1911 Poll 2.0

[Evelyn Library P.I.]

Choose your favourite films from 1911 (according to IMDB).

Each person can vote for up to 20 films. Do not feel compelled to fill the maximum allowable number.

Twenty-film ballots can be formatted as follows:
- Five tiers of four films each, 4/4/4/4/4; scored 5-4-3-2-1 pts/film/tier
- Four tiers of five films each, 5/5/5/5; scored 4.5-3.5-2.5-1.5 pts/film/tier
- Two tiers of ten films each, 10/10; scored 4-2 pts/film/tier
- No tiers, unranked; scored 3 pts/film
- A 20-film three-tier ballot is not possible

A tiered ballot can include less than 20 films, but in that case the total number of films must still be able to be factored by the number of tiers, so:
- A five tier ballot can include only 20, 15, 10, or 5 films
- A four tier ballot can include only 20, 16, 12, 8, or 4 films
- A three tier ballot (scored 5-3-1) can include only 18, 15, 12, 9, 6, or 3 films
- A two tier ballot can include only 20, 18, 16, 14, 12, 10, 8, 6, 4, or 2 films
- Ballots that are 19, 17, 13, 11, 7 or 1 films must be no tiers

Users are urged to post their provisional lists as soon as possible, so that others can use them for recommendations. You may revise your lists at any point prior to the deadline. Ballots posted by new members who have not participated in other parts of the forum are generally welcome, but they will be considered on a case-by-case basis and are not guaranteed inclusion on the final list.

Deadline for 1911 lists will be Tuesday, January 31st at around midnight EST.

[niminy-piminy]

the whole local production of 1911 (seems like) consists of these entries...

— Ponrepo’s Illusionism • Ponrepovo kouzelnictví (Antonín Pech) https://www.imdb.com/title/tt8120184/
— Rivals • Sokové (Antonín Pech) (FIRST western in the history of Czech cinema) https://www.imdb.com/title/tt0452406/
— Rudi at the Christening • Rudi na křtinách (Emil Artur Longen, Antonín Pech) https://www.imdb.com/title/tt8120194/
— Rudi Gets Married • Rudi se žení (Emil Artur Longen, Antonín Pech) https://www.imdb.com/title/tt8120190/
— Rudi the Sportsman • Rudi sportsman (Emil Artur Longen) https://www.imdb.com/title/tt1104116/
— Rudi’s Philanderings • Rudi na záletech (Emil Artur Longen, Antonín Pech) https://www.imdb.com/title/tt0282131/

in other words...

1/ Rudi fooling around (in various ways)

2/ Rivals, the first local Western! it can be viewed online...

https://www.europeanfilmgateway.eu/deta ... 446540f5e1

Two girls dance at a saloon, one wears a white dress, the other a black dress-A bandit arrives-The bandit quarrels with a guests over one of the girls-The fight continues onto a cliff-The bandit throws his opponent off the cliff-The girl in black mourns the dead man-A cowboy arrives on horseback-The girl in black laments to him about the murder-The cowboy catches up the bandit, disarms him and ties him to a tree-The old man, who is supposed to guard the prisoner, gets drunk and falls asleep-The girl in white, who is the bandit's lover, arrives armed with a revolver and frees him. Together they tie the guard to the tree-The cowboy returns and fights the bandit once again-In the struggle, the girl in white is accidentally shot-The cowboy leads the tied-up bandit away. (description of extant scenes)

tho, an imdb reviewer says the following...

A Czechoslovakian Western that might have been passable entertainment in its original form. Unfortunately, the version available online has many of its scenes in the incorrect order so that it makes no sense whatsoever.

i can't imagine a better recommendation!

