Posts Tagged Horror

31 Days of Horror

Every October, I do the 31 Days of Horror/Halloween with the intention of chronicling my journey. And every year I never get around to it. But this year…THIS YEAR…things will be different!

31 DAYS OF HORROR 2015, PT. 1
babadook2“This year’s orgy of entertainment included a lot more recent horror films than I normally watch, but I figured it was time to return tot he genre I loved so much but felt exiled from by all the found footage and torture porn films. Turns out this year I went heavy on “lad meets monster girl” and “grief of a parent”. We also got in a lot of short stories, mostly by Robert E. Howard. And then I went to Ireland.”

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Keith Allison is the chief Bacchanologist at Teleport City.

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Cat Demon Blues

We’re celebrating Halloween early on TC.

KURONEKO

kuroKuroneko is a film that feels older than it is. Shot in 1968, five years after Shindo’s more famous horror movie Onibaba, Kuroneko hearkens back to the more humanistic period pieces and sword-fighting films of the 1950s. Kuroneko is also one of my favorite films. And not just because it has cat demon ladies in it. Though, really, cat demon ladies should be an enormous draw for anyone. Cat demon ladies and ghost cats have been around long before Ju-On / The Grudge or even before Utagawa Kuniyoshi illustrated a sweet party of a lady, two cats dancing with handkerchiefs on their heads and a giant cat monster interrupted by some guy in 1835.

 

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Keith Allison is the chief Bacchanologist at Teleport City.

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Madness at the Sanatorium

THE HOURGLASS SANATORIUM

hs1“A gloriously perverse carnival air permeates The Hourglass Sanatorium, the sort of atmosphere that would be similarly at home in an Alejandro Jodorowsky or Fellini film. Bent figures in the threadbare finery of yesteryear — tattered cloaks, rumpled suits, crooked top hats — rub elbows with topless strippers amid the ruined relics of bygone splendor and in an atmosphere not of the timid and tempted soul seeking sin, being beckoned into the shadows by the luring finger or the sideshow barker’s promise of forbidden fruit; but instead of the brothel, the sideshow, the theater after hours, when those who labor to create our fantasies and illusions gather together to relax, to blow off steam, to end a long night’s work by unwinding in the company of one’s peers who, while not always pleasant, at least exist in the same frame of reference.”

 

And as a bonus, in case you are so inclined to read it, I moonlight as the Science Fiction Guy on a site called The Cultural Gutter and recently wrote about the first time I saw Rocky Horror Picture Show.

WHATEVER HAPPENED TO SATURDAY NIGHT?

featrhps“Our intention, besides parading around and making the scene, was to see The Rocky Horror Picture Show. I’d been preparing for this trip for days. Laying the groundwork that would allay any potential parental suspicion. Picking out the appropriate outfit. With very little in the way of codified punk rock to guide me, I had my own interpretation of what was appropriate attire for such a sojourn, whichwas a t shirt I’d sliced open in the back and stitched back up using old shoelaces. I’d then written “Joy Division” on the front in bright neon pink glitter puffy paint pen, because I thought that was a clever subversion of the gloomy melancholy one expects. I thought about fashioning some manner of Dracula cape, but it never came together. Finished off with a pair of ripped up jeans and a lot of Dep hair goo. Lookin’ cool. Or something.”

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Keith Allison is the chief Bacchanologist at Teleport City.

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A Good Night’s Sleep

VALERIE AND HER WEEK OF WONDERS

valDespite intense social and political messages, Valerie and Her Week of Wonders is not a grim, oppressive movie. It is not about defeat, but triumph. The film’s final scene, in which nearly every version of every character parades through the village streets and Valerie finally gets some rest, is in a way a premonition of the jubilant Velvet Revolution that would remove the Soviet yoke once and for all some nineteen years later. It is a testament to the determination of the Czech people to be true to their own character no matter the attempts to force upon them some external system of behavior fundamentally at odds with their own — a character perhaps best summarized by how all of this political symbolism passed by resurgent Soviet dominance without being caught. Overarching it all is Valerie‘s ability to remain steadfastly optimistic, hopeful, and curious despite all the attempts to control her, subjugate her, or own her. It is the story of whimsy’s triumph over the grim, of liberation’s victory over oppression.

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Keith Allison is the chief Bacchanologist at Teleport City.

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While I was Busy Cutting Off Faces

quelle_horreur2

OK, running more than a little bit late for the “Quelle horreur!” round table, but…well…some French excuse. I don’t know. Anyway, I’ve finally pulled my act together and completed my entry.

Eyes Without a Face/Les yeux sans visage

feat“With a few exceptions scattered throughout the past hundred years or so of feature filmmaking, the French never really embraced the horror film. Instead, the French response was cinema fantastique. Certainly it had elements of horror, sometimes more overt than others, but more traditionally recognizable characteristics of horror were mixed into a dreamy mist that also included romance, science fiction, mystery, and melodrama all spun with a disregard for logical narrative structure and progression in favor of a dreamlike (or nightmare) quality. Of the many films that make up the body of cinema fantastique, few have developed an enduring reputation, good and bad, quite like that of Georges Franju’s Les yeux sans visage, aka Eyes without a Face.

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Keith Allison is the chief Bacchanologist at Teleport City.

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