HR Giger: Carmen I (work 618) (1988/1989) references Radio Times illustrations for the Proms 88?

Leading from

HR Giger: Carmen I (work 618) (1988/1989)

and

Radio Times images 

a) Discoveries
On August the 8th, 2018, I noticed more Radio Times images posted by Graeme Wood on Twitter https://twitter.com/woodg31 I noticed one image that stood out, somehow I thought it connected with the painting Carmen I done around the same year and then I noticed another illustration that also connected with that sense of association.

Proms 88 illustration for The Radio Time by Paul Dickinson

b) References Proms illustration for Radio Times, 3rd August, 1988?

Radio Times image reversed side by side with Giger's painting.

What this would show is that the stretched out arm of the man on the ground would become the biomechanic forms on Carmen's left cheek.

The lower arm of the woman becomes the the thumb in between her eyes.

The ferns like forms on the right become the ribbing alog the upper part of the hand and the fingers. 

The head of the old woman becomes the space between the wrist of the hand and the head, so it would be as if the upper part of her body and her raised arm have contributed to the form of the tentacle coming out of Carmen's head bending upwards to connect with the large hand.

illustration and Giger's painting side by side

Proms 88 illustration for The Radio Times by an unknown artist

c) References Radio Times illustration for the Proms 88, 7th August 1988?

Two images side by side.

The left arm on the reversed image becomes the tentacles coming out of the left of Carmen's head.

A first thought might be that her breasts perhaps becomes Carmen's eyes, but perhaps the mouth of the woman became the right eye as a point of reference in the layout of the composition.

The arm on the right that reaches lower down becomes piping in the wall on the right curving down to the bottom while the rim of the pool becomes the curved piping on the bottom of the right of the painting.

illustration and Giger's painting side by side

Superman Lives: SylvainDespretz' biomechanic skullship borrows elements from life support machine from Katsuhiro Otomo's Akira?

leading from

Superman Lives: Sylvain Despretz' Skullship concept art for the unmade Superman Lives

a) 21st December 2017, I had another realisation about this picture the other day. I think that someone involved in the art department was interested in the Akira manga and anime, and I think it shows in another one of Sylvain Despretz skullships, but I had this Skullship next to the image of some sort of a life support machine from the manga and I noticed a connection. The manga image contains a block number 37 with a curving blue pipe beneath it on the upper left that looks as if it's been translated into the skull ship as an eye socket with a rectangular window and then further down on the left is a box with a glass screen on the side, and I think that this turned into the idea of the rectangular window, and this certain manga image of course came to me as one of these secret Henu Barques that Katsuhiro Otomo incorporated into the Akira manga. 

b) The details relating to the eye placed in a row

c) In Otomo's drawing there appear to be panels on the lower right sticking out in messy irregular conflicting directions and I'm looking at how Despretz's pipework for the engine is a mad tangle.

d) Other similarities to point out might be the way that in Otomo's illustration there are two large sloping pipes on the upper right and there's a large sloping pipe on the upper right of the skullship.

HR Giger: Mordor VII (work 286) by HR Giger is referenced in Pump Excursion I (1988) by HR Giger?

Leading from 

HR Giger:Mordor VII (work 283) (1975) by HR Giger was referenced in photograph of comedian/ actor Adrian Edmondson dressed in fancy dress as Giger’s Alien, for his book “How to be a Complete Bastard” (published 1986)?

and

HR Giger’s Mordor VII (work 283)

a) HR Giger’s Mordor VII (work 283) (1975) 

b)  Pump Excursion (work 610) (140x100) (1988) 

 

c) The spine of the biomorph in Mordor VII becomes a stairway up a pyramid 

d) dark skull popping out of the head becomes the headphones . The pipe connected to the face becomes the gun barrel

 

e).  Tiger prawn liked shellfish form becomes the woman’s legs

 

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HR Giger: The Force (Hommage to Picasso) (work 622) (1989) by HR Giger references Crazy Max from “Jailbreak Hotel,” in RAW 8, eds. Art Spiegelman and Françoise Mouly (p5) (1986) by Marc Caro?

 Leading from 

The Force (Hommage to Picasso (1989) (work 602) by HR Giger

and

Marc Caro: Crazy Max from “Jailbreak Hotel,” in RAW 8, eds. Art Spiegelman and Françoise Mouly (p5) (1986) by Marc Caro

a) Crazy Max from “Jailbreak Hotel,” in RAW 8, eds. Art Spiegelman and Françoise Mouly (p5) (1986) by Marc Caro

b) The Force (Hommage to Picasso) (work 622) (1989) by HR Giger

c) The upper body and correlating area

d) The space between the arm and the upper torso becomes the space between the leg and the upper torso

e)The upper face and the head 

f) The saucer becomes a hand  and the band of grey down the side of the upper torso becomes a lower arm

 

HR Giger:The Force (Hommage to Picasso) (work 622) (1989) by HR Giger

leading from 

H R Giger's Art

a) See:  References page 64 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson?

b)  References Crazy Max from “Jailbreak Hotel,” in RAW 8, eds. Art Spiegelman and Françoise Mouly (p5) (1986) by Marc Caro?

HR Giger: The Force (Hommage to Picasso) (work 622) (1989) by HR Giger referenced page 64 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson

Leading from

“The Frank Bruno” page 64 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson

and

The Force (Hommage to Picasso) (work 622) (1989) by HR Giger

a) The Frank Bruno page 64 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson

b). The Force (Hommage to Picasso) (work 622) (1989) by HR Giger 

c) Comparable areas

d) T to A to R to D becomes a lower arm, and the middle of the upper leg to the knee 

e) W to I to T to H becomes a raised lower leg and the face of a skull

f) B to A to S to T becomes an arm, while T to A becomes the buttocks connected to a leg.

