HORROR, SERIOUSLY

[Labudan]

Eo kome se čita

Film Studies vol 15
Eurohorror

http://www.ingentaconnect.com/content/manup/fs/2016/00000015/00000001

[Labudan]

Journal of Italian Cinema & 
Media Studies 5.2

Italian horror cinema

http://www.ingentaconnect.com/content/intellect/jicms/2017/00000005/00000002

[Labudan]

/Under the Skin/: Cosmology and Individuation 

<http://www2.warwick.ac.uk/fac/arts/film/movie/contents/constable._under_the_skin.pdf>;

Catherine Constable

[Labudan]

http://www.youtube.com/watch?v=VeNmHEggZmw

[Alexdelarge]

Najzad je kucnuo čas da možemo slobodno i sigurno, bez straha od uroka, baksuza i dušmana, da obznanimo šta se krčka u Ghoulovoj i Orfelinovoj horor kuhinji ove godine. Pa, pošto znam da ste nestrpljivi (a znam to po brojnim mejlovima i FB porukama koje sam zadnjih nedelja dobio ovim povodom), bez daljeg odlaganja, evo koje stravične poslastice možete očekivati do kraja 2018. godine.

Naravno, o svakoj od ovih knjiga biće više i detaljnije reči onda kad se njihov izlazak primakne i kada bude raspisivana pretplata – za sada, u najopštijim crtama.

http://ljudska_splačina.rs/2018/03/horor-planovi-za-2018.html

[Alexdelarge]

Samo zato što ste se Azatotu (a i Ghoulu) popeli na vr' pipka zapitkujući, zapitkujući i zapitkujući - evo, najzad, šta hororično spremamo ove godine, u Orfelinu, a i šire.


http://ljudska_splačina.com/2019/05/horor-planovi-za-2019.html

[Alexdelarge]

Evo nečega za ljubitelje mraka, Marka i Ligotija: u uglednom časopisu Kultura (br. 163 / 2019) objavljena su dva temata: „Kulture otpora“ i „Kultura i novac“. U ovom prvom objavljen je, pored ostalog, i naučni rad o Ligotiju koji je napisao dr Marko Pišev, naš odličan (pa stoga i ne baš plodan) pisac strave, a u zadnje vreme sve istaknutiji akademski radnik (Univerzitet u Beogradu, Filozofski fakultet – Odeljenje za etnologiju i antropologiju).

http://ljudska_splačina.com/2019/10/natprirodna-strava-i-nihilizam-tomasa.html

[Alexdelarge]

Veoma sam ponosan na činjenicu da sam ponovo deo jednog od najboljih današnjih književnih časopisa koji se bavi hororom. Eno me opet u ligotijevsko-mračnjačkom, modern-weirdovskom, itekako zapaženom i s pravom hvaljenom Vastarienu, časopisu koji je vrlo brzo stekao ozbiljan renome, i odakle su priče i eseji već bili nominovani za najveće žanrovske nagrade, a poneki su ih i dobili. 

Konkretno, u najnovijem broju (Vastarien Vol. 4, Issue 2; Fall 2021), koji je iz štampe izašao pre desetak dana, objavljen je moj stručni rad pod naslovom „The Three Paradigms of Horror“.

http://ljudska_splačina.com/2021/12/moj-esej-o-poetici-horora-u-casopisu.html

[Labudan]

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

otkud ovo proklijalo

[Petronije]

Pojavljuje mi se kad pretražujem filmove na venomu i elementumu, valja li čemu?

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[dark horse]

Pa, sve vam piše na wiki, film nađen pre 5 godina:

The Amusement Park was the only film Romero made on a work-for-hire basis.

The film was commissioned by the Lutheran Service Society of Western Pennsylvania, as an educational film about elder abuse and ageism. According to Romero's wife, Suzanne Desrocher-Romero, "They [did] use it initially, but I suspect that they thought it was a little edgier than they would have liked," and it was soon shelved.

The film was believed lost until a 16 mm print that was used in a Romero retrospective at the Torino Film Festival in 2001 was sent to Romero and his wife in 2017.

[Dybuk]

Koliko sam shvatila čitajući utiske Romerovih fanova, film je bio "izgubljen" s razlogom.

[dark horse]

The Amusement Park: How George Romero’s Long Lost Film Was Found

The Amusement Park, a genuinely disturbing and long buried George A. Romero film, has come back from the cinematic graveyard.

