"Treasures from the Wreck of the Unbelievable" - archeologia jako element strategii artystycznej Damiena Hirsta

Main Article Content

Wojciech Brillowski

Abstrakt

The most important element of Damien Hirst's multimedia project "Treasures from the Wreck of Unbelivable" was the exhibition, presented from April 9 to December 3, 2017 in Venice, in the galleries of the Pinault Foundation in Punta della Dogana and Palazzo Grassi. It was completed by several book publications and a 90-minute film of the same title, made available globally on the Netflix online platform on January 1, 2018. The exhibition included over a hundred objects, mainly sculptures, made in various techniques and materials in a wide range of sizes. The film, stylized as a popular science documentary, presents the fictional story of their discovery and exploration at the bottom of the Indian Ocean, and their transport to Venice. It develops the main idea of the exhibition – a fictitious vision of the origin of these objects from an ancient wreck, filled with artistic collections, belonging to a fabulously rich ancient Roman freedman, with the significant name Cif Amotan II (anagram from “I am a fiction”). Realizing this fancy artistic vision, most of the works were made as if they had been damaged by the sea waves and overgrown with corals and other marine organisms. Hirst created a comprehensive and all-encompassing narrative using the principle of "voluntary suspension of unbelief," formulated by Samuel T. Coleridge. The artist sets himself and the viewer on a fantastic journey into the ancient past, taking up subjects central to his ouevre for decades: faith, relations of art and science, transience and death. He does this by means of numerous references to the artistic and mythological heritage of antiquity, not only Graeco-Roman, but also of other great cultures and civilizations.


            Although the formal and technical aspects of the project will also be discussed, the main goal of the author is to analyze how Hirst used the knowledge of antiquity (classics) to create both the exhibition itself and the mockumentary. The artist made archeology an element binding his narrative together, showing in the film not only how artefacts were obtained from the bottom of the ocean. He also presented a number of tasks that scientists deal with at various stages of the project – from the first discovery, through interpretation and conservation, to the presenting at the museum-like exhibition. Of course, his purpose was not to create a study in the methodology of underwater exploration, but to reflect on the cognitive power of science examining remains of ancient times. By juxtaposing two possible attitudes towards relics of the past, i.e. the strict discipline of the scholar and the imagination of the treasure hunter, he concludes that narratives arising from them will both have the character of a mythical tale. The ontic status of the artefacts themselves, as the things of the past, left in a fragmentary state by the passage of time, sets all the stories related to them within the discourse of faith.

Downloads

Download data is not yet available.

Article Details

Jak cytować
Brillowski, W. (2020). "Treasures from the Wreck of the Unbelievable" - archeologia jako element strategii artystycznej Damiena Hirsta. Artium Quaestiones, (31), 123-170. https://doi.org/10.14746/aq.2020.31.5
Dział
ZWROT KINEMATOGRAFICZNY W PRAKTYCE I TEORII SZTUKI
Biogram autora

Wojciech Brillowski, Adam Mickiewicz University

 

Archeologist and art historian, assistant professor (PhD) at the Department of Art History, Adam Mickiewicz Univeristy. His research interests concern history of fortified architecture of the Medditeranean world in the era of antiquity and the Middle Ages. He has been and is engaged in a number of research projects in the today’s Greece, North Macedonia and Ukraine. In his academic work he also deals with the issues related to collecting objects of antiquity and early modern age as well as Polish museum studies in 20th century. He is also interested in ways of using ancient motifs in contemporary pop-culture, especially feature films, but also fantasy literature and comic books.

