chocolate key with subtle notes of orange blossom, pistachio, and mandarin. A composition that is both sensory and narrative, conceived as a bridge between indulgence and memory.

One size, serves 6-8 people, priced at €80.

From December 15th to 31st inclusive, by reservation only. Pick up at La Rotonde during the hours indicated on your order.

 

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Joyau des Pins (Le Peninsula Hotel)

Looking for the perfect Yule log to elevate your Christmas table? We’re unveiling Joyau des Pins, the Peninsula Paris’s 2025 Yule log, created by pastry chef Anne Coruble, and we’re absolutely smitten. This spectacular 13-layered log pays vibrant homage to the 13 traditional Christmas desserts, a beloved Provençal tradition dating back to the 17th century. Inspired by a pine cone gathered in the forest, it blends woody aromas with childhood memories for the holidays.

This original Yule log is as beautiful to behold as it is to savor. Anne Coruble, named Pastry Chef of the Year 2024 by La Liste, drew inspiration from nature for this creation. The pine cone evokes the early rituals leading up to Christmas Eve, childhood, and walks in the woods. As is often the case with Anne Coruble, we find this attention to the details of nature—foliage, winter light, bark—which become delectable creations.

PRICES for 6 people, orders placed at least 72 hours in advance: €105

 

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The Train of Wonders (Lenôtre)

The Train of Wonders, a limited-edition 2025 signature Yule log.

The centerpiece of our holiday collection, created by @etienneleroys, World Pastry Champion and Pastry Chef at Lenôtre, the Train of Wonders opens the way to a journey through the flavors of Christmas.

All aboard the Train of Wonders!

This delicious train ticket, coated in rich dark chocolate, hides a traditional almond praline beneath its shell.

Yule log serves 8 to 10 people.

 

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La bûche rouge Pantone 194 (Yazid Ichemrahen/Home)

The Yule log: “Pantone Red 194,” an XXL version of its captivating candied apple with Black Forest flavors… It is composed of a thin sweet pastry with Piedmont hazelnuts, a gluten-free brownie biscuit, and a hazelnut and fleur de sel crunch. At its heart, a cream with three vanillas (Indian, Tahitian, and Malagasy), a confit of tangy Morello cherries and Fabbri amarena cherries, as well as a 62% pure Venezuelan dark chocolate mousse.

 

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Café Kitsuné (Yann Brys)

The Yule Log: A nod to Café Kitsuné’s iconic takeaway tumblers—which we adore—starting at €45, the Yule log comes in two versions: white & dark chocolate, matcha & calamansi lemon, or chocolate-matcha, two inspired recipes created by a Meilleur Ouvrier de France (Best Craftsman of France).

Serves 6-8, €70 for a box of 6 Yule log mugs; €12 for an individual portion.

 

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Broche de gui (Park Hyatt Paris-Vendôme)

La bûche : « Broche de gui », de celle qui porte bonheur pour les fêtes ! Elle est composée de saveurs audacieuses mais toujours délicate, à l’image de sa créatrice : Compotée de kiwi, pomme verte et jeunes pousses de sapin, biscuit fondant au sapin, ganache vanille, mousse légère au génépi et croustillant aux pignons de pin. La pâtissière : Narae Kim

6-8 personnes, 130 €

 

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Stranger Things Edition (Bo&Mie)

The Yule Log: “Stranger Things Edition.” To celebrate season 5 of Stranger Things (releasing gradually between November 27, 2025, and January 1, 2026, on Netflix), Bo&Mie is releasing a giant Christmas tree inspired by the flavors of the famous German cake, a nod to Hawkins’ Mirkwood forest, which means Black Forest. The recipe consists of a vanilla stracciatella mousse, dark chocolate shavings, amarena cherry confit lightly drizzled with Kirsch, a creamy filling, and a soft dark chocolate sponge cake.

 

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Lumiere (Lutetia-Mandarin Oriental)

The Yule Log: “Lumière.” To celebrate the palace’s 115th anniversary, Nicolas Guercio, one of Paris’s most creative pastry chefs, has designed a Yule log inspired by the City of Lights… which illuminates thanks to a nightlight. It consists of a white chocolate dome adorned with copper-toned lithophane motifs of Paris. Surrounding it is a grapefruit biscuit, an infusion of organic black tea from Nepal, Tahitian vanilla mousse, and a citrus compote (candied grapefruit peel, bergamot confit, and vanilla-marinated Buddha’s hand).

Serves 8, €115

 

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Au Petit Matin (St. James Paris)

For the holiday season, the Saint James Paris has entrusted its pastry chef, Coline Doussin, with the creation of its Christmas log. Named “Au petit matin” (At Early Morning), this creation is inspired by the emotion of children waking up on December 25th: the excitement of rushing down the stairs to discover the presents under the tree.

The design of the Yule log echoes the grand, monumental staircase of the Saint James Paris, the true heart of the hotel. Coline Doussin, trained at Ferrandi Paris and with experience in prestigious establishments such as Maison Pic, Cheval Blanc Paris, and La Scène, translates this personal memory into a dessert that tells a story: that of morning joy, blended with indulgence and delicacy.

Priced at €110 for 6 to 8 people, the Yule log is available only on pre-order until December 20th, to be collected on December 23rd, 24th and 25th at the Saint James Paris.

 

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Casse-Noisette (l’hôtel SO/ Paris)

A Nutcracker Bûche de Noël, the SO/Paris way. 🎄 A couture creation where the Nutcracker takes center stage, paired with rich chocolate, black cherry confit, amarena cherries and vanilla chantilly on a sculpted, nut-studded chocolate base. A seasonal dessert you’ll only find at SO/ Paris. ✨🍫

Serves 8 persons, 95 €

 

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La Patinoire du Plaza Athénée (La Patinoire du Plaza Athénée)

As the holiday season approaches, the Hôtel Plaza Athénée unveils an exceptional sweet creation: “La Patinoire du Plaza Athénée” – a Christmas log with frosty and indulgent notes, inspired by the iconic ice rink that is set up each winter in the hotel’s Cour Jardin.

Conceived by the duo of Pastry Chefs Angelo Musa – Meilleur Ouvrier de France and World Pastry Champion – and Elisabeth Hot, “La Patinoire du Plaza Athénée” embodies all the poetry of this winter season through a delicate entremets, as graphic as it is dreamlike.

The immaculate appearance of a winter wonderland evokes freshly formed ice and invites you on a visual and gustatory journey. Delicate barriers of 70% dark chocolate encircle the scene, accompanied by finely sculpted fir trees and miniature skaters twirling on the surface, immersing this setting in the enchanting world of Christmas, to be admired before being savored.

Beneath this seasonal backdrop lies a perfectly balanced composition that plays on textures and contrasts: a pecan nut crunch provides a crisp base, enhanced by a soft biscuit and a flowing caramel made with heather honey from the Pyrénées-Atlantiques region. This honey, with its naturally fruity flavor of candied lemon cherries, lends the yule log a subtle and indulgent roundness. A few pieces of candied citrus and a delicately lemon-scented mousse add a touch of freshness, completing this festive creation with a delightful interplay of sweet and tart flavors.

