HORROR, SERIOUSLY

[Ghoul]

NAJBOLJE KNJIGE po izboru Dr Ghoula

   10 ROMANA   
  10 ZBIRKI PRIČA   
10 NEBELETRISTIČKIH KNJIGA
  10 HOROR ROMANA   
   10 HOROR ANTOLOGIJA




http://ljudska_splacina.com/2014/09/najbolje-knjige-po-izboru-dr-ghoula.html

[Ghoul]

samo zato što ste VI to tražili - dodao sam ovde i top-10 SF ROMANA!

[Father Jape]

Bila bi dobra sad jedna starovremenska sagitaška diskusija oko toga da li Crash pripada na toj listi.

[Ghoul]

Bila bi dobra sad jedna starovremenska sagitaška diskusija oko toga da li Crash pripada na toj listi.

ova korica kaže da pripada!



a ja se slažem s njom.

[дејан]

и ја

[Ghoul]

Robert Ajkman, skrajnuti majstor strave



http://ljudska_splacina.com/2014/09/robert-ajkman-skrajnuti-majstor-strave.html

[Ghoul]

evo je prva strana (od ukupno tri) članka iz RUE MORGUE

[Ghoul]

HOROR: UVOĐENJE MLADOSTI!

Novo izdanje festivala za decu Krokodokodil održaće se 15. oktobra u pozorištu Dadov u Beogradu, od 13.00 do 14.15 časova.

Festival Krokodokodil, koji zajednički organizuju beogradska udruženja Krokodil i OK – Obrazovanje i kultura, u prvi plan stavlja književnost za decu i kulturu čitanja, kao i odgajanje nove čitalačke publike.

Festival je prvi put održan u aprilu 2013. godine u Kulturnom centru Majdan, sa temom "Kako nastaje knjiga", i na festivalu su nastupali spisateljsko–ilustratorski parovi Jasminka Petrović i Bob Živković iz Srbije, i Ana Đokić i Darko Macan iz Hrvatske, uz pomoć voditelja Raše Popova.

Ove godine, festival za centralnu temu ima žanr strave i užasa, s podnaslovom "Kako pobeći iz horor priče". Na njemu će nastupati domaći autori Rastko Ćirić, Aleksandar Palavestra, Uroš Petrović i horor spisateljica za decu i mlade iz Švedske Lena Olmark. Program će voditi pisci za decu Jasminka Petrović i Raša Popov.

Istog dana biće održane i četiri radionice od 10.30 do 12.00, u prostorijama škola na opštini Vračar. Teme radionica su: Horor zagonetke (Uroš Petrović), Pravljenje maski (Iva Ćirić), Kometa dolazi (Jasminka Petrović i Bojana Lukić) i Kako se piše horor priča (Lena Olmark).

Festival su pomogli Ministarstvo kulture Republike Srbije, Sekretarijat za kulturu Grada Beograda, književna mreža Traduki i Švedski institut.

[Джон Рейнольдс]

Моја целокупна делегација, наравно, долази.

[Son of Man]

Eh, da sam malo mlađi...

[Джон Рейнольдс]

Причају да је одлично било, сад ми криво што нисам и ја кренуо. Иако је ово заправо била промоција, све је било у форми интерактивне позоришне представе, плус неке зезалице около, вампири, вештице, итд. Урош по обичају у оквиру те представе постављао неке задатке, аутори презентирали свој рад и књиге, све било веома брзо и забавно, само је Раша Попов мало пред крај изгубио концентрацију.

[Ghoul]

Lavkraft u stripu - skica za esej



http://ljudska_splacina.com/2014/10/lavkraft-u-stripu-skica-za-esej.html

[Ghoul]

Iz štampe je najzad izašao, po prvi put na srpskom, klasik fantastične i horor književnosti!




Pored izvornih 10 priča koje čine ovu zbirku, nju krasi i stručni pogovor dr Dejana Ognjanovića, pod naslovom JESTE LI VIDELI ŽUTI ZNAK?

http://ljudska_splacina.com/2014/11/kralj-u-zutom-robert-v-cejmbers.html

[Ghoul]

Iz štampe je nedavno izašao specijalni broj magazina RUE MORGUE u knjiškom obliku, sa etiketom RUE MORGUE LIBRARY VOL 2, pod naslovom HORROR MOVIE HEROES. "Junaci" ovog izdanja su velikani horor filma – pre svega reditelji, ali i glumci i majstori za efekte – koji su obeležili ovaj žanr, a predstavljeni su kroz intervjue, ili barem kroz reči uvaženih i slavnih kolega.