3/ Ponrepo’s Illusionism, i.e. another case of a stage magician entering the film business and doing magic on screen!

https://vimeo.com/151411029

this particular flick was (allegedly) mostly used as a jingle preceding the film screenings in Viktor Ponrepo's movie theater.
Viktor Ponrepo https://en.wikipedia.org/wiki/Viktor_Ponrepo was a guy who opened in Prague the first Czech permanent cinema house (in 1907).

https://english.radio.cz/viktor-ponrepo ... ue-8046133

VIKTOR PONREPO - founder of the first permanent cinema in Prague

If you ask the citizens of Prague what "Ponrepo" is, many will say, "A cinema, of course." Not everybody knows, however, what the name means and why the cinema is called Ponrepo.

"The name Viktor Ponrepo may not mean much to the younger generation, but what many people certainly will know is that Ponrepo is a well-known Prague cinema which has been around for decades. It was reopened in the early 1960s as a branch of the National Film Archives. It is a unique cinema because it doesn't show films from normal film distributors, but mainly from the archives' own rich collections. It tries, on a regular basis, to update the public on the development of Czech and world cinema, and since the 1990's it has been showing premieres of films that the National Film Archive buys for club and art cinemas. Today the Ponrepo cinema is located in a former baroque monastery in Bartolomejska Street, not very far from Ponrepo's original cinema in Karlova Street."

As Milos Fikejz, a historian from the National Film Archives says, today's Ponrepo cinema - located in the same building as the archives - is not the first movie theatre of this name in Prague. The first one opened in 1907 and since then the cinema has changed owners and moved many times. For more than a decade it was closed altogether. But let's start from the beginning.

Viktor Ponrepo was born Dismas Slambor in 1858 in the Old Town of Prague. His father was a gilder and wanted young Dismas to take over his business one day. Dismas obeyed his father and trained to be a gilder but his talents and dreams lay elsewhere. He was passionate about magic and conjuring tricks and devoted every spare minute to practice. Eventually, he refused to follow in his father's footsteps, dedicated himself thoroughly to his hobby and chose the insecure life of a traveling performer. Dismas Slambor didn't think his name was mysterious enough for a magician, so he looked for a suitable pseudonym. One day he was passing a small chateau with the French name "Bon Repos", or "Good Rest" and the name intrigued him so that he chose it for his stage name. He altered it slightly and added Viktor as a first name and so gilder Dismas Slambor became magician Viktor Ponrepo. His traveling theatre was so successful that Ponrepo was soon able to afford a coach with a coachman and an assistant. However, at the turn of the 19th century, the art of magic began to lose popularity. People became rather bored with old conjuring tricks, and old-fashioned magic had to compete with the new wonders of technology. More and more people preferred to watch various breathtaking inventions presented to the public at fairs and exhibitions. Viktor Ponrepo knew he had to go with the flow and come up with something new in his show. He bought a phonograph and soon after that a cinematograph. He passed exams to prove he could operate the device - a machine for "living photographs" as he called it - and in 1899 he added the attraction to the repertoire of his traveling theatre.

Ponrepo traveled around the country, but what he really wanted was to get to Prague. However, to perform there, he needed a special license, which was difficult to obtain. But Ponrepo didn't give up. He got together all the necessary documents and kept applying. His dream came true in September 1907. Not far from the house where he was born in Prague's Old Town, Viktor Ponrepo opened his new cinema - the very first permanent cinema in Prague. Ivan Klimes is a film historian based at the National Film Archives and also at the Department of Cinema Studies of Charles University in Prague.

"Because he was the first in Prague, he is still a symbolic character, made hugely popular by Czech film critics and historians. He became a legend, even though some of his contemporaries may have played a more important role in the development of cinema in the Czech lands. Ponrepo's social background was also typical of the owners of the early traveling cinemas and later permanent cinemas."

Viktor Ponrepo's first cinema in Karlova Street replaced an old cabaret theatre. It was a simple room with 56 tip-up seats and a piano in the corner. There was a cloakroom and a refreshment counter in the lobby, too. Films were shown every day except Friday. Viktor Ponrepo was very particular about the reputation of his theatre. He wanted to create a real family atmosphere; he greeted every visitor personally and showed them to their seats. Just in case he couldn't manage to say goodbye to everybody individually, he had a short film recorded of himself standing and bowing to his audience. The 93-frame celluloid film has been preserved until today. Film historian Ivan Klimes again.