 

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MALMÖ LETTRE AU PÈRE NOËL (Éclair de Génie)

Cette bûche raconte l’histoire d’une lettre parfumée à la framboise destinée au Père Noël. Elle associe un sablé breton, un biscuit pain de Gênes, un confit framboise, du litchi et une mousse litchi, le tout décoré de chocolat blanc. L’ensemble offre un dessert tendre, ludique et délicieusement fruité.

65 € (6 personnes)

 

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la collection Abysses (Pierre Hermé)

This year, Pierre Hermé takes us on a rather unexpected underwater journey for the holidays. The Parisian pastry chef was instantly captivated by the work of Courtney Mattison, an American ceramicist who sculpts immense coral reefs in porcelain. From this encounter was born the Abysses collection, where each Yule log and each chocolate evokes the curves and contours of the oceans. It’s a far cry from the traditional Christmas trees and reindeer, and frankly, it makes all the difference.

The dialogue between the two artists has given rise to creations that straddle the line between sculpture and pastry. The packaging plays on shades of blue and marine textures, while the pastries themselves seem to have emerged straight from the depths. An aesthetic approach that reminds us that the beauty of the oceans is as fragile as it is precious.

Let’s start with the absolute must-have: the Nérée Yule log, an exceptional piece priced at €430 for 12 people. It comes encased in a chocolate shell that replicates the rugged topography of reefs, filled with an Infinitely Hazelnut praline. Beneath this spectacular shell lies a dome of Pure Origin Belize dark chocolate, boldly combining nori seaweed and yuzu. The marine and smoky notes of the seaweed meet the freshness of the Japanese citrus fruit—it’s daring, and it works. Available by order only on December 23 and 24, 2025.

 

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Prestige Art Deco (Pierre Marcolini)

A Yule log called “Prestige Art Deco” weighing 5.55 kg. This is truly a decadent treat, perfect for sharing at parties with many guests. It features a giant Christmas bauble, which conceals smaller baubles inside, each designed to be shared. This exceptional piece is available by special order, with a two-day shelf life and a suggested retail price of €295.

 

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Feuille à Feuille (Hotel Burgundy)

Léandre Vivier’s “Feuille à Feuille” Yule log celebrates the art of composition, volume, and graphic design. Each layer transforms into a page of flavors, a unique texture, crafted with the meticulousness that defines his work, combining masterful piping with geometric precision.

In terms of flavor, this creation draws its inspiration from Léandre Vivier’s recent journey through the cocoa plantations of Belize. This experience sparked the desire to elevate Tulakalum 75% chocolate, here transformed into a milky jam enhanced with a hint of smoky vanilla for a striking depth.

Around this intensely flavorful center, textures unfold like chapters in a gourmet epic: a crunchy macadamia nut base with buttery undertones, a melt-in-your-mouth vanilla biscuit, a silky praline… The whole is enhanced by a light Tahitian vanilla mousse, punctuated with roasted soy pieces that add a toasted and subtly salty dimension.

As a finishing touch, refined caramel glazes crown this indulgent creation, magnified by delicate touches of gold.

This Yule log, serving 6-8 people, is available for €105 and can be ordered via click & collect from Monday, December 17, 2025, to January 1, with orders placed 48 hours in advance and collection directly from the hotel reception.

 

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la Télécabine de Rochebrune (Four Seasons Hotel Megève)

Inspired by the famous Rochebrune cable car, this Christmas log takes on a local flavor, immediately evoking the authenticity and charm of the village of Megève. Every detail has been carefully considered to faithfully recreate this icon, while incorporating flavors that recall the magic of winter in the mountains. As visually stunning as it is delicious, this sweet treat has been created gluten-free to delight all palates and offer a taste experience accessible to everyone.

The secret to this creation lies in a perfect harmony of textures and flavors, composed of several delicate and expertly orchestrated layers. The Savoy walnut crisp, sourced from the Clos des Franquettes vineyard, offers a crunchy and indulgent texture, the perfect introduction to this flavorful journey. To enhance the crispness, the smooth Savoy walnut cream unfolds its full richness and depth, enveloping the palate in its sweetness.

At the heart of this Yule log, a light vanilla mousse, crafted from a subtle blend of Tahaa (Tahiti) and Bourbon (Madagascar) vanillas, lends an exotic and floral note, enhanced by a vanilla jelly refreshed with yuzu. Slightly acidic, this jelly balances the flavors and adds a touch of freshness to every bite.

The grand finale is revealed with the base upon which the cable car sits, a surprising and indulgent treasure: a melting Savoy walnut praline hidden within a bar of caramelized blond chocolate. This comforting delight pairs perfectly with hot beverages, creating a true Proustian madeleine.

The Yule log will be available for purchase at the Four Seasons Hotel Megève from December 20th to December 31st.

Serves 8 to 10 people, priced at €149.

 

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BLVCK NOËL (BLVCK PARIS)

This fashionable and stylish Buche de Noel perfectly captures the world of jet black. The soft, fluffy cocoa dough is infused with the gentle sweetness of honey, creating a fragrant aroma and elegant aftertaste that spreads in the mouth upon sipping.

The dough is then enveloped in a generous amount of rich chocolate cream. The bitter aroma of cocoa fills the mouth, creating a truly satisfying feeling. Furthermore, dark chocolate chips are hidden in the center, adding a crisp texture and rich flavor to each bite.

The edible bamboo charcoal exterior features a simple and sophisticated all-black finish. Stripped of unnecessary decoration, the fashionable design exudes a sophisticated atmosphere, making it almost a work of art. The contrast that appears the moment you cut it adds a surprising and impressive visual impact.

Edible bamboo charcoal is activated charcoal, which is different from the charcoal used as fuel. Edible activated charcoal is a black powder, tasteless and odorless, so it does not affect the taste of food.

Size: Width 18* Length 8* Height 9cm

 

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La Malle Impériale (Mandarin Oriental)

Julien Dugourd wanted the 2025 Yule log to remain aesthetically pleasing throughout the dinner and not end up in pieces in the middle of the table. To achieve this, he envisioned an edible protective case, and the idea of ​​the Imperial Trunk came to him. Guests can then hide their partially eaten log inside this splendid case, reminiscent of Asian furniture made from Zitan wood.

The Yule log itself is composed of a crispy feuilletine base, a chocolate cream, a soft chocolate sponge cake, enhanced with a passion fruit coulis infused with jasmine and an exotic jasmine cream. All of this is encased in a rich Guanaja 70% chocolate mousse, made from a blend of cocoas from Trinidad, the Dominican Republic, Jamaica, Ghana, Ivory Coast, and Madagascar.

The soft texture of the Yule log is balanced with the crispy base to create a light and indulgent flavor. The passion fruit coulis infused with jasmine adds a refreshing touch, perfect for finishing off a lavish Christmas meal. The trunk itself, sculpted from 70% chocolate and assembled by Julien Dugourd, is the result of meticulous handcrafting. The Imperial Trunk serves 6 to 8 people and costs €140. It is available to order from December 21st to 26th, 2024.