U ovoj knjizi moj doprinos zauzima zamalo pa 10% sadržine! Naime, od 144 strana, moji tekstovi zauzimaju celih 12! Konkretno, ovde možete čitati intervjue koje sam radio sa veličinama kakve su CHRISTOPHER LEE, STUART GORDON, JAUME BALAGUERO i SERGIO STIVALETTI...




Više detalja o sadržaju i svemu, OVDE:
http://ljudska_splacina.com/2014/11/horror-movie-heroes.html

[Ghoul]

i strani mediji javljaju o ovom izdanju

http://templeofghoul.blogspot.com/2014/11/horror-movie-heroes.html

[Mica Milovanovic]

Ne moraš da odgovoriš, ako nećeš, ali jako me zanima da li u inostranstvu plaćaju za ovakvu vrstu izdanja...


Ne interesuje me visina honorara, samo da li se ovo plaća?

[Ghoul]

da, plaća se itekakao.
ne baš onoliko SERIOUSLY koliko bih voleo, ali svakako više nego što bih u srbiji dobio za ovako nešto (osim možda u playboyu, s tim što njih zabole za autore i filmove koje ja volim).

sad, pošto je ovo spec. izdanje, ono ima spec. tarifu i ne znam kolika je jer tek treba da budem isplaćen za njega, ali za vol. 1 gde sam imao samo kratki rivju SRPSKOG FILMA, dobio sam 50$ a on je zauzimao oko pola strane.

ovde imam 12 strana, dakle trebalo bi da dobijem ne manje od 600-ak $ a zapravo verovatno negde oko 1000 $.

sad, nije to neka para da od nje živiš, da kuće gradiš, ali nije ni za bacanje na ovu skupoću i bedu - naročito u svetlu toga da u srbiji skoro niko više neće da te pošteno plati da pišeš ovu vrstu stvari (filmske intervjue, kritike i sl.).

plus, većinu ovih intervjua sam već naplatio bar jednom (slovenački EKRAN), a neke i triput (npr. C. LEE je izašao i u EKRANU, na slovenačkom, i u NIN-u, na srpskom, ucelo; a odlomak je već izašao i u redovnom broju RUE MORGUE, mada ne sasvim isti kao u ovoj knjizi).

[Ghoul]

Mario Bava u EKRANU




http://ljudska_splacina.com/2014/11/mario-bava-u-ekranu.html

[Ghoul]

Ghoul, Lovecraft i "SF Week" u Zadru




http://ljudska_splacina.com/2014/12/ghoul-lovecraft-i-sf-week-u-zadru.html

[Ghoul]

[Ghoul]

a evo šta je Ratko Radunović imao reći o jednoj od najznačajnijih knjiga vezanih za horor ikada napisanih:

I Am Providence: The Life and Times of H. P. Lovecraft - S.T. Joshi


http://ljudska_splacina.com/2014/12/i-am-providence-life-and-times-of-h-p.html

[Ghoul]

HOROR KAO RADIKALAN ODNOS PREMA STVARNOSTI

esencijalna stvar

Učestvuju: Vuk Pavlović (moderator), Dejan Dabić (filmski kritičar i urednik filmskog programa NKC-a, izdavača knjige U BRDIMA, HORORI), Slobodan Aranđelović(filmski kritičar), Aleksandar Radivojevic (filmski kritičar i scenarista) i Dejan Ognjanović (autor).




http://ljudska_splacina.com/2014/12/horor-kao-radikalan-odnos-prema.html

[Ghoul]

NOVOGODIŠNJI INTERVJU






http://ljudska_splacina.com/2014/12/novogodisnji-intervju.html

[Ghoul]

Gde smo bili, šta smo radili u 2014-oj?



http://ljudska_splacina.com/2015/01/gde-smo-bili-sta-smo-radili-u-2014-oj.html

[Truman]

Ustra u Kinoteci špageti horori izvesnog Mikele Soavija. Vredi li to gledati?