"Look at the development of the musical accompaniment in Ponrepo's cinema: he started with a simple phonograph and went on to very basic live piano and violin music. All the big cinemas later had 18-member orchestras in the 1910s. So even the intimate, homey atmosphere was one of the things that made Ponrepo's cinema unique. Viktor Ponrepo's brother also contributed greatly to the fame of Ponrepo's establishment. His job was to present and narrate the films - live - and the audience loved him for what were almost cabaret shows."

In September 1911, the American inventor Thomas Alva Edison visited Ponrepo's cinema during a visit to Prague with his family. Edison is the father of the phonograph, an essential part of Ponrepo's traveling cinema, and he was one of several people who contributed to the development of the cinematograph.

The end of the First World War brought about a real boom in cinematography and the film industry blossomed. Cinemas started sprouting up in Prague and soon the city had more than 50 movie theatres. Viktor Ponrepo was not a man interested in profits; what he wanted was to please his audience. No wonder he soon found himself in dire financial straits. He could not afford to pay a projectionist and had to do everything himself: turn the handle of the cinematograph with one hand and insert glass panes with Czech subtitles with the other every 30 seconds and on top of that operate the arc lamp. It was quite testing for a man now well over fifty.

During the depression in the 1920s, Ponrepo applied for the renewal of his conjurer's license, as the cinema alone could not support him anymore. He was explaining his predicament to some friends in a café when he suddenly suffered a stroke. Viktor Ponrepo died hours later. It was the 4th of December 1926.

Viktor Ponrepo was not an inventor or a cinema pioneer on an international scale, but he certainly was a bright and perceptive observer of his times. He was an enterprising man with brilliant ideas and we can see how during his life film slowly but surely evolved from a conjurers' contraption and a variety show attraction to an everyday phenomenon. What happened to Ponrepo's cinema after the death of its founder? Film historian Ivan Klimes:

"The original cinema existed until 1950. There is another nice symbolic touch; it was the last cinema in Prague to be equipped with a sound system; that was in 1936. So until 1936, the cinema showed only silent movies and this fact reinforced the reputation of the cinema as a pioneering cinema that belongs to the past."

As Milos Fikejz from the National Film Archives told us earlier, the tradition of the Ponrepo cinema was renewed in the early 1960s and today it shows mainly independent art films.

Viktor Ponrepo does not only have a cinema named after him. Somewhere out there in outer space there is a tiny planet, which was discovered by a Czech astronomer on the 4th of December 1986, the 60th anniversary of Viktor Ponrepo's death. It was named Ponrepo to forever commemorate the man who opened the first permanent cinema in Prague in 1907.

[greennui]

The Deluge
Dante’s Inferno (Giuseppe de Liguoro/Francesco Bertolini/Adolfo Padovan)
Life in Holland (Piero Marelli)
The Beauties of Italy, Triptych of Picturesque Views (Piero Marelli)
Badlif vid Mölle (John Bergqvist)
Burgos (Segundo de Chomón)
Crimes of Diogo Alves (João Tavares)
Le parapluie magnétique
L’Odissea (Giuseppe de Liguoro/Francesco Bertolini/Adolfo Padovan)
Le torchon brûle ou Une querelle de ménage (Romeo Bosetti)
New York 1911
Water Lilies (Irmgard von Rottenthal)
Rosalie et son phonographe
Aboard the World’s Northernmost Railway
The Lonedale Operator (D. W. Griffith)

[sally]

ooooooooooooooo danes are already ace, italians are on the cusp, and there are more feuillades i need to watch from this year

shout out to the whole tilly series, DESPITE the fact that sally, equal partner in the chaotic evil, doesn't get any billing

provisional list

the beauties of italy - piero marelli
pinocchio
temptations of a great city
tilly and the fire engines
nozze d'oro
badlif vid mölle
mieux valait la nuit
the west riding of yorkshire
max en convalescence
the maid at the helm
when the tables turned
dante's inferno
life in holland
rosalie et léontine vont au théâtre
la madre e la morte

[...]