 

 

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p.s. Hey. ** Steeqhen, Thanks. Yeah, let your body take priority until it’s cooperative again and I guess eke out and ease in what your brain can handle for the duration. ** Charalampos, Yep, ‘Mezzanine’s’ a keeper. Paris waves back. ** _Black_Acrylic, Albeit based on no direct evidence, I think the influence on Lynch in that regard seems pretty clear. ** Bill, You are lucky. Yes, I love his mandalas too, and I almost sprung for one back when they were almost affordable. Regret I didn’t, obvs. I do know he was in that band, but I don’t believe I’ve ever heard them. What a slightly off-putting name. I do know Thomas Ha’s stuff but only bits and pieces, but I did quite like it, I remember. I’ll try to go further when I’m in the States and his things are more gettable. Thanks, Bill. ** Jack Skelley, Oops, but, yes, the blog and its mysterious ways. Thanks for sponging. It is pretty exciting and there’s enough to spare. You probably saw that pic that’s floating around online at the moment of a very young Spader hanging with a slightly less young JFK Jr. at some event that was cool swanky at the time. Catch you in a bit, Towering Inferno. xo, Dennis with a D. ** Laura, Hi. Is that what the name brings to mind? I think I think 50s movie star dude. I was probably too stoned to put my foot down, or I did and didn’t even realise it. Pulcher, that’s nice. Someone current should use it. We still have visionary, serious, wild films being made, it’s just that it’s really hard to find out about them unless you’re a detective of that sort of thing like I am. And there’s fiction in that realm being written and even published too, and it’s less hard to find. It’s just that there’s enough of it that it can be hard to know where to start. But my blog is trying to be on the job. Wow: that paragraph starting with ‘shrug’. Nice. Nah, you won’t get fatwa’d. Fiction isn’t anywhere important enough to the world to make that happen. But you getting published? My guess is yes. I procrastinate about editing too. But it never lasts. Today? Lots to do to get ready for the upcoming travels. Day off from the hosted screenings, which is nice. Just lots of preparation work and emailing and that sort of thing, I suspect. I’m very buoyed by the great reviews, yes. We went through a lengthy hell to make the film, and being rewarded after all of that is such a joy and relief. What/how was your day? ** Carsten, I’ve certainly never had a good experience with insurance people, so yes. The estate was friendly, they were just trying to institute Conner’s wishes or what they believed would have been Conner’s wishes or something. Anyway, they seemed to have lost control and given up. Oh, shit, then I think I’ve never watched a Carlos Saura film. Not always, but when the French are appreciative towards one, it weirdly seems to mean the most, at least to Francophile me. ** jay, Hi, jay! Awesome about your week. Yeah, it’s interesting that when things are going really well, there can be so little to tell or at least conducive to explaining. Which seems like yet another sign of its goodness. Phew, about the job. I didn’t realise it was tentative. Great. You’re excited to start? ‘Nier: Replicant’: I’ll see what that is. Sounds plenty fun enough. Enjoy, pal. I’m good, and you obviously are. Yay. ** HaRpEr //, I suspect the estate realised it was a losing battle more than anything. Oh, yeah, ‘Pornografia’ is great. I did a spotlight post about it last year. Here. ‘Cosmos’ is very good too. And his diaries are really catty and entertaining. Nice about the beret cure. I wish I could wear hats, but my head is too big, and a hat makes me look like a clown. ** Steve, Thanks about the reviews. Yeah, we’re blown away. We head to the States on Sunday. That is interesting about your friend’s dad. Are there clips of him performing? I take Melatonin every night, and it doesn’t feel like it’s addictive, but I’ve never dared to stop or considered stopping since it seems to work and feels like nothing. ** Uday, Indeed. I actually wrote an article/interview about/with Sonny Bono during that phase of his career. What a smarmy guy. Somewhere there might be a reel to reel recording of one of my band’s rehearsals, but I have idea where it is, and I suspect the tape has crumbled to dust by now. People said I had a pretty voice. I doubt it still is, if so. Hm, maybe I’ll swig some grapefruit juice to wash down my melatonin tonight and find out. Dare I? ** Okay. Today you get my annual beauty pageant featuring what I guess to be the most craveable and imaginatively deigned buches de Noel concocted by French patisseries and hotels this year. I will end up buying one at least, possibly two before Xmas arrives, and I have yet to decide which one. Maybe you have suggestions? See you tomorrow.

Bruce Conner’s Day

 

‘Bruce Conner (1933–2008) was a film artist who changed the game with his first movie, titled A Movie (1958). Every image in this 12-minute assemblage, except the title card (“A Movie by Bruce Conner”) is secondhand—drawn from newsreels, travelogues, stag films, and academy leaders. Premiered at a San Francisco gallery as part of the sculptor’s first one-man show, Conner’s Movie was a true film object—as well as a self-reflexive exercise in academic montage, a joke on the power of background music (in this case, Respighi’s sprightly “Pines of Rome”), a high-concept/low-rent disaster film and a pop art masterpiece.

A Movie is canonical, and the rest of Conner’s oeuvre holds up as well. The five-minute Cosmic Ray (1961), a frantic found-footage-plus-gyrating-naked-chick montage set to Ray Charles’s “What’d I Say,” was the original underground blockbuster—an anticipation of the MTV aesthetic that established Conner as the poet of sexual frenzy. There’s: Vivian (1964), a kinetic portrait set to Conway Twitty’s “Mona Lisa”; the go-go structural striptease Breakaway (1965), with dancer Toni Basil; and a hypnotic exercise in recycling recycled footage, Marilyn Times Five (1968–73), with Marilyn Monroe. Conner’s other name stars included JFK, the subject of Report (1963–67), and the Atomic Bomb, as featured in his longest and most majestic film, the 36-minute Crossroads (1976).

‘Having more or less invented the music video, Conner produced some stellar examples, fashioning short collage films around Devo’s Mongoloid (1978) and two David Byrne–Brian Eno compositions, Mea Culpa (1981) and America Is Waiting (1981); he also edited found footage to more lyrical ends, notably in 5:10 to Dreamland (1976) and Valse Triste (1978). In the latter, images evocative of Conner’s Kansas boyhood are sepia-tinted, linked within a series of slow dissolves and, mixed with ghostly bird calls and rumbling thunder, set to the theme from the radio show I Love a Mystery. The powerful sense of imminence evokes both a fading personal memory and an entire world on the brink of obliteration.