[Alexdelarge]

Ustra u Kinoteci špageti horori izvesnog Mikele Soavija. Vredi li to gledati?

[Albedo 0]

Ustra u Kinoteci gledaj Mortadela Delakumrijo

[Truman]

Smarate.

[Васа С. Тајчић]

Трумане, не изазивај називајући Соавија становитим. Имаш на сајту програм у коме је Ненад Беквалац анализовао његов опус па сам процијени.

[Albedo 0]

pa reko' ti da gledaš Mortadelu, dobar film

http://www.imdb.com/title/tt0109592/

[Ghoul]

uostalom, već godinama ti sve lepo piše ovde:

http://ljudska_splacina.com/2010/01/dellamorte-dellamore-1994.html

[Truman]

pa reko' ti da gledaš Mortadelu, dobar film

http://www.imdb.com/title/tt0109592/

Taj film sam gledao i o njemu sam nešto i nažvrljao. Ne pratiš moje pisanje Pizzobatto! Mislio sam na druge njegove stvari.

[Ghoul]

Intervju za "Narodne novine": Zavodnik, nagrade, blog, novi projekti




Dr Dejan Ognjanović je čovek iz naroda, i za narod. Stoga je prirodno da je dao novi intervju za niški dnevni list NARODNE NOVINE, ovog puta povodom nedavnog plasiranja u najuži krug za nagradu "Nikola Milošević". Evo šta ga je pitala Aleksandra Gojković, a šta je on njoj (i narodu) odgovorio.

http://ljudska_splacina.com/2015/02/intervju-za-narodne-novine-zavodnik.html

[Alexdelarge]

Najave toga šta se krčka, sprema i planira za 2015. videćete u idućem nastavku.

kaće nastavak?

[Ghoul]

dokraja neđelje.

[C Q]

RICHARD STANLEY'S TEN FAVORITE ITALIAN HORROR

Kill Baby . . . Kill! (1966)

Mario Bava can be considered to be the godfather of the Italian
Gothic, having innovated many of the conventions later
"borrowed" by American franchises like Friday the 13th and
Scream. Despite its extraordinary title, this is one of the director's
most restrained entries, relying on a skillfully maintained
otherworldly atmosphere rather than the physical frissons of his
earlier work. The plot concerns a cursed aristocratic family at
the center of a series of supernaturally motivated murders. The
ghost story, reminiscent of the work of Bava's mentor Riccardo
Freda, serves as an excuse to crank up the dry ice, stirring the
usual clichés into a vortex of Kafkaesque dreamscapes, exemplified
by the sequence in which the protagonist literally pursues
himself through a series of identical chambers, slowly but surely
gaining ground, only to find he has gained nothing at all. Being a
ghost story there is—of course—a ghost, and while I hate to give
the game away, this does feature one of the scariest specters ever
committed to celluloid. You've been warned!

Four Flies on Grey Velvet (1972)

The giallo is one of Bava's innovations, a species of "whodunit"
on which a great many of his disciples were to distinguish themselves,
among them future "maestro of the macabre" Dario Argento.
Known as gialli in the old country because of the yellow
covers of the original pulps, the tradition has more in common
with Edgar Wallace and Alfred Hitchcock than Agatha Christie,
radically re-inventing the mousetrap while paying lip-service to
its archetypes—faceless gloved assassins, scantily clad victims,
baffled cops, and inspired amateur sleuths who sift through the
red herrings before unmasking a killer in the last reel, invariably
as a result of a misperceived, seemingly insignificant clue trailed
in the title or first act. An engaging generic quirk dictates that the
plot nearly always turns on a titular animal that fails to appear
in the film itself and whose non-existence or non-appearance
holds the key to the mystery (The Bird with the Crystal Plumage
[1970], The Black Belly of the Tarantula [1971], The Scorpion
with Two Tails [1988], etc.).
While neither the first nor the most accomplished of its kind,
Four Flies finds a place on this list thanks to its byzantine plotting,
warped sexual politics, swaggering set pieces, and—of
course—that title. Michael Brandon plays a permanently stoned
drummer who spends the film believing he's a killer in a series
of bizarre, paranoid events. He's teamed with a gay private eye,
who's hired on the strength of his claim to having "never solved
a case," and Bud Spencer is a mysterious dropout named God
whose appearances are signaled by an appropriately messianic
Ennio Morricone choral motif. Add to this a recurring dream
involving an execution in a sun-drenched Middle Eastern marketplace,
a laser process for retrieving images from the eyes of
the dead, and the most elegantly eroticized auto accident ever
committed to film, and you have one of my favorite flicks of all
time, nationality and taxonomy aside.