Bibliografia

  1. Ajootian A., Praxiteles, w: Personal Styles in Greek Sculpture, red. O. Palagia, J.J. Pollitt, Cambridge 1996, s. 91–129
  2. The Alexander Romance in Persia and the East, red. R. Stoneman, K. Erickson, I. Netton, Groningen 2012
  3. Anderson R.G.W. et al., Enlightning the British: Knowledge, discovery and the museum in the eighteenth century, London 2003
  4. Archaeology and Capitalism, red. Y. Hamilakis, P. Duke, Walnut Creek 2007
  5. Bagnall R.S., Reading Papyri, Writing Ancient History, London 1995
  6. Barnett S., Rhetoric’s Nonmodern Constitution: Techne, Phusis, and the Production of Hybrids, w: Thinking with Bruno Latour in Rhetoric and Composition, red. P. Lynch, N. Rivers, Carbondale, IL, 2014, s. 81–96
  7. Becatti G., Il culto di Ercole ad Ostia, „Bullettino della Commissione Archeologica Comunale di Roma” 1938–1939, 67, s. 37–60
  8. Bennett J., The enchantment of modern life: Attachments, crossings, and ethics, Princeton 2001
  9. Bennett T., Pasts Beyond Memory: Evolution, Museums, Colonialism, London–New York 2004
  10. Bethenod M., Preface, w: D. Hirst et al., Treasures from the Wreck of the Unbelievable, London 2017, s. 7
  11. Bianchi Bandinelli R., Archeologia klasyczna jako historia sztuki, tłum. i posłowie W. Dobrowolski, Warszawa 1988
  12. Boin D.R., A Hall for Hercules at Ostia and a Farewell to the Late Antique “Pagan Revival”, „American Journal of Archaeology” 2010, 2(114), s. 253–266
  13. Bol P.C., Die Skulpturen des Schiffsfundes von Antikythera, Berlin 1972
  14. Borges J.L., Oscar Wilde, Kwiat Coleridge’a, Sen Coleridge’a, „Więź” 1990, 2–3, s. 118–125
  15. Borges J.L., Narrative Art and Magic, w: idem, Selected non-fictions, New York–London 1999, s. 75–82
  16. Boysen B., The embarrassment of being human: A critique of new materialism and object-oriented ontology, „Orbis Litterarum” 2018, 73, s. 225–242
  17. Brillowski W., Zbytek, status, znawstwo. O kolekcjonerstwie sztuki greckiej w Rzymie u schyłku republiki i w początkach pryncypatu, w: Zbytek i ubóstwo w starożytności i średniowieczu, red. L. Kostuch, E. Ryszewska, Kielce 2010, s. 161–171
  18. Calchi Novati G., Staging the Wreck of the Unbelievable. Performing ideology: Imaginary surplus, alienation and anxiety, „Performance Research” 2019, 5(24), s. 21–26
  19. Calligas P.G., Statue of a Young Athlete, w: Mind and Body: Athletic Contests in Ancient Greece, red. O. Tzachou-Alexandri, Athens 1989, s. 179–180
  20. Carlson D.N., Caligula’s Floating Palaces, „Archaeology” 2002, 3(55), s. 26–31
  21. Choat S., Science, Agency and Ontology: A Historical-Materialist Response to New Materialism, „Political Studies” 2018, 4(66), s. 1027–1042
  22. Coleridge S.T., Biographia Literaria or Biographical Sketches of My Literary Life and Opinions, t. 2, London 1817
  23. Coleridge S.T., Poezje wybrane, wyb. i tłum. Z. Kubiak, Warszawa 1987
  24. Colwell-Chanthaphonh C., T.J. Ferguson, Trust and archaeological practice: towards a framework of Virtue Ethics, w: The Ethics of Archaeology: Philosophical Perspectives on Archaeological Practice, red. C. Scarre, G. Scarre, Cambridge 2006, s. 115–130
  25. Cooper G.M., Astrology: The Science of Signs in the Heavens, w: The Oxford Handbook to Science and Medicine in the Classical World, red. P.T. Keyser, J. Scarborough, Oxford 2018, s. 381–407
  26. Davies P.J.E., Architecture and Politics in Republican Rome, Cambridge–New York 2017
  27. Dawson G., Show me the bone: reconstructing prehistoric monsters in nineteenth-century Britain and America, Chicago 2016