‘Conner made several (relatively) conventional documentaries—The White Rose (1967), on painter Jay De Feo’s legendary canvas, and His Eye Is on the Sparrow (2006), interviewing two veteran gospel performers—as well as a few ecstatic hippie home movies. The lush, joyously pixilated Looking for Mushrooms (1959–1967) is often seen in its 1996 version, which substitutes a spacey Terry Riley composition for the Beatles’ avant-pop “Tomorrow Never Knows.” Also scored by Riley (but performed by the Shanghai Film Orchestra), Conner’s final film, Easter Morning (2008), digitalizes 1966 8mm footage to marvelous effect. Close-ups of flowers and foliage, burning candles, a nude, the San Francisco skyline are transformed into grainy rhythmic smears of reflected and refracted light. Trippy as it is, Conner’s last movie has the same subject as his first—the phenomenon of motion pictures.’ — J. Hoberman

 

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Stills



















































 

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Further

Bruce Conner @ IMDb
Countercultural Icon and “Father of the Music Video” Bruce Conner Gets His Due
Bruce Conner @ Kohn Gallery
Bruce Conner: The Art of Montage
BRUCE CONNER: FOREVER AND EVER
Book: ‘Bruce Conner: It’s All True’
No Truth: Bruce Conner
The Creepy World of Bruce Conner
Book: ‘Looking for Bruce Conner’
PLEASE ENJOY AND RETURN: BRUCE CONNER FILMS FROM THE SIXTIES
SHINE A LIGHT: THE ART OF BRUCE CONNER
Book: ‘Bruce Conner: The Afternoon Interviews’
Fallout – Some Notes on the Films of Bruce Conner
Apocalypse Now: MoMA’s Bruce Conner Show Is Mind-Blowingly Good
Oral history interview with Bruce Conner, 1974 August 12
L’art bâtard de Bruce Conner : de l’assemblage au cinéma de démontage
Bruce Conner, the Last Magician of the 20th Century
Bruce Conner’s “Out of Body”
“Worthwhile Insanity”: An Interview with Bruce Conner
Exploded View: Bruce Conner’s Crossroads
Meet Bruce Conner, Film-Maker
End Notes: Bruce Conner, 1933-2008
An Artist Who Possessed a Third Eye
The Legacy of Bruce Conner
Keeping Up with Conner
Rat Bastard: On Bruce Conner
Bruce Conner’s Crusade of Reinvention
BRUCE CONNER: THE ARTIST WHO SHAPED OUR WORLD
The convulsive lyricism of Bruce Conner

 

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Extras


BRUCE CONNER: IT’S ALL TRUE, a symposium


Bruce Conner. Es todo cierto

 

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Interview
from Reversal

 

Kayhan Ghodsi: What is the American “New Wave” in film? Do you think it really exists, or has it always been a myth? If it does exist, what distinguished it from other movements and schools in the history of filmmaking?

Bruce Conner: [Laughs] Well, you already said it all. What else can I say? People have been talking about “American New Wave,” patterning that phrase I assume after the French New Wave. And it was a popular phrase to use. I don’t know exactly what it means, where it applies to something in the last ten years, or before that. There seems to be a political thing that happened particularly in the sixties which was the New York Film Co-Op and Film Culture magazine. And very little of what was going on outside of New York was reflected there. My experience and the information I gathered from other people was that Film Culture magazine many times reflected more on who were the social lions of the New York film scene or who was a close friend of someone who was within this structure, this hierarchy, who had more or less self-appointed themselves as the spokesmen for filmmaking. I know, from my witnessing of Andy Warhol’s work in the art galleries and how he managed to manipulate the political structures and exploit concepts that had been around for some time. His way of advertising himself, since he did come out of the advertising business. I made a prediction to myself and a couple of friends that in a very short time he would probably dominate and take over the whole thing. Which he did in a certain respect. But New Wave at this time, I can’t even think that there’s anything called New Wave.

KG: OK, but at some point you were talking about the self-appointed new filmmakers. What was new about their work?

BC: On the large part I don’t think anything was really new. It’s just that a number of people were developing personal filmmaking in the United States. As opposed to, say, what was happening in the 1940s and 1950s, where you could really count on the fingers of two hands ten people who were acting out seriously the role of a personal film artist—dealing with images or symbols or filmic structures [that] were mostly personal or of a personal point of view. I think that what happened was, in any kind of situation where there’s a social phenomenon that might reflect economic or social power, there are always those individuals who will come in and pull it together and form it into a structure. It’s usually a structure, which reflects itself rather than the individuals. Because inevitably it becomes a power structure, political structure, economic structure, a self-protection structure. I think that kind of situation has gone on through the years. What happened in the 1970s was that this direction became even more solidified and academicized. The schools and colleges started taking over the turning it into an industry to placate and satisfy the fantasies of students who wanted to play at being movie-makers. They monopolized all of the funding through federal organizations and film societies and festivals. It became a monolith, and it was no fun anymore.

KG: So you don’t call it “new.” You don’t see anything different. But at one time it was different from other films. What was the difference?

BC: I’m talking about the artistry of filmmaking of the films I value myself. The economic level of the people who had interest in movies rose to the point where they could invest their time and money into what was basically a rich man’s art form. That, I think, was the basic change. You had more people with the opportunity and freedom to work and ignore the economic restrictions that are put onto moneymaking movies.

KG: OK, that’s the filmmaking side. What’s on the screen? What is different? Is it form or is it content? That’s what I want to know.

BC: Well, you can always see different form and content there because you have a multitude of different points of view. But if you are asking me if there is a form, a content, I don’t see that there is. I don’t see something that you can say is an overview.

KG: So what was the difference? Just the filmmaker? For an example: You and I don’t have billions of dollars we can go and buy a studio with. But suddenly because of the economic situation we are able to go and make these 24-frames-per-second things. What about these things that people made? What was different about them? I mean, was it like resentment of a kind of content? Or was it no-content film, or just a change of form?

BC: Well, I think you are asking me for an historical overview.

KG: I only want to know your point of view.

BC: I initially saw a world of “look-seeing” films, which would expand and change in a multitude of dimensions. Way out of format in the lengths of the films, the kind of images that would be presented, the character of the viewing place—films that could be used in unique situations. Films that became events in themselves, that were no longer a part of what you’d say was a continuing history of theatrical films and proscenium art. I was hoping and dreaming of a situation [that] would revolutionize the whole way that people would see movies and how they would relate to them. The enormous variety of points of view is vastly entertaining and [an] illuminating process. For me, I always thought of it as a big celebration that would change many things. The big celebration was gathering all these people together, but now it appears that everything is moving off into individual, isolated pockets of people making movies. They don’t communicate with each other. They become economically involved in producing sponsored films and other things. It became like an institutional national park financed by the government. Scholarly study [that] is rammed down people’s throats.

KG: It was your dream to see it as a celebration. Do you feel it didn’t happen like this? Like it was a huge, nice-looking castle that, after it was built, no one wanted to live in it anymore?

BC: Well, I don’t know if it ever got built that way. As all of these people were gathering together, I was seeing people who I felt were intent on revolutionizing the way people see, changing the way that people relate to each other—in other words, becoming a radical point of view and/or a revolutionary point of view. At the base was a fundamental, radical alteration of the economic and social character of the United States!