In 1968, George A. Romero directed Night of the Living Dead, a tiny independent horror film that went on to change the face of its genre and make a permanent mark on film history itself. Five years later, Romero’s two decidedly un-Dead-like follow-ups—There’s Always Vanilla (1971) and Season of the Witch (1972)—had already vanished quickly into obscurity. He was still several years away from directing Dawn of the Dead and again becoming a worldwide horror sensation.

Perhaps simply looking to put food on the table while getting his next project (The Crazies) up and running, Romero was receptive when approached by the Lutheran Society, who wanted to create an educational film about society’s poor treatment of the elderly. With a script by Walton Cook (one of the rare Romero projects he did not write himself), Romero’s only work for hire, called The Amusement Park, was apparently so disturbing that the Lutheran Society never released it.

“I know a lot of people have been using the word ‘lost,’ but it wasn’t really quite lost,” says Romero’s widow, Suzanne Desrocher-Romero, about the film, which premieres this week, 48 years after it was made, on the Shudder streaming service. “It was more about it being shelved, I guess, maybe. It really wasn’t a film. It was a PSA. It was meant to be shown in [Lutheran Society] community centers.”

Either way, the film was all but forgotten until a 16mm print turned up in 2017, not long before George Romero passed away. It’s since played as part of a tribute to Romero at the Torino Film Festival.

“I had been basically his gatekeeper since 2005, and I had never heard him mention this film ever in any of his interviews,” says Suzanne. “A friend of ours, Julia, who is a programmer for the Torino Film Festival, had the film. She gave me the 16, which I put in my office, and a DVD.”

Suzanne says she and her husband watched it perhaps “three or four weeks” before George’s death in July 2017. “I have to say, I was gobsmacked,” Suzanne says. “First of all, it’s even hard to describe. It’s so unique, it’s edgy, it’s still relevant. It still has Romero all over it. I said to him, ‘What the heck? You never mentioned this.’ He goes, ‘Well, it was a community thing. It was nothing.’”

The 53-minute film stars Lincoln Maazel, who would later show up in Romero’s 1977 cult vampire film, Martin. After addressing the viewer directly in a brief introduction to explain the movie’s premise, Maazel then appears as a battered, bloodied old man in a white suit, who is sitting injured and quite distraught in an all-white room. A different, more dapper version of the man, also played by Maazel, enters and speaks with the first one before leaving through a doorway and entering a typical amusement park of the day (the now defunct West View Park, once located north of Pittsburgh).

At first the old man is happy to be in the park. But then—in a series of free-associating, almost dreamlike scenarios—his joy turns to first bafflement and then horror as he sees the elderly like himself treated disdainfully and even inhumanely by the park staff and the other visitors.

“We go [to an amusement park] to amuse ourselves, to forget our problems and our life’s obstacles,” Suzanne says about the film’s central metaphor. “An amusement park is for fun. Yet for this gentleman, not so much.”

As Maazel watches, the elderly are forced to sell their heirlooms for mere dollars to buy tickets for the rides. An older couple is blamed for an “accident” on the bumper cars that was clearly not their fault, mainly because they are old (the other “driver” is played by Romero himself). Maazel tries to get service at a snack bar and is all but ignored. He later goes into the park’s haunted house, which on the inside is a physical therapy center that is all but a torture chamber. At one point, he sits on a bench and speaks to a small group of children—and is immediately accused of being a pedophile.

Meanwhile a figure in a robe and death mask stalks silently throughout the park, his presence always lurking just behind the old man. Things get worse as Maazel is robbed, beaten, and shoved around. One scene, in which he gets a brief respite of happiness by reading a little girl a story, only for her mother to rudely snatch her away and leave the man in tears, is almost unbearably distressing and heartbreaking. By the time the old man returns to the white room, his suit dirtied, his face bloodied, and his hair mussed, we realize he’s the same fellow we saw at the beginning… and the horrific cycles continues.

“This was before we had programs like Meals on Wheels and other support programs that we are thankful for today,” says Suzanne about the film’s devastating critique of how we as a society treat our oldest citizens—a problem that has not been solved to this day. “Without these programs, it’s just still so staggering, how much we dismiss our elderly.”

George Romero’s horror movies, like the Dead films in particular, were known for their angry, often blunt social commentary, and that aspect of the filmmaker’s vision comes through in the disturbing imagery of The Amusement Park. “I really wanted this message to shine,” Suzanne says. “The fact that it was a Romero film gives the message some legs. I’m grateful for that.”