Don't Torture a Duckling (1972)

Fulci's finest hour and a half, and a further sampling of the transgressive
possibilities of the giallo. The victims this time are pubescent
schoolboys rather than the usual fashionably underdressed
women; the string of murders tears apart the social fabric of a
sleepy southern Italian village. The bewildered parents turn on
the local witch, beating her to death before a tabloid journalist
and the town slut succeed in unmasking the real culprit. To give
away more would do the film's all-too-plausible "twist" a disservice.
Suffice to say, this distinctly personal work is one of the
earliest films to tackle pedophilia head-on and levels the finger
of accusation squarely at the hypocritical town elders who shelter
the killer, the local censor, and the Catholic Church itself.
A brace of strong performances, striking location photography,
and a powerfully understated score by Riz Ortolani all combine
to make the central set piece of Florinda Bolkan's Christlike
scourging and martyrdom one of the strongest sequences of
its kind in Italian cinema. Cinema Paradiso's stolen kisses will
never seem so innocent again . . .

Lisa and the Devil (1972)

Some movies, like wars, can only be understood when inebriated
or under the influence of powerful mind-altering substances.
This one caught me unawares one Halloween under the influence
of a particularly good crop of magic mushrooms, and it simply
knocked me for six. To say it tickled my funny bone would be
putting it mildly; I couldn't get up off the floor. . . . Every time
I tried, another off-kilter moment or non sequitur would knock
me straight back on my ass again. This is quite simply one of
the strangest films ever made. Dazed blonde Elke Sommer strays
from a tour group viewing a fresco, which shows the devil carrying
away the dead, to meander through a string of encounters
with a ghostly aristocratic family and their demonic servant,
Leandro, played with impish relish by Telly Savalas, complete
with lollipop, kid gloves, and a fetching range of quasi-Masonic
accessories. The entire film seems unstuck in time and place,
with names, identities, and relationships fluctuating alarmingly.
(A special mention to Alida Valli, whose deranged matriarch is
played as blind in some scenes, while plainly sighted in others.)
But as all are apparently dead to begin with, this seems quite in
keeping with the nightmare logic conjured from the multicolored
chaos by Bava's swooning lens. At times it appears the cast are
simply making it up as they go along, and one can only imagine
the director's imperfect grasp of English allowed some of the
weirdest dialogue in cinema history, including mangled chunks
of Jim Morrison lyrics and even the Rice Crispies jingle, to find
its way into the script. Apparently, Bava's dad made mannequins
for shop windows, and here, the director's tendency to portray
human beings as living dolls reaches its lunatic apogee in one of
the most overblown acts of sustained necrophilia ever inflicted
on the viewing public. Bracing stuff—too bracing for the producers,
who cut the film by nearly half its length and shot additional
scenes involving a bewildered exorcist played by Robert
Alda, who strives to make sense of the diabolic shambles. It was
released in some territories as House of Exorcism and credited
to fictional director Mickey Lion (had to get an animal in there
somehow!). The original, while admittedly an acquired taste, remains
unsurpassed in all its baffling glory.

Deep Red (1975)

The giallo comes of age with a cinematic tour de force that turned
the genre on its head. David Hemmings gives arguably the most
nuanced performance of his career as a concert pianist who witnesses
the brutal murder of a German clairvoyant by persons
unknown. Convinced he holds the key to the killers' identity,
Hemmings finds himself compelled to return to the scene of the
crime as his curiosity tilts into an obsessive monomania fanned
by the attentions of ambitious reporter Daria Niccolodi, who
senses a scoop in the making. Like a demented hall of mirrors,
the film's surfaces conceal countless games of gender, perception,
and identity. Among its highlights is the exposure of the
assassin's face in the opening reel (hidden in plain sight, so to
speak); the hugely influential score by Argento's "in-house" band
Goblin, which deploys rock 'n' roll percussion and keyboard
rhythms with an intelligence and confidence hitherto unknown
in cinema; and the unforgettable "house of the screaming child,"
whose labyrinthine corridors look like Gaudi after a hit of Black
Pentagram LSD. A bleeding masterpiece.