Been getting a bit of a jump on the year.

http://twitter.com/gruxamengus/status/1 ... 87904?s=20

http://twitter.com/gruxamengus/status/1 ... 30890?s=20

http://twitter.com/gruxamengus/status/1 ... 74020?s=20

http://twitter.com/gruxamengus/status/1 ... 24736?s=20

[flip]

i think 1911 is the year from which i've seen the fewest films (eight in total), tied with 1917. good month to change that! ballot for now:

Baron Munchausen's Dream (Georges Melies)

The Automatic Motorist (Walter Booth)

Little Nemo (Winsor McCkay/J Stuart Blackton)

The Indian Maid's Sacrifice (George Melford)

[sally]

personal quirks of 1911 - infatuation with gaston modot gets a blink-hit in pendaison à jefferson city (apparently he's in some others of jean durands but i can't spot him) and mosjoukine shows up with hideous tache in the siege of sebastopol - can anyone get their hands on the 1911 kreutzer sonata? i love all versions of that so would like to see it even if it didn't have ivan in.

there's quite a few 1911s that aren't on letterboxd - i'm not going to remember i've seen them unless i add them here so will do as & when

(from what i can find of the 15 danish 1911s on letterboxd, 12 exist, and there's a couple more on stumfilm.dk that aren't on letterboxd)

there's hardly any british fiction films but on the bfi player there are a couple of films - sidney street siege and houndsditch murderers showing a real police siege that went on long enough for a least 3 news film crews to show up and capture some of it (gaumont, pathe & andrews pictures) altho the person the police killed was actually innocent that doesn't seem to get a mention...

think the pathe one isn't geoblocked - https://www.britishpathe.com/video/lond ... reet-siege

and there's also this which is OMG familiar, horrific and far too relevant

https://www.youtube.com/watch?v=6oWbyjH88tM

[Lencho of the Apes]

Loved these:
La Tare - Feuillade
Water Lliies - Irmgard von Rottenthal

Liked these:
Andre Chenier - Feuillade, Arnaud
The Blacksmith's Love - Francis Boggs
Cinderella - George Nichols
Enoch Arden 1 & 2 - Griffith
Max Takes Tonics
Pinocchio - Giulio Antamoro

and have a lot to watch.

[niminy-piminy]

after further investigation (putting aside genre films), my heimat's budding film industry of 1911 can offer besides "Geese breeding in Libuš near Prague" (Karel Degl) and "František Palacký Monument Prior to Its Completion" (Jan Kříženecký) also a flick with a sick/contradictory title "The Life of a Killed Frog" (Bohumil Bauše). https://www.imdb.com/title/tt8742862/

the first intertitle: "po zničení mozku" = after the brain destruction (not clear who is the brainless — if the frog or the vivisector/s)

https://youtu.be/mpvt-FHoCkM

[sally]

i can't remember seeing anything as gruesome in previous years, it's worse than the elephant (and i thought the millisecond of plague-infested human corpses in the chinese clip above was bad enough)

seems the science films started flourishing now - there's roberto omegna winning awards for his very pretty & not disgusting life of butterflies, there's bees in england, fishes (and other things) in france link

anyone got any industrial ones? i've a british constructing a locomotive, and a trip around fiat's factory in italy....

[niminy-piminy]

have to place/quote here the link to "František Palacký Monument Prior to Its Completion" (Jan Kříženecký, 1911, 2 min) to heal the trauma from the frog (to show my predecessors were not only mean geese eaters and heartless vivisectors of brainless frogs but some of them had the sense for art and esthetics).

i am familiar with this monument! 1:26:48 quite a thing to see in 1911...

https://youtu.be/YT8soh0a8o4?t=5208

[niminy-piminy]

1/ Rudi fooling around (in various ways)

i suspected all the rudi stuff will be pretty dumb and my suspicion was not disappointed...