The Amusement Park was seemingly too horrifying for the Lutheran Society, however, which put the film on the shelf and forgot about it. Suzanne reveals they didn’t even have any records of it being commissioned when she got in touch with the organization.

“They probably thought it was a bit edgier than they would have liked,” Suzanne theorizes. “Even when I went to the gerontology department at the University of Pittsburgh and showed them the film, they thought it was way too edgy. They were completely taken aback by it. So I imagine that in 1973, they would have felt the same way.”

Following her husband’s death, Suzanne launched the nonprofit George A. Romero Foundation and decided that its first project would be the restoration of The Amusement Park.

“We looked at different restoration houses and decided to go with the wonderful IndieCollect,” she says. “[The film] was a mess. We found another copy, another 16, that was also in rough shape, and they did the best they could. I think they did a wonderful job, considering.”

While the film certainly looks its age and is weathered in many ways, the very nature of The Amusement Park—the on-the-ground, documentary style of the filmmaking combined with the surreal nature of the material—not only fits neatly into the Romero filmography but fills in an important missing chapter in his body of work.

“My task was to get it out there, because I thought Romero completists might be interested in this,” says Suzanne. “Although I was concerned that zombie fans might not like this—because it wasn’t that—people have been extraordinarily receptive to it. I couldn’t be more thrilled.”

[Labudan]

Pojavljuje mi se kad pretražujem filmove na venomu i elementumu, valja li čemu?

tek naletih na film
neki pričaju da nije horor, neki da jeste

https://www.youtube.com/watch?v=39SjIwVwArc

prema trejleru reklo bi se da je starinski pristup pa ne treba da buni 1973. godina, više je 1963. vajb

[Petronije]

Ne moram ja sve ni da gledam.

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[Labudan]

ja sam skinuo mada proričem da ću gledati 7-8 minuta

[Васа С. Тајчић]

Дарио Арђенто на насловној страни Политике

[Labudan]

Veoma sam ponosan na činjenicu da sam ponovo deo jednog od najboljih današnjih književnih časopisa koji se bavi hororom. Eno me opet u ligotijevsko-mračnjačkom, modern-weirdovskom, itekako zapaženom i s pravom hvaljenom Vastarienu, časopisu koji je vrlo brzo stekao ozbiljan renome, i odakle su priče i eseji već bili nominovani za najveće žanrovske nagrade, a poneki su ih i dobili. 

Konkretno, u najnovijem broju (Vastarien Vol. 4, Issue 2; Fall 2021), koji je iz štampe izašao pre desetak dana, objavljen je moj stručni rad pod naslovom „The Three Paradigms of Horror“.

http://ljudska_splačina.com/2021/12/moj-esej-o-poetici-horora-u-casopisu.html

jbt Gule ti si lik nepopravljiv. Eo pazario sam ti Vastarien ebook, pogledo jesi li išta promijenio u odnosu na prvobitnu verziju ovog teksta, i ti i dalje pišeš da je Đavo u Devetoj kapiji - žena?

[Labudan]

Pročito sam 'Klub Dima' Artura Peres Revertea, prema kojem je snimljen NINTH GATE. Zapravo su u filmu izvršene krupne rekompozicije i priče i likova, ali da minimalno spojlujem, već sam naslov sugeriše i kakve su pretumbacije u pitanju. Naime, u romanu postoji i subplot vezan za Dimu i 'Tri musketara', a razni kritičari kazuju i da postoje paralele između dva romana, što bez čitanja Dime mogu samo da vjerujem na riječ.

Naravno, i dalje stoji da Gul griješi za film NINTH GATE, a čak ni u romanu nema snažnog uporišta za Djevojku kao personifikaciju Đavola. Roman je, prvo, postmoderno organizovan, pa ima poigravanja koliko se poželjeti može. Drugo, roman ipak govori maltene njegoševski o grupi palih anđela i njihovih saradnika, vojnika, slugu, koječega, pa samim tim i ta lučomikrokozmička bitka je između dva kolektiviteta, te ulaziti u to šta je među njima Djevojka iziskuje maltene poznavanje sholastike u detalje, i to samo pod uslovom da je i sam Peres-Reverte verziran u svemu tome, i da ne baca još jednu postmodernu sugestiju, jer realno roman je u žanru Konstantinovog raskršća a ne superozbiljno promišljanje svoje teme. Film je, pak, dosta dekonstruisao i pridodao, ali rekao bih da ne vodi ka zaključku da je Djevojka personifikacija đavola nego da je vještica, štaviše, već sam o tome pričao i sve i dalje stoji nakon novog gledanja.