KG: Another historical question: Which group of people started, let’s keep calling it New Wave, in the Bay Area? What do you think they brought to the audience when they asked people to stop watching Hollywood films and come to their little movie theaters and watch their 16mm films? What did they bring to the audience?

BC: Well, first of all, I don’t think there are too many people who would say, “Stop going to the movies.”

KG: Well, not stop. What I mean is they brought something new and said, “Come and watch.”

BC: I can just think of the people I knew, that were so involved in images that had grown out of their personal experience. Whether they were people who previously had worked in poetry, painting, theatre, whatever, they started to find that working in film created possibilities of images and changes that did not exist before.

KG: Was it only form-wise?

BC: When I came out here in the 1950s, James Broughton had sort of stopped making movies. So had Sidney Peterson and a number of other people who had shown at the San Francisco Museum of Art. I think the 1950s had more or less hit a level where there were not a lot of films being produced. It was mostly because of a series of programs that had shown at the Museum of Modern Art. This was the first time anyone had put on a series of films like the Cinematheque, a survey of surrealist and independent films in the United States that caused a resurgence of filmmaking. James Broughton and the Whitney brothers and other people were a part of that. When I first came to San Francisco, that didn’t exist. There wasn’t a single film society in the whole of the Bay Area. Nobody was showing event silent movies, except that the San Francisco Museum was still showing some of the standard museum-of-modern-art movies once a month with an audience of four or five people. I had already started a group at the University of Colorado called the Experimental Cinema Group in 1957, which had like four hundred members. We showed [Stan] Brakhage’s films, Kenneth Anger’s films, Buster Keaton, Olympiad, Blood of the Beast. All kinds of films that I was fascinated to see, and the only way to see these movies in San Francisco was to start a film society. It was called Camera Obscura, and it was the only film society in the area. I was totally obsessed with movies at that time. We were able to put together film programs and also gather people from this area that we knew of. Now, at that time you could still say there were only seven or eight people you could consider to be someone worth putting on a show in this area. That was Larry Jordan, James Broughton, Jordan Belson, and a guy [Christopher Maclaine] who did a movie called The End. I had not made my first movie yet. But I started working on the concept of my first movie, A MOVIE. I lived here until 1961-62, and anyone who was doing film at that time I knew. That was the middle of the beatnik era. There wasn’t much filmmaking going on. It was mostly poetry and jazz. It had a lot to do with drugs, and a lifestyle [that] was totally different from the mainstream. At that time, a lifestyle even slightly different than the mainstream put you into a category of eccentric. And generally that category was either you were queer, you were crazy, or you were a communist.

When I moved back in ’65, I discovered Bruce Baillie and some other people were making films. Then the Canyon Cinema organization came up in the ’60s as a cooperative venture, where many people were working to gather all these films together in an uncritical structure; any film that came in could be distributed. In the later 1960s there were a lot of new and interesting things coming together, and there was lots of communication between people on the East Coast and the West Coast. The phenomenon [that] was happening with the new psychedelic community was in a way comparable to the phenomenon that happened ten years before with the beat. It became notorious, a national phenomenon, and it happened in San Francisco and grew out of a natural community of artists and individuals who were involved in many different ways of expanding the way you view the world, your consciousness, and how you might be able to alter the world around you. Canyon Cinema programs were happening every week, and many times it would be jam-packed to the rafters. Then, sometime in the 1970s, when more and more people were producing movies, it seemed like there were fewer and fewer individuals there. I would witness a film festival put on by the San Francisco Museum of Modern Art. They would put together a jury of people who were uneducated in filmmaking and they would throw out the films of James Broughton, of Robert Nelson, and they would give first prize to someone who had taken a little bit of James Broughton, of Robert Nelson, a little bit of Bruce Conner, and a little of bit of someone else and packed it all into one movie and knocked over this naive audience, who had put itself in charge of promoting independent filmmaking. Homogenizing, not a commercial product that was part of a new industry of grantsmenships and teaching. And many of these people who were so adventurous before became entrenched in that and became the academy.

KG: Let’s stop with the history. What is the position of the artist? What is his function? What is his impact today?

BC: It’s hard for me to judge that, not only in filmmaking but in general. The role of the artist has been homogenized and mixed up with handicrafts and the concept that everyone is an artist. Like the San Francisco Museum of Modern Art could care less really what they put into their museum. They have to change the show once every month or every two months just like Macy’s does. To bring in the crowds. I think the artist has become more of a commodity than ever before. I also feel that the environment that the artist is in, whether it be filmmaking or otherwise, their potentials are blunted by the very organizations they depend on!

My general position as an artist today is just not take part in a lot of it. I do not see anything new at this time. I am seeing what I see as overall patterns that I have seen repeated over my lifetime. And of course one of the basic patterns is the structure that you find politically and economically in the arts and any other kind of structure—of a burgeoning growth and then a kind of frozen solidification. Most people when they grow old become that way. They build a case around them and they can’t think of anything except what’s in the past. Most of my battle in recent years is to get out of the past. To not talk about it like I am now.

KG: That’s exactly what I wanted to talk about with this question: What is the impact and the function of artists living in this society right now?

BC: All I can say is that it is defined by each person. They define it themselves for themselves. I can’t say what the role of the artist in this society is. I think that as soon as I start defining things like that I’m going to be faced with myself rejecting that and not respecting it myself. Every time anybody, including myself, makes a definition like that I mistrust it. Because all it does is limit you. Art is one of those three-letter words that we have in English that like other three-letter words causes a great deal of misunderstanding and emotional involvement. Art, God, and sex. It’s sort of like an institutional national park.

KG: You have to admit that there is something different with this three-letter word.

BC: One of the things that I found is that there is a very structured and formalized national park system. You are allowed to be involved with whatever that concept of God is, and it’s part of the social structure, and the same thing with art. If it’s in this package and doesn’t hurt anything, doesn’t really change anything, then it’s called art.

KG: And if it does?

BC: And if it does then it’s insurrection and acts against the values that are in the society and it becomes defined otherwise.

BC: My concept initially was that I wanted to change the way people saw things, because I felt that I saw the world totally differently. That most people I knew were bullied and badgered into not acknowledging what it was that they saw, and the real things happening in front of them. They could just as well be blind, because by not acknowledging it, it didn’t exist.

KG: So you saw it as one of your functions to show them that?

BC: Well, one of my functions, if I was going to call myself an artist, was to try to alter or change the whole concept of what this art structure was—to subvert and alter the art museum and the concept by which art becomes an economic commodity. I kept on trying to push that environment out of the museum, out of the frame. I’ve discovered that I’ve not really changed that structure, and that that structure is now even stronger than it was before. Now, there is basically a corporate structure that has a great deal of influence on the shape of these arts organizations. If anything has any value as a work of art it should not make any difference whose name or ego is on it. My feeling was that if this thing that you make is so much a part of yourself, it should easily be recognizable without you turning it into a billboard.

KG: So do you mean that your next film is not going to have your name at the end of it?