  28. Díaz-Andreu M., A World History of Nineteenth-Century Archaeology: Nationalism, Colonialism, and the Past, Oxford–New York 2007
  29. Dova S., Greek Heroes in and out of Hades, Lanham–Plymouth 2012
  30. Drower M.S., Flinders Petrie: A Life in Archaeology, Madison 1995
  31. Felch J., R. Frammolino, Chasing Aphrodite: The Hunt for Looted Antiquities at the World’s Richest Museum, Boston–New York 2011
  32. Ferri A.J., Willing Suspension of Disbelief: Poetic Faith in Film, Lanham–New York–Plymouth 2007
  33. Flaubert G., Salambo, tłum. W. Rogowicz, Warszawa 1978
  34. Freedberg D., Potęga wizerunków, tłum. E. Klekot, Kraków 2005
  35. Freedman L., Michelangelo’s Reflection on Bacchus, „Artibus et Historiae” 2003, 24(47), s. 121–135
  36. Frel J., The Getty Bronze, Los Angeles 1978
  37. Furtwängler A., Meisterwerke der griechischen Plastik. Kunstgeschichtliche Untersuchungen, t. 1–2, Leipzig 1893
  38. Geuna E., The Coral Diver, w: D. Hirst et al., Treasures from the Wreck of the Unbelievable, London 2017, s. 10–11
  39. Goddio F., Discovering a Shipwreck, w: D. Hirst et al., Treasures from the Wreck of the Unbelievable, London 2017, s. 24–27
  40. Graf F., Magic in the Ancient World, Cambridge, MA, 1997
  41. Green J., Maritime Archaeology: A Technical Handbook, San Diego 2004
  42. Harman G., Tool-being: Heidegger and the metaphysics of objects, Chicago, IL, 2002
  43. Harman G., Weird realism: Lovecraft and philosophy, Alresford 2012
  44. Hemingway S., The Horse and Jockey From Artemision: A Bronze Equestrian Monument of the Hellenistic Period, Berkeley–Los Angeles–London 2004
  45. Himmelmann N., Mahdia und Antikythera, w: Das Wrack. Der antike Schiffsfund von Mahdia, red. G. Hellerkemper-Salies, Köln 1994, s. 849–855
  46. Hirst D., The Undersea Salvage Operation: Treasures from the Wreck of the Unbelievable, fot. C. Gerigk, S. Russell, London 2017
  47. Hirst D., G. Burn, On The Way To Work, London 2001
  48. Hirst D., A. Corry, Treasures from the Wreck of Unbelievable: One Hundred Drawings, London 2017
  49. Hirst D. et al., Treasures from the Wreck of the Unbelievable, London 2017
  50. Hopkins K., Models, Ships and Staples, w: Trade and Famine in Classical Antiquity, red. P. Garnsey, K. Hopkins, C.R. Whittaker, Cambridge 1983, s. 84–109
  51. Kabbadias P., The Recent Finds off Cythera, „Journal of Hellenic Studies” 1901, 21, s. 205–208
  52. Karanika A., The End of the Nekyia: Odysseus, Heracles, and the Gorgon in the Underworld, „Arethusa” 2011, 1(44), s. 1–27
  53. Landfester M., Athenaios [3] aus Naukratis (Ägypten), w: Der neue Pauly. Supplemente, t. 2: Geschichte der antiken Texte: Autoren- und Werklexikon, red. M. Landfester, B. Egger, Stuttgart 2007, s. 88–89
  54. Latour B., We Have Never Been Modern, Cambridge, MA, 1993
  55. Latour B., Reassembling the Social: An Introduction to Actor-Network Theory, Oxford 2005
  56. Loyrette H., On the Name of, w: D. Hirst et al., Treasures from the Wreck of the Unbelievable, London 2017, s. 13–17
  57. MacGregor N., A History of the World in 100 Objects, London 2010
  58. Majkowski T.Z., W cieniu Białego Drzewa. Powieść fantasy w XX wieku, Kraków 2013
  59. Marchant J., Exploring the Titanic of the Ancient World, „Smithsonian Magazine” 2015, 10(45), s. 56–69
  60. Mastrocinque A., The Antikythera Shipwreck and Sinope’s Culture during the Mithridatic Wars, w: Mithridates VI and Pontic Kingdom, red. J.M. Højte, Aarhus–Lancaster 2009, s. 313–319
  61. Mattusch C.C., The Victorious Youth, Los Angeles 1997