1.1/ RUDI THE SPORTSMAN is even dumber than i expected (its only merit is the concluding homoerotic kiss)...

https://www.europeana.eu/cs/item/08615/0010056

1.2/ RUDI'S PHILANDERINGS is certainly a highlight of the whole series.
fool rudi (to quench his voyeuristic urges) cross-dresses, enters ladies' quarters of a swimming pool and the shit follows...
tho, i expect a swimming pool gender apartheid was not practiced in my heimat in 1911 and thus the pretext of this narrative is purely fictional.
this flick has probably something in common with the western "rivals" (viz "the version available online has many of its scenes in the incorrect order so that it makes no sense whatsoever").
tho, maybe the slightly confusing/messy editing was part of the artistic intent (and not archivist negligence)??? god knows?!
in any case (be it intent or negligence), local genre flicks (not only early) certainly "make more sense" if their scenes are in the "incorrect order" (so that it makes no sense whatsoever) than if they are "right" (if they pretend to "make sense").

https://www.europeana.eu/cs/item/08615/0010055

1.3/ RUDI GETS MARRIED = lost film

1.4/ RUDI AT THE CHRISTENING = this film was not even finished (and the part that was made is lost) — i only hope it was not finished due to lack of artistic invention or lack of funds and not due to censorship (to preserve the dignity of the catholic church, the pillar of the habsburg monarchy).

[sally]

i'll get to the rudi's but i'm spacing them out in between the more numerous offerings from other countries (i'm struggling with german stuff that isn't asta nielsen & urban gad and just in terms of how the films feel they are 100% danish)

which leads me to:

the strange bird (urban gad)

this (denmark in general) is just LEAGUES above what the rest of the world is doing in terms of not being pious, infantile broad strokes (eg most of US output) so much that i (nearly) forgive asta for the (most misogynistic film i've ever seen) 1913 suffragette movie, although even in this one i'm still never gonna believe the ice queen actually fancies anyone. but apart from that, it's just so so so so different, you can almost believe adults are making/acting these films for other adults (aside from the story being sentimental tosh)

[greennui]

there's quite a few 1911s that aren't on letterboxd - i'm not going to remember i've seen them unless i add them here so will do as & when

List em and I can add them to tmdb.

[sally]

there's quite a few 1911s that aren't on letterboxd - i'm not going to remember i've seen them unless i add them here so will do as & when

List em and I can add them to tmdb.

ah cheers but aside from the three czech ones mentioned so far (can you do those? what do you need? info? screenshots?) if i've watched any that aren't on letterboxd i've forgotten them already. i've got a few links saved so maybe i'll leave all the unlisted ones until last and then do a big dump, there's all sorts, fiction, travelogues, random newsreels that probably don't warrant adding so i'll leave them out...i'll see....

i think in general i do prefer the non-fiction stuff....just seeing real dead people spontaneously smile is a thrill:

finland - oscar lindelöf

this is a nice sedate journey around finland's cities, harbours & shores, interspersed with suicidal, grinning travellers, cheerfully waving their hats at the camera as they speed to their death in boats along the famous finnish rapids. insane.

[greennui]

(can you do those? what do you need? info? screenshots?)

You only need a name and a description to add a new entry basically.

Where did you watch Finland btw, was googling around looking for it.

[sally]

oh cool

i am raiding all the archives i can negotiate:

finland is in the finnish one

https://elonet.finna.fi/Record/kavi.elo ... uva_162301

[greennui]

Thanx!

[sally]

nw

but seriously what is wrong with 1911?

https://www.youtube.com/watch?v=Q1c_fstb700

[sally]

enjoyed the defence of sevastopol quite a bit - delighted with the idea that the first feature film in russian history is about a russian defeat - what other country would do that? think it really captured the collective experience of war, (more so than subsequent individualistic 'hero' war tales) i had no idea what was going on and everyone mostly moving around looking confused and miserable, which is probably 99% of human experience generally (although it had dancing, i ♥ the dancing) - & just the attempt to portray the trudging misery of retreat eg off-centre, repeated shots of endless people crossing that sunken bridge....a whiff of later eisenstein-ness perhaps?

also was incredibly touched at the end when it showed what was clearly real living veterans of 1854-55 (!!!!) this is the actual 'into the valley of death rode the six hundred' charge of the light brigade war - which has so echoed down into british culture it's like seeing humpty dumpty appear on the screen...