BC: Oh, no; it’s all over the place now. In 1963-64, when I had an exhibition at the University of Chicago, I was taking down the show, packing it up to take back to Massachusetts, when a couple was just coming in to see my show because a friend of theirs was named Bruce Conner. And after I got back to Massachusetts, I got a news clipping from somebody in Lincoln, Nebraska, about somebody named Bruce Conner. So I decided that there were a lot of me all over the world! I went to the public library in Boston, looking through all the telephone directories for every state in the Union, looking up Bruce Conner. And I gathered at least a dozen of them before I stopped. My plan was to have a convention! And everyone would have name tags saying, “Hello, my name is Bruce Conner.” There would be a program of events: welcome to the delegates would be presented by Bruce Conner, who would then introduce the master of ceremonies, Bruce Conner, who would then introduce the main speaker, Bruce Conner!

But I still think it’s ludicrous. Ludicrous that some object that I have made has some value just because of some economic foolishness in the art world. So this movie, yes, my name will be on it.

KG: Where does the audience stand right now? Is the filmmaker responsible to the audience?

BC: Only if the audience makes him responsible. Or if the filmmaker thinks he’s responsible to the audience. They create their own images of each other, and the responsibilities that they expect from each other are whatever they created. It’s just as much a fantasy as the images that are real or unreal, that you identify on a movie screen. These are roles that keep fluctuating and changing all the time. I always see it as the audience and the filmmaker being balanced. One of them fills ups with a little more hot air than the other one, so they look bigger. But neither of them can exist without the other. The situation of putting them in the darkened auditorium, where you are basically sensorially deprived of sounds and images, and sitting and looking in one direction is such a great monopoly on people’s minds and bodies that it’s a unique way of dealing with an artist’s artistic audience.

KG: That’s exactly why I asked you this question. Because when people decide to be your audience, they decide to give you this monopoly. They decide to come and sit in the darkness and let you do something to them. Doesn’t that make the filmmaker responsible?

BC: If you have such a moral point of view and such a conscience, yes. I don’t feel that many of the situations where films are shown today show that conscience of that value.

KG: Well, I remember the night you had your show at the Castro. The last thing you said, which was about your film CROSSROADS, was that if you (the audience) don’t like this movie, if you get bored or whatever, please leave quietly. And you were saying that to someone like myself who came some distance, had to spend 45 minutes finding a parking place, had to spend $3.00, which is like a half hour of work somewhere, and had to sit and hear you tell me that if I get bored I should leave quietly. What is the relationship between the filmmaker and the audience?

BC: I think what I was saying was, “Don’t feel compelled to torture yourself by watching something you don’t want to watch.”

KG: Well, that people know already. But in a way, you were asking people to leave quietly and not stand up and protest or something. How is it that you ask some people to come spend time, money, and effort to see your work, and then you treat them like that?

BC: I think that it’s my attitude toward filmmaking. I feel that going to movies is just not that important. If you feel it’s so important, and you dedicate yourself so much to doing that, if you can’t just walk out of it like that, then I think you have a real problem.

KG: I’m asking this question to the filmmaker, and you’re answering me as the audience.

BC: No. But I can’t remember what I said. You tell me what you saw as an audience. What you said doesn’t seem to me what I remember my intent was or how I said it. And I can’t say exactly what I did say.

KG: I want to know what you think of the audience. What’s your attitude? Who do you think the audience is?

BC: I can never separate the audience from the film. The process is that I’m the audience all the time, and that I am involving other people into it. And part of the reason I’m involving other people into it is because this process I’m discovering is enhanced and develops itself into another dimension because people start telling me what I did. It’s certainly not like the movie makers who must preview their films and figure out where the big laugh is going to come, and then keep packaging it down so that you can expect the same laugh throughout the movie.

KG: Well, that’s their method of dealing with the audience. But when the new filmmaker decided he wanted to destroy that structure, he started disregarding the audience, too. It’s like you don’t want to make them laugh to sell more popcorn, so you just forget about them altogether.

BC: Well, you know what happened with the Cinematheque. It got to the place where somebody was running the films and almost having a private party, and speaking of it as, “I’m the curator,” and presenting things that are so serious and outside the experience of other people that they have to be subsidized as endangered species. I’m not quite sure what people are doing to their audience. The type of movies that are shown in those contexts have destroyed the audience. The people who presented the films and movies are not presenting them for an audience that is going to come time after time to see what’s happening, because they are abused and insulted and are not allowed to have a good time. They are not catered to in anyway whatsoever. That has never been my point of view.

At a certain point there were the people who were essentially very dull, uninteresting, uncreative people taking over control and direction of the way you saw independent films. And they are associated with universities and museums and film organizations. In those kinds of structures the people who are involved are not filmmakers or visual artists or performing artists at all! They’re the academics who happened to be teaching, say English, when there was going to be a film department. And they all fought tooth and nail to get that department under their control because it’s such a powerful tool.

Structuralists are the people who consider a good film one that you don’t see, but one that you write about. And the whole process of playing the verbal games is more important than the film. And they have gotten the upper hand, and they have destroyed an audience! The only audience they want is the one that is coerced by their textbooks and fills up their bank accounts with a regular salary and an honorarium for the rest of their lives!

 

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19 of Bruce Conner’s 26 films

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A Movie (1958)
‘Conner’s movie acts as a great leveler between various kinds of images: documentary versus staged, violent versus prosaic, frivolous versus serious. The film’s general arc is towards more and more devastating images, even as the soundtrack becomes bombastic and stirring, its epic grandeur clashing against the images of starving children, dead soldiers, and the distinctive mushroom cloud of the atomic bomb. Conner can be playful too, especially in his use of familiar cinematic devices in ways that confound expectations: he keeps flashing up the words “the end” at various points, and initiates a countdown towards the start of the film that’s interrupted by a striptease, as though he just couldn’t wait until the count was over to get into the film itself. But his best visual gag leads directly into his most horrifying image, as a shot of a pinup girl posing in a tiny bikini cuts to a submarine crew firing a phallic torpedo which, in turn, improbably sets off a nuclear explosion. The Freudian playfulness of the imagery is basically cut short, reminding viewers that despite psychological speculation to the contrary, a weapon is less a sexual symbol than a tool of grand destruction. The puffy, blossoming explosion of a mushroom cloud may make a clever metaphor for an orgasm, but it’s a metaphor with its own horrible realities attached.’ — Only the Cinema

 

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Cosmic Ray (1962)
‘Experimental artist Bruce Conner uses Ray Charles’ 1959 classic “What’d I Say” as a backdrop to his short film cut together from his home movies, war footage, and a cartoon. COSMIC RAY is about a lot of stuff: sex, violence, life, death, light, dark, and probably much, much more. An awesome example of a 60’s era DIY work, COSMIC RAY feels new despite looking really really old.’ — Facets Features

Watch the film here

 

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Vivian (1965)
‘“A film portrait cut to the tune of Conway Twitty’s version of ‘Mona Lisa.’ Filmed in part at a 1964 show of Conner’s artwork in San Francisco, the film is also a witty statement about forces that take the life out of art. Vivian Kurz, the subject of the film, is entombed in a glass display case.” – Judd Chesler Award: Gold Medal Award, Sesta Biennale D’Arte Republica Di San Marino. Da Vinci thought he caught her smiling.’ — letterboxd