  62. Maurer K., Archeology as Spectacle: Heinrich Schliemann’s Media of Excavation, „German Studies Review” 2009, 2(32), s. 303–317
  63. Merlin A., Statues de bronze trouvées près de Mahdia, „Comptes rendus des séances de l’Académie des Inscriptions et Belles-Lettres” 1908, 4(52), s. 245–254
  64. Miles M.M., Cicero’s Prosecution of Gaius Verres: A Roman View of the Ethics of Acquisition of Art, „International Journal of Cultural Property” 2002, 1(11), s. 28–49
  65. Moscati S., The Phoenicians, Venezia 1988
  66. Moscati S., E. Arslan, D. Vitali, The Celts: The Origins of Europe, New York 1991
  67. Muckelroy K., Maritime Archaeology, Cambridge 1978
  68. Muensterberger W., Collecting. An Unruly Passion: Psychological Perspectives, Princeton 2014
  69. Murray W.M., The Age of Titans: The Rise and Fall of the Great Hellenistic Navies, Oxford–New York 2012
  70. Naish G.P.B., The “Wasa”, her place in history, London 1968
  71. Olsen B., In Defense of Things. Archaeology and the Ontology of Objects, Lanham, MD, 2010
  72. Olsen B. et al., Archaeology: The Discipline of Things, Berkeley–Los Angeles–London 2012
  73. Petersen L.H., The Freedman in Roman Art and Art History, Cambridge 2011
  74. Pollard A.M., Measuring the Passage of Time: Achievements and Challenges in Archaeological Dating, w: The Oxford Handbook of Archaeology, red. B. Cunliffe,
  75. C. Gosden, R.A. Joyce, Oxford–New York 2009, s. 123–139
  76. Pollitt J.J., The Impact of Greek Art on Rome, „Transactions of the American Philological Association” 1978, 108, s. 155–174
  77. Pollitt J.J., Art in the Hellenistic Age, Cambridge 2006
  78. Pomian K., Zbieracze i osobliwości. Paryż – Wenecja, XVI–XVIII wiek, Lublin 2001
  79. Posèq A.W.G., Caravaggio and the Antique, „Artibus et Historiae” 1990, 11(21), s. 147–167
  80. Richardson L., Jr., A New Topographical Dictionary of Ancient Rome, Baltimore–London 1992
  81. Schama S., Inventory, w: D. Hirst et al., Treasures from the Wreck of the Unbelievable, London 2017, s. 18–23
  82. Schmidt P., M. De La Garza, E. Nalda, I Maya, Milano 1998
  83. Schulz E., Notes on the history of collecting and of museums, w: Interpreting Objects and Collections, red. S.M. Pearce, London–New York 2003, s. 175–187
  84. Sharp J., Spirals and the Golden Section, „Nexus Network Journal” 2002, 1(4), s. 59–82
  85. Smithson R., A Sedimentation of the Mind: Earth Projects, „Artforum” 1968, 1(7), s. 82–91
  86. Sparrow T., The end of phenomenology: Metaphysics and the new realism, Edinburgh 2014
  87. Stevenson A., „We Seem to be Working in the Same Line”: A.H.L.F Pitt-Rivers and W.M.F. Petrie, „Bulletin of the History of Archaeology” 2012, 1(22), s. 4–13
  88. Stewart A., Greek Sculpture: an Exploration, t. 2, Plates, New Haven–London 1990
  89. Stoneman R., Alexander the Great: A life in legend, New Haven–London 2010
  90. Tcherepashenets N., Place and displacement in the narrative worlds of Jorge Luis Borges and Julio Cortázar, New York 2008
  91. Tchernia A., P. Pomey, A. Hesnard, L’apave romaine de la Madrague de Giens, Paris 1978
  92. Torelli M., The Etruscans, Milano 2001
  93. Tourtas A., The discovery of the Antikythera shipwreck: The social aspect, Southampton 2014 [University of Southampton, praca magisterska]
  94. Traill D.A., Schliemann’s “Dream of Troy”: The Making of a Legend, „Classical Journal” 1985, 1(81), s. 13–24
  95. Ucelli G., Le navi di Nemi, Roma 1950
  96. Underwater Archaeology: The Nautical Archaeological Society Guide to Principles and Practice, red. A. Bowens, Malden–Oxford 2009