Novost mi je zapravo da sam reprizirao ROSEMARY's BABY, i da i tu postoji poigravanje sa knjigama, što pokazuje par interesantnih stvari. Jedna je da Polanski i ovdje eksplicitno govori o vješticama. To sam zaboravio ili nisam obraćao pažnju ranije, ali knjiga koju Mia Farow lista nosi naslov 'All of them Witches'. Stranice koje se nalaze u pojedinim kadrovima su poprilično iskasapljene, u smislu kopipejstovanog kolaža, odnosno montirane stranice čiji se pasusi nalaze u različitim knjigama. U filmskom propu su spojeni u jednu stranicu, kadar ih prikazuje kao jednu stranicu ali zapravo nemaju nikakvog smisla. To mi govori da Polanski takođe voli igrice tog tipa a ne da tim tekstovima pokušava poslati neku subliminalnu poruku.

Ipak, kao jedan od likova koje se pojavljuju u knjizi 'All of them Witches', nalazi se izvjesna Prudence Duvernoy, za koju Gugl veli da je lik iz 'Dame s kamelijama' Aleksandra Dime mlađeg. To jest, Polanski trpa Dimu sina ničim izazvan u 'Rozmerinu bebu', a Dimu oca pedantno vadi iz 'Ninth Gate', iako je sveprisutan u književnom predlošku. Razlog za Dimu Borgira vjerovatno nikad neću saznati, jer za razliku od ridikulija neću da čitam lošeg pisca!

Ono što me više intrigira ali ne mogu da dokažem jesu druge veze dva filma. Naime, NINTH GATE je prebačen u Njujork, jer zapravo roman se kompletan dešava u Evropi i glavni lik je Španac a ne Amerikanac. Samim tim je i dosta likova premješteno u Njujork, gdje se dešava i ROSEMARY's BABY, tačnije na Menhetnu, ali ne znam ni kako da saznam da li je Menhetn mjesto radnje i u slučaju NINTH GATE. Al ono čisto kao mali konspirasi, Džoni Dep je u filmu onih godina koliko bi trebala imati Rozmerina bebica, a i sektom u 'Ninth Gate" se sada rukovodi iz Njujorka.
 
Naravno, zdravorazumski je reći da se sekte sa istim interesovanjem u dva filma Polanskog ne poznaju, jer su različite priče u pitanju, al onda pročitam ovo. U 'Ninth Gate', Djevojka čita knjigu 'How To Win Friends And Influence People', dok u romanu čita neke druge knjige, uključujući 'Tri musketara'. Film i druga trivia kaže:  'How To Win Friends And Influence People' – The Best-Selling Self-Help Book That inspired Charles Manson. Pa to već mora da znači nešto!

[Alexdelarge]

HOROR PLANOVI do kraja ove godine

http://ljudska_splačina.com/2022/08/horor-planovi-do-kraja-ove-godine.html

[Labudan]

Sad kad sam krenuo da pratim đavola na ekranu, ispada da u posljednje vrijeme ima devilish horora, ali ne toliko eksplicitno. Tipa Paimon u Hereditary, nešto jasnije u VVitch, ali i u Pilovom Us, gdje se likovi iz podzemlja zovu po mračnijim bogovima i boginjama iz paganskih mitologija.

Pitam se da li i Asterov Midsommar ima nešto, ali generalan utisak je da, dok neki analitičari govore da su ti đavolski filmovi zamrli i da je Lucifer postao malo dosadna figura, ipak čitav niz filmova i dalje to razrađuje, iako manje eksplicitno.

Pil je to iskoristio i sasvim antropološki ispravno, to su bogovi podzemlja jer su u pitanju podređene ili poražene klase. Onaj ko ih je savladao ocrtao je panteon gdje neprijatelja pozicionira u ponižavajuće i zlo podzemlje, i naravno u Us luciferijanci se bune.

Tako da ispada da se i Pil primakao nekoj dekonstrukciji đavola u posljednjem horor talasu. Ako nekome pada još neki primjer neka javi, meni sad interesantno da su se toliko tiho namnožili u vrijeme kada se misli da đavo više nije zanimljiva filmska tema.