[sally]

sorry i'll stop spamming

only i've just realised that at least two of jean durand's camargue westerns are listed on imdb as 1911 but as 1912 on letterboxd so i'll miss them at the end poll unless i note them here: le feu à la prairie & cent dollars mort ou vif

cent dollars mort ou vif i've mentioned before, and it'll def be on my final list - great landscapes, some very early on top of and under a moving train action and an incredibly bleak ending.

[greennui]

only i've just realised that at least two of jean durand's camargue westerns are listed on imdb as 1911 but as 1912 on letterboxd so i'll miss them at the end poll unless i note them here: le feu à la prairie & cent dollars mort ou vif

I changed the dates, should be listed as 1911 in a while.

Also noticed duplicates:

https://letterboxd.com/film/ascensione- ... l-gigante/
https://letterboxd.com/film/ascenzione- ... l-gigante/

[sally]

ta. that little mountain film is too terrifying to be on there twice.....i was very tense for about 10 minutes

some more i enjoyed:

revolution in a bachelors club - the choreography of the flailing male group was perfect comic rhythm. who made it to watch more of their stuff? no idea....

rudi's philanderings - generic caper enlivened by the extra perverse intensity in which rudi pursues his deranged aims, and the perversion of audience expectations during the chase scene where it looks set up for him to go up a very conveniently placed ladder, and then he....doesn't...(also this film is SO short, how on earth could the scenes have been mixed up and left like that if it wasn't some mad intention)

all the italian peplum/period stuff, all of them. i love it, it's my porn, my catnip...shot mostly in sort of middle-ground and wafting those deliciously poisonous d'annunzio gestures throughout (stabbing the bitches eyes out in il sogno di un tramonto d’autunno, YES! BURN! DIE!). there's a shot in bride of the nile that's panning across as actors walk through in the same direction and you can just feel the camera straining to break free...everything is too much in these little coloured gems...

[sally]

oh wow, they filmed actual duels

https://www.youtube.com/watch?v=RZQormJLOVM

[sally]

i'm gonna stop now cuz i think i've got into the zone of thinking everything is AMAZING and BRILLIANT!!!!!!!!!!!!!!!!!!!

so everyone should just watch the four devils (not that one) it's only 35mins of your time and your 1911 is incomplete without it (even for me, who hates circus films with a passion!)

viewable in lush quality here:

https://www.stumfilm.dk/en/stumfilm/str ... re-djaevle

don't speak danish but pretty sure one intertitle said 'the next morning' as two very unmarried people strolled out of the bedroom kissing....shocking! but understandable, hello cutie

[...]

Maybe not everything, but a lot of neat stuff this year. I suspect some of the more outrageous items came from audiences getting tired of the routine stuff and looking for more exotic fare, which was easier in to do in subject matter than craft for most still, but improving quickly in the latter.

[sally]

am reading a lot of reviews critical of films purely because there aren't any dazzling innovations. early film suffers from too much focus on craft advances sometimes. first this first that woopee film history run by tech bros. wonder what year that tipped over....certainly no one saying much about craft in the 1986 poll.

[...]

I'm sorta torn on that, I mean part of it is likely just because we sorta know how things turn out, so people are looking for the small steps that get us there, but there is also some real excitement for me in seeing someone figure out a new way to show something, so there can be a mix of feelings involved. Like seeing Melies double down on stagecraft rather than branch out to more innovative visuals in some of his later films was a bit depressing, but if the imaginative effort is there that can still be mitigated for story advancement. For me, it really depends on the individual work being looked at.