  97. Vlachogianni E., Sculpture, w: The Antikythera Shipwreck: the ship, the treasures, the mechanism, red. N. Kaltsas, E. Vlachogianni, P. Bouyia, Athens 2012, s. 62–115
  98. Weinberg G.D. et al., The Antikythera shipwreck reconsidered, Philadelphia 1965
  99. West M.S., Textual Criticism and Editorial Technique Applicable to Greek and Roman Texts, Stuttgart 1973
  100. Wilk S.R., Medusa: Solving the Mystery of the Gorgon, Oxford 2000
  101. Wilson A., The economic influence of developments in maritime technology in antiquity, w: Maritime Technology in the Ancient Economy: Ship Design and Navigation, red. W.V. Harris, K. Iara, Portsmouth, Rhode Island 2011, s. 211–233
  102. Witmore C., Symmetrical archaeology: Excerpts of a manifesto, „World Archaeology” 2007, 4(39), s. 546–562
  103. Witmore C.L., Archaeology and the New Materialisms, „Journal of Contemporary Archaeology” 2014, 1(2), s. 203–246
  104. ŹRÓDŁA ANTYCZNE
  105. Apollodoros, Biblioteka, wyd. jako Apollodorus, The Library, t. 1–2, tłum. i red. J.G. Frazer, Cambridge, MA, 1921
  106. Apolloniusz, Wyprawa Argonautów, wyd. jako Apollonius Rhodius, Argonautica, tłum. i red. W.H. Race, Cambridge, MA, 2009
  107. Arystoteles, Fizyka, wyd. jako Aristotle, Physics, vol. 1–2, tłum. i red. P.H. Wicksteed, F.M. Cornford, Cambridge, MA, 1934–1957
  108. Cyceron, Przeciw Werresowi, wyd. jako Cicero, The Verrine Orations, t. 1–2, tłum. i red. L.H.G. Greenwood, Cambridge, MA, 1928–1935
  109. Hezjod, Teogonia, wyd. jako Hesiod, Theogony, Works and Days, Testimonia, tłum. i red. G.W. Most, Cambridge, MA, 2007
  110. Homer, Odyseja, wyd. jako Homer, Odyssey, t. 1–2, tłum. i red. A.T. Murray, popr. G.E. Dimock, Cambridge, MA, 1919
  111. Lukan, Farsalia, wyd. jako Lucan, The Civil War, tłum. i red. J.D. Duff, Cambridge, MA, 1928
  112. Owidiusz, Metamorfozy, ks. IV, wyd. jako Ovid, Metamorphoses, t. 1–2, tłum. i red. F.J. Miller, popr. G.P. Goold, Cambridge, MA, 1916.
  113. Pauzaniasz, Opisanie Grecji, wyd. jako Pausanias, Description of Greece, t. 1–5, tłum. i red. W.H.S. Jones, Cambridge, MA, 1918–1935
  114. Periplus Morza Erytrejskiego, wyd. jako The Periplus Maris Erythrei with Introduction, Translation, and Commentary, tłum. i red. L. Cassons, Princeton 1989
  115. Pliniusz, Historia Naturalna, wyd. jako Pliny, Natural History, t. 1–10, tłum. i red. D.E. Eichholz, W.H.S. Jones, H. Rackham, Cambridge, MA, 1938–1962
  116. ŹRÓDŁA INTERNETOWE
  117. Cascone S., Damien Hirst’s 60-Foot-Tall Demon Will Loom Over the Most Expensive, Art-Bedecked Hotel Renovation in Las Vegas’s History, „Artnet News” 2019, 3 kwietnia, dostępny w internecie: <https://news.artnet.com/art-world/damienhirst-las-vegas-hotel-demon-1507594> [dostęp: 21 marca 2020]
  118. Damien Hirst on his new shipwreck exhibition, „BBC News” 2017, 6 kwietnia[dostęp: 29 marca 2020]
  119. Franck Goddio, Underwater Archaeologist, dostępny w internecie: <https://www.franckgoddio.org/projects/sunken-civilizations/alexandria.html> [dostęp: 25 marca 2020]
  120. Grecian, Cambridge Dictionary, dostępny w internecie: <https://dictionary.cambridge.org/pl/dictionary/english/grecian> [dostęp: 25 marca 2020]
  121. Greene E.S., J. Leidwanger, Damien Hirst’s Tale of Shipwreck and Salvaged Treasure,„American Journal of Archaeology Online” 2017, 13 grudnia, dostępny w internecie:<https://www.ajaonline.org/sites/default/files/1221%20Greene_0.pdf> [dostęp: 12 marca 2019]
  122. Hirst D., A. Haden-Guest, Interview, 23 listopada 2008, dostępny w internecie:<https://www.interviewmagazine.com/culture/damien-hirst> [dostęp: 25 marca 2020]