‘Vivian’ starts @ 5:39

 

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Ten Second Film (1965)
‘An application, made in 2004, created in homage to Bruce Conner. “Conner Times Ten” is an application that creates new images using Bruce Conner’s film “Ten Second Film” as its source. Conner’s “Ten Second Film”, which was made for the 1965 New York Film Festival but never shown during the festival because it was believed to be too “risky”, was made from ten film strips each 24 frames long. Using only multiples of 10 and 24 the application “Conner Times Ten” randomly chooses a frame from “Ten Second Film” and new images are made from this frame. These new images are never the same or repeated in the same sequence.’ — Matt Roberts


‘Conner Times Ten’ by Matt Roberts

 

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Easter Morning Raga (1966)
Easter Morning Raga was designed to be run forward or backward at any speed, or even in a loop to a background of sitar music.’ — The Guardian

(see a brief excerpt here)

 

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Breakaway (1966)
‘Shot by Conner on 16mm black-and-white film, BREAKAWAY surpassed in formal daring the majority of film work made at that time, and helped to define what would become the modern music video. Newly restored by Michelle Silva and the Conner Trust, BREAKAWAY is a dynamic five-minute homage to the female form, counterculture, pop music, and the kinetic possibility of cinema. Filming Toni Basil dancing and writhing frenetically to her song ‘Breakaway,’ with music by Ed Cobb, Conner’s camera moves around her in a kind of conjoined action, zooming in and out at dazzling speeds such that Basil seems to blur out of existence. Employing multiple frame rates, Conner fuses a sense of ephemeral evanescence in the figure with a sensual flickering of the celluloid. Rapid vibrations of dark and light as well as fast-cut film edits transform the image into a phantom of itself. In the film’s second half, everything is repeated backwards. As the song plays in a distorted reversed iteration, an abstracted mediation of film is brought to the fore.’ — Art Basel


Brief excerpt


Excerpts + discussion

 

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Report (1967)
‘Society thrives on violence, destruction, and death no matter how hard we try to hide it with immaculately clean offices, the worship of modern science, or the creation of instant martyrs. From the bullfight arena to the nuclear arena we clamor for the spectacle of destruction. The crucial link in REPORT is that JFK with his great PT 109 was just as much a part of the destruction game as anyone else. Losing is a big part of playing games.’ — David Mosen, Film Quarterly


Excerpt


Excerpt (in installation)

 

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THE WHITE ROSE (1967)
‘Bruce Conner filmed this short video with fellow artist Jay DeFeo and her monumental, then-unfinished artwork, “The Rose” (1958–66), in the moments leading up to its extraction from her San Francisco studio.’ — Aspen Art Museum

Watch an excerpt here

 

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Looking for Mushrooms (1967)
‘Departing from the stock footage that characterizes Bruce Conner’s earlier films, LOOKING FOR MUSHROOMS (1959–67/1996) is his first color film and consists of footage he shot while living in Mexico in 1961–62, as well as some earlier shots of him and his wife, Jean, in San Francisco. Building on the rapid rhythms of A MOVIE (1958) and BREAKAWAY (1966), and introducing multiple-exposure sequences, it is a psychedelic, meditative travelogue of rural Mexico, featuring sumptuously colorful images of the natural world, villages, and religious iconography. Most of the footage was shot while the Conners roamed the hillsides seeking psilocybin, or magic mushrooms, sometimes joined by psychologist Timothy Leary, who appears briefly in the film. Conner showed early versions of this film as a loop. In 1967 he added a soundtrack: the song “Tomorrow Never Knows” by The Beatles. In 1996 he created a longer version of the film that repeats each frame five times, which he set to music by experimental composer Terry Riley.’ — MoMA


Excerpt

Watch the film here

 

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Permian Strata (1969)
‘A film he made in 1969 that rarely gets discussed, and is only barely mentioned even in the monograph 2000 BC: The Bruce Conner Story Part II. This excellent tome contains close analysis by Bruce Jenkins of film-school staples like A Movie and Looking For Mushrooms as well as of later works like Valse Triste and Take the 5:10 to Dreamland. The 1969 film is called Permian Strata, a title which works in conjunction with the images and the song that makes up the film’s soundtrack to form a colossal pun. So often experimental film gets pigeonholed as overly serious, boring, stuffy, or requiring an expertise in filmmaking processes to fully appreciate.’ — letterboxd

 

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Marilyn Times Five (1968-73)
Marilyn Times Five marked a change of pace in Conner’s film work. Marilyn Monroe’s breathy version of ‘I’m Through with Love’ loops over a striptease film featuring a Monroe look-alike. Yet the pornographic intentions are subverted into a tableau that is gracefully looped back on itself. Filled with repetitions and slow camera sweeps over her body, ‘Marilyn’ is turned from porn star to portrait, as the reclining pose of the model, accentuated by the grainy texture of the film, transforms her into the Classical nude. Indeed her play with an apple, which she rolls languorously down her body, in addition the sound-track’s insistent exhortations that she is ‘through with love’, lends her a mythical depth that suggests a languishing Eve, weary after a life spent in the Garden of Earthly Delights. When we are greeted with extended darkness before the fifth and final playing of the song, it seems not so much titillation as exhaustion through ennui. The last scene of the film, in which Marilyn lies crumpled on the floor, motionless, leaves us in little doubt that we have witnessed not just a fall from grace but a death. She has ‘bid adieu to love’ for good.’ — Frieze

Watch the film here

 

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Take the 5:10 to Dreamland (1976)
‘The filmmaker Jonas Mekas, a contemporary of Bruce Conner, once said, “The state produced by a film like 5:10 TO DREAMLAND is very similar to the feeling produced by a poem. The images, their mysterious relationships, the rhythm, and the connections impress themselves upon the unconscious. The film ends, like a poem ends, almost like a puff, like nothing. And you sit there, in silence, letting it all sink deeper, and then you stand up and you know that it was very, very good.” A sense of loss and longing associated with childhood memories permeates this short film, set to an elegiac electronic score composed for the work by Patrick Gleeson. The “5:10” of the title might refer to a train or bus schedule, but it also corresponds to the exact length of the film—a short ride that nonetheless takes the viewer effortlessly and evocatively across time and space to an American “dreamland” somewhere in the Midwest.’ — SFMoMA

 

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Crossroads (1976)
‘The 1945 atomic-bomb explosion at Bikini Atoll becomes a thing of terrible beauty and haunting visual poetry when shown in extreme slow motion, shown from 27 different angles, and accompanied by avant-garde Western classical music composed for electric organ by Terry Riley.’ — Major Malfunction

Watch the film here

 