Suspiria (1977)

Argento's breakthrough success burst like a thunderbolt over
the heads of international audiences, who simply hadn't seen it
coming and had no prior knowledge of the dark tradition from
whence it was spawned. From its opening frames, the viewer is
propelled into an utterly different world, where normal rules no
longer apply. Conventional narrative logic and even the reassuring
tropes of the giallo gleefully abandoned, the story, characters,
and dialogue are subservient to a full-throttle assault on
the senses; sound and constantly shifting multicolored lighting
are amped to the max. Written with Argento's former spouse,
actress Daria Niccolodi, Suspiria and its sequel concern witchcraft,
sharing a weird, private cosmology only partly accessible
to the casual viewer, and drawing on real-life figures such as
Helena Blavatsky, G. I. Gurdjieff, Rudolf Steiner, and decadent
romantic poet Thomas De Quincey to weave the grimmest of
grim fairytales. The gossamer-thin script details Jessica Harper's
attempts to flee the clutches of a witch cult secretly thriving in
an eldritch dance school in the Black Forest. While the young
American's plight is engaging enough, the school is the real star
of the show: the academy's baroque velvet-lined corridors winding
ever inwards, the spaces between their walls charged with a
malignant intensity, an atmosphere where, in Argento's words,
"the air is thick and hard to breathe. . . ." Initial suspicions that
the wallpaper has overwhelmed not only the cast but the plot
itself are weirdly borne out when, in true giallo tradition, the
wallpaper is found to contain the vital clue to the lair of Mater
Suspiriorum, hidden in plain sight all along! As il maestro succinctly
puts it, "Magic is everywhere!"

Zombie Flesh-Eaters (1979)

Rushed into production to capitalize on the success of George
Romero's Dawn of the Dead, this dime-store imitation is to
some extent an improvement on the original. Attempting to reconnect
the series to its Caribbean roots, Fulci's unofficial sequel
opens with the arrival of a plague-ridden ghost ship in New York
Harbor before the action shifts to the godforsaken atoll from
whence it came. Trapped on the island, the dim leads throw in
their lot with flaky Dr. Menard and his sidekick as they come
under siege from a growing legion of the ugliest, skankiest deadfolk
the world has ever seen. These shuffling, messed-up zombies
are of the old-fashioned, slow-moving variety, which forces the
director to keep the plot moving instead—and move it does! It
may well be the greatest exploitation movie of all time, a title
richly deserved on the basis of one sequence alone: To capitalize
on the recent success of Jaws, an otherwise extraneous episode
is grafted onto the plot, in which a hot chick goes swimming
only to be menaced by a shark. As this is Fulci, not Spielberg,
the young lady is topless and the shark is completely real, albeit
presumably of a harmless variety. Then, in a twist designed to
showcase the undoubted box-office superiority of the zombie, a
man in convincing makeup emerges from the sea bed and attacks
the shark. He's not wearing a respirator and probably can't see
a damn without goggles, but he grabs that big, scary-looking
fish and sinks his teeth in like a pro, while the naked nymphet
flaps her limbs in distress and the weird disco score (courtesy of
Fabio Frizzi) throbs on the soundtrack! Things like this usually
happen only on posters! Then there's that bit of business with
Olga Karlatos's eyeball. Words fail me . . .