[niminy-piminy]

while looking for 1911 flicks, i stumbled upon a book (orig. published in 1911) that seems to be a seminal treatise in the fairies' research!
it is called "The Fairy Faith in Celtic Countries: The Classic Study of Leprechauns, Pixies, and Other Fairy Spirits" (written by W.Y. Evans-Wentz).

This is a must have book for any who are pulled into the Celtic Otherworld. In reading reviews you will find almost unanimous agreement that this is the best book ever written on the subject. Though first written in 1911 it still remains as the book that all others are compared to, and thus far never equaled.

Evans-Wentz presents an accurate record of ancestral Celtic devotion about the apparent reality of leprechauns, pixies, elves, fairies and other nature spirits. Not only is this a formal and scholarly study but an educated report of how beliefs became the standards of ancient Pagan magic. We come away with the conclusion that fairies and other such manifestations may be the inhabitants of a more advanced existence that only a few of us can understand. This account combines medieval myths, traditional fairy knowledge, and early Paganism with folk-lore, history, anthropology and psychology to become a narrative which appears too consistent to be the result of an insane distraction. This magnificent book is a very readable collection of anecdotes, interviews, and legends made available to Evans-Wentz who has fashioned them into an essential reference for generations to come.

https://www.sacred-texts.com/neu/celt/ffcc/index.htm

This is one of the most in-depth and scholarly attempts to explain the phenomena of the Celtic belief in fairies. Based on Evans-Wentz' Oxford doctoral thesis, it includes an extensive survey of the literature from many different perspectives, including folk-lore, history, anthropology and psychology. The heart of the book is the ethnographic fieldwork conducted by Evans-Wentz, an invaluable snapshot of the fairy belief system taken just on the cusp of modernity. There are regional surveys of the fairy-faith in Ireland, Wales, Scotland, Brittany and the Isle of Man. Evan-Wentz later went on to become one of the leading authorities on Buddhism, and published many of the key documents of Tibetan Buddhism including the Tibetan Book of the Dead.

Evans-Wentz examines each of the hypothetical explanations of the fairy phenomena. Among these are the theories that fairies were a reclusive race of dwarfs, that they are disembodied spirits, or that they are a figment of our imaginations. Evans-Wentz concludes that they may indeed be a manifestation of inhabitants of a higher reality that only some of us are able to view, let alone understand.

We come away from this study with a multi-dimensional view of the fairies, who, much like the grey aliens of UFO belief, inhabit a narrative which seems too consistent to be the product of insanity, yet too bizarre for conventional explanation.

in the foreword, i read...

FOREWORD
During the years 1907-9 this study first took shape, being then based mainly on literary sources; and during the latter year it was successfully presented to the Faculty of Letters of the University of Rennes, Brittany, for the Degree of Docteur-ès-Lettres. Since then I have re-investigated the whole problem of the Celtic belief in Fairies, and have collected very much fresh material. Two years ago the scope of my original research was limited to the four chief Celtic countries, but now it includes all of the Celtic countries.

however, after a preliminary investigation, it seems within "all of the Celtic countries" Bohemia (the homeland (haimaz → https://en.wiktionary.org/wiki/Reconstr ... nic/haimaz ) of the Boii) is not included (the usual "eastern-europe-blind-spot" bias! that is turning Bohemians into the imperceptible fairies-like entities).

https://en.wikipedia.org/wiki/Boii

[...]

It's good to see they used science in this effort.

By experiments on his own perfectly healthy children, Wienholt proved that there are natural forces existing whose stimulations are never perceived in waking life: he made passes over the face and neck of his son with an iron key at the distance of half an inch without touching him, whereupon the boy began to rub those parts and manifested uneasiness. Wienholt likewise experimented on his other children with lead, zinc, gold, and other metals, and in most cases the children 'averted the parts so treated, rubbed them, or drew the clothes over them'. 2 Therefore, in sleep the consciousness perceives objects without physical contact; and this not inconceivably might suggest, inversely, that in sleep the human consciousness can affect objects without physical contact, as it is said fairies and the dead can, and in the way psychical researchers know that objects can be affected.

How is it this essential work has escaped my notice 'til now?