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Valse Triste (1977)
Valse Triste is a homage to surrealist cinema and a belated trance-film (the psychodramas of Maya Deren, Kenneth Anger and Sidney Peterson date from the 1940s, the time of Conner’s adolescence and this film’s footage). It also reworks the debased popular ‘dream sequence’, principally by imitating one of its cliche-prone situations—a boy’s dream about steam engines, daily chores, home travel and girls. Shorn of context, ordinary images keep their typicality but gain uniqueness, mystery and the aura of memory; a paperboy cycles down a street, a couple in overcoats enter a taxi, cars crawl down long roads, a man and a boy build a bonfire, a family pose by their farm. This material is renewed, or redeemed, by stripping it of sentimentality and information.’ — Michelle Silva

Watch the film here

 

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Devo: Mongoloid (1978)
‘It may have been an unusual sight—an elder statesmen from the Beat Generation slam dancing with teenagers. But punk invigorated Bruce Conner. For MONGOLOID (1978), the short film Conner began preparing after seeing Devo on their first tour, Conner spliced together newsreel, educational, and b-movie footage which resonated with their satirical lyrics about an underdeveloped man-child who is determined to contribute to mainstream American society.’ — Michelle Silva

 

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Mea Culpa – Brian Eno & David Byrne (1981)
‘In his first collaboration with David Byrne and Brian Eno, Conner used footage from educational films to create a rhythmically austere image-track for music from their pioneering “sampling” album My Life in the Bush of Ghosts (1981).’ — Michelle Silva

 

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America Is Waiting – Brian Eno and David Byrne (1981)
‘The lyrics of AMERICA IS WAITING: ‘Well now, you can’t blame the people – blame the government! Take it in again! Again! Again! America is waiting for a message of some kind or another,’ cued Conner for a strongly structured and richly varied piece which examines ideas of loyalty, power, patriotism and paranoia. Like most of Bruce Conner’s films, repeated viewings yield deeper layers of successive structures. AMERICA IS WAITING is strongly composed of interlocking visual connections, emblematic content and a resonating ambiguity of the human condition within the constructs with which we confound ourselves.’ — Anthony Reveaux

 

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Television Assassination (1995)
‘TELEVISION ASSASSINATION is one of two major works that Bruce Conner began in the days immediately following the Kennedy assassination and the artist’s own thirtieth birthday, in the fall of 1963. While REPORT utilized montage and a strongly articulated structure to analyze the forces at work in the killing of a President (including our own complicity), TELEVISION ASSASSINATION is a complex, synthesizing work that weaves together fragments from the flux and flow of that history as it was in the process of being constructed and displayed daily to a nation of spectators. A monument to the enduring potency of the Kennedy myth and to the marketers who created it, the installation brings Conner’s critique full-circle into the very medium that formalized it. In so doing, the work seems to suggest that the final resting place for the slain President was neither Brookline nor Arlington National Cemetery, but rather in the box, on the tube, held suspended forever on the television screen.’ — dailymotion

 

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Three Screen Ray (2006)
‘THREE SCREEN RAY (2006) is a reimagined and expanded version of his seminal COSMIC RAY (1961), a literal cinematic slot machine where three reels of images meet and diverge and meet again. Influenced as much by the methodologies of assemblage as the kineticism of abstract expressionism, Conner cuts together images of sex, war, dancing, and cinema itself, before abrading and abusing the reel. The result is an explosive collage and a reflexive comment on the power of film and media.’ — MoCA


Excerpts & discussion

Watch an excerpt here

 

 

*

p.s. Hey. ** Steeqhen, Yes, that was something. ** _Black_Acrylic, That is very interesting, yeah. I don’t think there’s an American equivalent at least with rock. I think maybe American cities are more interchangeable in some way. ** Carsten, Silent Movie Theater died and then turned into a venture called Cine Family which died due to some kind of abuse hanky panky by the proprietors that I can’t remember precisely and now it’s BDS. Oh, I don’t know how my interview thing went over. I’m not sure how I would I know. It was very interesting to do. The host Eva Bester was very smart and great to talk with. I think the only Carlos Saura film I’ve seen is ‘Spirit of the Beehive’, which I liked a lot. ** Hugo, Kathy worked pretty hard to be intimidating even when you knew her. I have no idea what she thought of my later work. My sense is that she felt friendly towards it? Jason McBride’s biography of Acker is very good. Less cold here strangely, but weather is crazy these days, so who knows. ** Laura, Technically my name is Clifford Dennis Cooper, which was my dad’s name. I’ve always been Dennis, initially to avoid confusion. Laura my girlfriend was really great and beautiful. It only didn’t work out because I realised I wasn’t quite as bi as I suspected I was at the time. My band had a terrible name — not picked by me: Coney Island of the Mind, after a Ferlinghetti poem. It was two and sometimes three guitars, bass, keyboards and drummer. We played mostly covers, songs by Sid Barrett/Pink Floyd, Love, VU, very early Alice Cooper, and a few original songs. Grindcore, nice. I was our band’s singer. Maybe like you, my voice could do pretty-ish singing but not screaming stuff. I wish you luck, sleep, and diminishing patchiness. ** HaRpEr //, Yeah, publishing out the gate, ugh. I started by publishing my little chapbooks and things with local friends’ small presses. That helped ease me into the wider search, although it didn’t get easy until I lucked out with Grove Press. Yeah, you just have to start getting the work out there by whatever means and I guess at whatever expense to your nerves and confidence. But then the lucky break happens. I guess. ** Jackie, Beats sounding like dungeon synths: I’m most intrigued. Is your music hearable anywhere? Wormwood tour video: on it, thank you. Have a very swell one. ** Uday, Hi. Just not a fan of the overrated bubble butt, don’t know why. I hope we’ll screen near you, or, yeah, it’ll stream but not for months yet, I don’t think. I hope you dreamed. ** darbbzz⋆。°⋆❅*𖢔𐂂☃︎꙳, I’m spacey too, no big. Same wavelength maybe. Is it Thanksgiving today? I guess it is. Wow. It’s so nice being somewhere where that whole thing passes without a mention. 9 hours, yikes. Lifeboat, luck, tips from the customers? Everything you’ll need is coming at you in wish form. I haven’t looked at Instagram yet today, but it’s next up. Well, I’m addicted to cigarettes, drinking coffee as soon as I wake up, and possibly to melatonin, I’m not sure. I don’t think I ever got addicted to recreational drugs. Maybe a teeny bit to cocaine. I like Tricky. I actually met him. He was staying in residence at the artists residency I used to live at here because he was recording an album in Paris. He was really nice. I’m obsessed with his track ‘Diss Never (Dig Up We History)’. I still play it all the time. I love the very early Massive Attack. ‘Mezzanine’ is a masterpiece. The later stuff doesn’t sound as exciting to me. You? Serious and total luck with the work shift. ** Right. Many years ago I did a Bruce Conner Day. Then his estate wrote to me and asked me to delete it, which I did, and then they wiped all of his stuff off the net because they said he wouldn’t want it there. But recently I wondered if that had changed, and I saw that it had. So I made a whole new Bruce Conner post from scratch. And there it is right up above. Enjoy his greatness. See you tomorrow.

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