Cannibal Holocaust (1980)

No overview of the genre would be complete without mention of
what many consider the most infamous horror movie ever made.
Deodato began his career as an assistant to Roberto Rossellini,
though few could have guessed to what ends his grounding in neorealism
would lead. This masterwork concerns four Americans who
set out for a remote corner of the rainforest known as the "green inferno"
to document the last tribes to practice cannibalism. Months
later, a second expedition follows and succeeds in retrieving the
film shot by the missing explorers, the cans left unopened by the superstitious
natives who believe they contain "evil spirits." In a plot
device "borrowed" to lesser effect by The Blair Witch Project, what
follows purports to be the unedited rushes charting the explorers'
demise. The "twist" in the tale comes with the revelation that the
atrocities have been committed not by stone-age "savages" but by
the filmmakers themselves in their rapacious quest for sensational
footage. By the time the locals turn on the documentary crew in
the last reel, their fate is richly deserved. While the self-reflexive
structure serves as an apt metaphor for Western exploitation of the
Third World, the apparent critique of the brutal methods employed
by the fictional crew offers a copper-bottomed excuse for Deodato
to duplicate their actions, committing to camera a series of scenes
utterly beyond the pale of acceptable civilized human conduct in
what amounts to—if not an actual "cinema crime"—then at the
very least one of the most morally reprehensible motion pictures
ever made and an enduring monument to mankind's capacity for
evil. The convincing performances from a largely unfamiliar cast,
the weirdly romantic score by Riz Ortolani, and sheer virtuosity of
Deodato's camerawork only add to the outrage. After all, these are
acts committed by sophisticated artists fully aware of their implica-
tions. Fortunately, the director has not made good on his repeated
threats to helm a sequel, despite the slew of cheesy imitations that
followed in its wake. As Robert Kerman's anthropologist puts it: "I
wonder who the real cannibals are?"

Inferno (1980)

Argento's follow-up to Suspiria provoked controversy, and
doubtless its inclusion here will be as hotly disputed. Developing
an idea from Thomas De Quincey's Suspiria de Profundis—
the conceit of an infernal trinity akin to the three Norns
or sorrows—Mater Lachrymarum, Our Lady of Tears; Mater
Suspiriorum, Our Lady of Sighs; and Mater Tenebrarum, Our
Lady of Darkness—the maestro turns in his most undisciplined
and essentially dreamlike work, a lunatic farrago of murderous
events that take place around a Gothic apartment building in
New York which conceals the lair of the "Mother of Darkness."
Within minutes, the plot collapses under the weight of the sumptuous,
primary-colored imagery and the crazed Keith Emerson
score, fragmenting into a series of virtuoso sequences that simply
refuse to adhere into anything resembling a conventional narrative.
Mumbling, dazed cast members are shuffled on and off or
summarily dispatched in mid-flow as if the film can't even decide
on a lead character, let alone a story, and when subtitles start
to appear, such as "Later that same night in Rome," you know
you're in trouble. Consequently, the film was savaged by critics
and bombed at the box office, all but bringing the curtain down
on Argento's American career. And yet . . . and yet . . .
In dispensing with the ramshackle plot (seemingly borrowed
from Michael Winner's The Sentinel [1977] and H. P. Lovecraft's
short story "The Dreams in the Witch House" [1937]), Argento
liberates himself to create his finest set pieces, working at full
throttle, completely off his trolley and at the top of his form. The
opening scene, in which Irene Miracle plunges into the Stygian
depths of a submerged basement to retrieve a key lost in the water,
has an oneiric power unrivalled in cinema, reminiscent of Jean
Cocteau at his very best and early masters of surrealism such as
René Magritte. The collapse of the conventional aesthetic superstructure
(reminiscent of the collapse of the house itself) forces
us to deal with the essentially Jungian subtext, an approach that
defeats critical approaches to the work along more traditional
Freudian lines. The key lays in the text itself, in the stolen grimoire
that floats in and out of this hazy fable, a fictive take on The
Mystery of the Cathedrals by real-life alchemist Fulcanelli, whose
narrative counterpart is literally discovered skulking beneath the
floorboards in the preposterous (albeit strangely appropriate)
finale. According to Fulcanelli, Gothic art and architecture are
a secret symbolic language, and accordingly Argento's work acts
as an encapsulation and a key to the genre as a whole, the dark
art revealed as the art of light. While not a good movie by any
conventional standard, Inferno is nonetheless a great movie and
an authentic classic of Gothic cinema. Disregard it at your peril.