HR Giger: Carmen I (work 618) (1988/1989)

leading from 

H R Giger's Art

a) See: References Radio Times illustrations for the Proms 88? 

b) See: references page 80 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson?

page 80 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson

Leading from

HR Giger: Carmen I (work 618) (1988/1989)

and

page 80 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson

a) page 80 from “How to Become A Complete Bastard” (1986) by Adrian Edmondson

b)  Carmen I (work 618) (1988/1989) by HR Giger

c)Action Leper figure becomes the knuckles  of the hand

d) Below, the shirt and tie of Adrian Edmondson become the finger joints of the hand.

 e) The Cuddly Mr Motorway hedgehog becomes the curve of the hand around the wrist

f) Thw Drunken Driver Race-Track set becomes the tendrils on the left side of the face. 

 

Total Recall: D & M pyramid

leading from

Total Recall

 

The mysterious mountain as seen from afar in Total Recall

1. Ron Gerbron: Remember in the, speaking of movies, remember in Total Recall, at the end, when they start up those machines

   Richard Hoagland: Yup

   Ron Gerbron: Under the uh, um, the mountain there. Uh, could something like that conceivably, er, assuming something like that actually happened with or without a schwarzenegger
   

   Richard Hoagland: (laughter) Remember, remember, I had a source at Fox, you know twentieth century Fox that did this. They told me they stole that plot directly from The Monuments of Mars, my book. That was the D&M , that was the D&M pyramid

   Ron Gerbron: Oh, it was definitely the D&M pyramid, they drove past it on a train as I remember

   Richard Hoagland:Yes (The Other Side of Midnight  (See: 2:51:20 at tne end of the podcast of the show) See:  2021/09/26 – EM Imaging Team – How, What’s Waiting on the Moon (and Mars) — via “The Second Age of Space” — Will Literally Save Humanity …. – The Other Side of Midnight)

The "D&M Pyramid" landform, Cydonia, Mars

Communion (1989)

leading from 

Prometheus: The "Space Jockey as a suit" question

a) Visitors
The subject of extra-terrestrial abduction movie called Communion was about the experiences of the writer Whitley Strieber and entities that referred to as the Visitors,  (A term very post V but was useful because Whitley couldn't decide what exactly these things were, whether they came from another planet or from the planet Earth.)

Walken as Whitley Strieber trying on an elephant trunk for a Halloween party

Scene from "Communion" exploring
 the idea of the alien creature's heads as masks

b) Chinese Box
The movie appeared to be loosely related to Whitley's experiences. In the film, it showed what we saw of the alien creatures to be unspecificly just outside skins for something else within which perhaps reflected the idea of the Visitors from the series V who were reptiles disguised as humans. 
In Communion, the Visitors 's face opens up to reveal something almost reptilian inside, or perhaps something like a face with elephant like skin and a short trunk snout squashed up behind the mask like face, but the idea here was also that it was like a Chinese box and perhaps what was shown beneath the mask wasn't actually what the alien creature really was and perhaps there could be something else beneath that. But Whitley had told the director Philippe Mora that he had seen one of these things. Earlier on in the film, they play with the idea of the trunk having the Whitley character wear an elephant trunk on his nose for a Halloween party.

1. Philippe Mora: There's a fourth alien figure that we reveal in the film. It's a figure that Whitley saw once - a version of the Communion figure that actually showed the face was a kind of mask and there was something underneath, ("Report on Communion" by Ed Conroy, p186)
2. Philippe Mora: This was what we called the real Communion figure . This is after er, Chris ripped off the bottom of the mask. We showed this strange trunk like creature, this strange trunk like thing this creature had that Whitley said in one.. on one occasion he had actually seen for real. It's erm, it's kind of interesting because Communion face is such an icon now, er, everywhere as the Alien. People forget that in Communion we took the mask off and showed another creature inside. These were pretty elaborate models, puppets if you like. You can see some lip movements there, and it's amazing now looking at this twelve years later how this particular alien image has permeated everything now, from keyrings to tee-shirts to candies to icons. It is an icon . (Communion Special Collector's Edition DVD)

Scene from Communion showing the visitors

c) Words in the scene
In the film, character Whitley is talking to what seems to be a dreamt up magician that's also his doppleganger, and perhaps the mouthpiece for the Visitors. After a few words, between them, it goes to a point where the chinese box revelation comes about.

Doppleganger magician: Look, the only thing that realy matters here is what I'm about to show you.


The face of one of the visitors is removed by hands of one of the blue dwards as if it's a mask

Whitley: That's not it, I didn't come all this way for you to tell me that's what it is. Is there something under that, because I don't believe that one. It's like a box, a Chinese box, you open it, there's another one inside,  there's another one inside , there's another one inside. You're not going to let me see you are you

Christopher Walken as Whitley Strieber

Doppleganger magician: It is a Chinese box. You're not going to be allowed to see. Okay, so get that clear.

Whitley: You are not going to let us see you. That's a good idea 

the doppleganger magician

The Visitor being unmasked

The Visitor being unmasked

The Visitor unmasked

The Visitor unmasked

The Visitor unmasked

The Visitor unmasked

The Visitor unmasked