  123. Halperin J., Damien Hirst Created a Fake Documentary About His Fake Venice Show—and Now You Can See It on Netflix, „Artnet News” 2019, 5 stycznia, dostępny w internecie: <https://news.artnet.com/art-world/damien-hirst-created-fake-documentary-venice-show-can-see-netflix-1192922> [dostęp: 21 marca 2020]
  124. Hirst D., The Severed Head of Medusa, Ashmolean Museum, 2018–2019, dostępny w internecie: <https://www.ashmolean.org/event/damien-hirst-medusa> [dostęp: 29 marca 2020]
  125. Hirst D., Wunderkammer, „damienhirst”, 2015, dostępny w internecie: <http://damienhirst.com/texts/2015/wunderkammer> [dostęp: 28 marca 2020]
  126. Hirst D., Treasures from the Wreck of the Unbelievable [przewodniki], Palazzo Grassi, 2017, dostępny w internecie: <https://www.palazzograssi.it/en/exhibitions/past/[dostęp: 11 stycznia 2019]
  127. Latson J., The Barbie Doll’s Not-for-Kids Origins, „Time” 2015, 9 marca, dostępny w internecie:<https://time.com/3731483/barbie-history> [dostęp: 29 marca 2020]
  128. Morgan T., Damien Hirst’s Shipwreck Fantasy Sinks in Venice, „Hyperallergic” 2017, 10 sierpnia, dostępny w internecie: <https://hyperallergic.com/391158/damienhirst-treasures-from-the-wreck-of-the-unbelievable-venice-punta-della-doganapalazzo-grassi> [dostęp: 29 marca 2020]
  129. Obrist H.U., D. Hirst, An Interview, 2007, dostępny w internecie: <http://www.damienhirst.com/texts/20071/feb--huo> [dostęp: 27 marca 2020]
  130. Parke P., Damien Hirst accused of copying African art at Venice Biennale, CNN 2017 11 maja, dostępny w internecie: <https://edition.cnn.com/2017/05/10/africa/damien-hirst-appropriation-venice-biennale> [dostęp: 3 kwietnia 2020]
  131. Romey K., 9 Dazzling Discoveries of Ancient Gold Treasure, „National Geographic”, dostępny w internecie: <https://www.nationalgeographic.com/news/2017/10/ancient-gold-treasure-archaeology-egypt> [dostęp: 2 kwietnia 2020]
  132. Sam Hobkinson, „IMDb”, dostępny w internecie: <https://www.imdb.com/name/nm0387700/?ref_=tt_ov_dr> [dostęp 26 marca 2020];
  133. Tim Cragg, „IMDb”, dostępny w internecie: <https://www.imdb.com/name/nm1145108/?ref_=fn_al_nm_1> [dostęp: 26 marca 2020].
  134. Treasures from the Wreck of the Unbelievable (2017), „IMDb”, dostępny w internecie:<https://www.imdb.com/title/tt6980988/> [dostęp: 21 marca 2020]
  135. Vogel C., Damien Hirst is Back With an Underwater Fantasy. Will Collectors Care?, „New York Times” 2017, 6 kwietnia, dostępny w internecie [dostęp: 29 marca 2020]
  136. Westfall M., The White Whale 2017, 13 listopada, dostępny w internecie: <http://gristle.com/2017/11/13/the-white-whale> [dostęp: 29 marca 2020]
  137. WYSTAWY
  138. Hirst D., „Romance in the Age of Uncertainity”, 9 września – 18 grudnia 2003, White Cube, Londyn, Wielka Brytania
  139. Hirst D., „New Religion”, 13 października – 19 listopada 2005, Paul Stolper Gallery, Londyn, Wielka Brytania
  140. Hirst D., „Relics”, 10 października 2013 – 22 stycznia 2014, Qatar Museums Gallery ALRIWAQ, Doha, Katar
  141. Hirst D., „Treasures from the Wreck of the Unbelievable”, 9 kwietnia – 3 grudnia 2017, Punta della Dogana oraz Palazzo Grassi, Wenecja, Włochy
  142. FILMY I SERIALE
  143. Clash of the Titans, reż. D. Davis, 1981
  144. The Cousteau Odyssey, seria 1, odc. 8, reż. J.-I. Cousteau, 1976 (1977)
  145. Jason and Argonauts, reż. D. Chaffey, 1963
  146. Jungle Book, reż. W. Reitherman, 1967
  147. The Silent Enemy, reż. W. Fairchild, 1958
  148. Spiderman, reż. S. Raimi, 2002
  149. Treasures from the Wreck of the Unbelievable, reż. S. Hobkinson, 2017