The Beyond (1981)

Fulci's gumbo-flavored phantasmagoria takes off from familiar
material (Winner's The Sentinel, Lovecraft's "The Case of Charles
Dexter Ward," with a dash of The Shining and Clark Ashton
Smith's Book of Eibon thrown in for good measure) to craft an
incoherent fever-dream of a movie. A demonic surrealist painter
in turn-of-the-century Louisiana opens the gates of Hell, only to
be beaten to death for his efforts by disgruntled locals, who inter
his crucified remains beneath a crumbling gingerbread-Gothic
hotel. The action picks up in the present when the efforts of a
young New Yorker to reopen the cursed hotel leads to a series of
gruesome events that climaxes in the onset of a zombie-induced
Armageddon and the descent of the leads into Hell itself. As with
other examples of what Fulci and Argento term "total cinema"
(a phrase "borrowed" from Truffaut), attempts to analyze or
deconstruct events along traditional generic lines are hopeless.
While throwing off countless literary allusions, the film itself (as
evidenced by the do not entry sign prominently displayed on
the mortuary door) remains stubbornly subliterate, with much
of the attempted "dialogue" so gloriously cloth-eared that entire
sequences pass without offering the slightest clue as to the character
or motivation of the participants. All you can do is sit back
and experience this mad dog of a movie until you either vow to
put it behind you or submit to its weird rhythms. Of course, a
six-pack of beers or liberal recourse to other intoxicants goes a
long way towards disengaging the conscious mind so that this
visionary epic can be enjoyed on its own freakish terms. Fulci's
excremental opus is lurid and elusive by turns, a stumbling block
to conventional notions of art, criticism, and rational thought.
Quite simply: Wonderful beyond words!

(ako je ranije spamano, sry)

[C Q]

Kao - The Best John Carpenter Interview, istina je da je svaki interview sa JC "najbolji", što bi se reklo - Ljudina.

www.youtube.com/watch?v=IrEgwxagb-g

[C Q]

Još TD-Weird exploitation's: NEW YORK REVIEW OF BOOKS - Shadows of Carcosa: Tales of Cosmic Horror by Lovecraft, Chambers, Machen, Poe, and Other Masters of the Weird

368p, 6 October 2015

This new collection features some of the greatest masters of extreme terror, among them Edgar Allan Poe, Ambrose Bierce, Bram Stoker, and Henry James, and includes such classic works as Arthur Machen's The White People, Algernon Blackwood's The Willows, and of course Lovecraft's own weird and hideous The Colour Out of Space. Contents: Edgar Allan Poe, MS. Found in a Bottle Bram Stoker, The Squaw Ambrose Bierce, Moxon's Master Ambrose Bierce, The Damned Thing Ambrose Bierce, An Inhabitant of Carcosa R. W. Chambers, The Repairer of Reputations M. P. Shiel, The House of Sounds Arthur Machen, The White People Algernon Blackwood, The Willows Henry James, The Jolly Corner Walter de la Mare, Seaton's Aunt H. P. Lovecraft, The Colour Out of Space A Note on the Selection by D. Thin.

Jbg, ovo je baš ono osnovno(?), ali u svakom slučaju dobra vjest za Weird and stuff.

http://www.nybooks.com/books/imprints/classics/shadows-of-carcosa/?insrc=rel

[Ghoul]

evo šta se krčka, kuva i priprema u ghoulovoj horror radionici

ŠTA SE RADI, ŠTA SE SPREMA U OVOJ GODINI?




http://ljudska_splacina.com/2015/03/sta-se-radi-sta-se-sprema-u-ovoj-godini.html

[C Q]

Vrbe izgledaju izuzetno btw.   

[C Q]

Alan Moore - Providence  May 27th 2015 #1 (Monthly, 12 Issues, 32 pages)

AM:
I think that with this, at least for my purposes, I have created what is "my" ultimate Lovecraft story. It's a repurposing of the Lovecraft pastiche to make it a vehicle that tells us more about Lovecraft and his world rather than simply extending the roll call of unpronounceable gods. And rather than regurgitating tropes that were brand new and exciting back in the 1920's, I wanted to create stories that were true to the essence of Lovecraft, but were as shocking and unprecedented as Lovecraft's stories were when they first started to appear in small circulation fanzines and in the pages of Weird Tales.

Interview -
http://www.bleedingcool.com/2015/03/05/alan-moore-heralds-providence-time-go-reappraisal-lovecraft/

Preview -
http://www.bleedingcool.com/2015/03/12/first-look-alan-moore-jacen-burrows-providence-2-cover-gallery/

[C Q]

Clive Barker and friends on People Are Talking, 2/16/90 - Uploaded Nov. 2014

Authors/screenwriters Clive Barker, David J. Schow, R.C. Matheson, film critic and Creature Features host John Stanley and Howard Berger of KNB EFX

www.youtube.com/watch?v=pRCQ4jx0mNs

Talk Show iz 80/90s, sasvim slučajno naleti na njega, nisam ga prije primjetio na yt. Kad sam vidio kako automatons-corporative-cable-network voditelji izgledaju - a da ne spominjem publiku, htjeo sam zaobići ovo ali iznenadio sam se. Barker i ekipa raspoloženi, voditelji sveli sve horror-related stereotipe na podnošljivo; pitanja publike dobra (čak i hrabra za ovaj tip emisije), odgovori sagovornika još bolji - naravno, sve to u jednom light/dinamic/humorous paketu.

Najgori dio su nevjerovatno glupe reklame sa kraja 80s.

[C Q]

Published on Jan 20, 2015 - Clive Barker's A to Z of Horror (Nije bilo prije na YT!)

Clive Barker's A-Z of Horror was a documentary series first broadcast on BBC2 in 1997. It was written and hosted by Clive Barker and explored the history of horror, from the cinema to art. A tie-in book was released featuring art work by Barker and film reviews by Stephen Jones.

Six Parts -

Part 1 - American Psycho : "In the winter of 1957, police on the trail of a missing woman were led to a Wisconsin farmhouse. What they found there stunned the local community. As the facts of the case seeped into the American consciousness, they became the stuff of myth. Three classic horror movies over three decades drew on the atrocities in that small town to reflect the nightmares of their own age, and each movie went a little deeper into the death, the ritual and the insanity."

Part 2 - The Devil You Know

B for Beelzebub : "When the film The Exorcist was released in 1973 the Devil had been dormant for some while. He'd been reduced to a figure of fun; comic relief in kids cartoons. What writer William Peter Blatty and director William Friedkin understood so well is that the dark gods still exist - expressions of our deepest fears and desires."

X for Xploitation : "Horror has always delighted in its maverick status. The term 'low budget' might have been invented for the horror movie. And the same fevered imaginations that dream up these celluloid fantasies can be equally creative at getting them seen."

R for Rictus : "One of the most unendurable experiences we can have goes like this: we look into a human face and see madness there. Insanity is the most pure, the most undiluted horror of all. Look very closely at the faces you are about to see. Aren't they strangely familiar? Couldn't they almost be you..?"

S for Sorceress : "The American writer Shirley Jackson is perhaps best known for her novel The Haunting Of Hill House. An elegantly written exploration of the place where aberrant minds and supernatural phenomena meet. She's described now as the pioneer of what's being termed 'modern gothic' but that barely evokes the power of her imaginative vision."

Part Three - The Kingdom Of The Dead

Z for Zombies : "Face to face with a monster, I like to think I could handle myself pretty well: charm a vampire, sidestep a werewolf, but of all the horror archetypes, zombies have always scared me witless! Maybe it's because they're so unthinking, so unemotional. Maybe it's simply because there's so damn many of them..."

W for Window : "When Edgar Allan Poe died of drink and despair in Baltimore in 1849, all that remained of him was an old coat, some unpaid bills and some of the most feverish, compelling and horrific literature in the English language. His work has inspired movies, poetry, theatre, painting and the photographer Simon Marsden."

O for Open Vein : "Horror delights in forbidden pleasures. Things which are terrifying, yet strangely compelling. Of all the dreadful pleasures, none is quite so arousing as blood. Its colour, its smell, its texture arouse a primal response in us. It's either a distressing sign of wounding or a proof of our victory."

Q for Quiet Men : "Some of my best friends are monsters. I've often found that the actors who on screen are the most hideous of creatures are, in reality, the most pleasant of folk, although if you get on the wrong side of them they can sometimes take a turn for the worse..."

Part Four - Broken Homes

E for Escape : "Everybody wants a safe place to live, a street where the children can play unmolested and where the street lamps are reassuringly bright. In other words, the suburbs. And they were a safe place until the day John Carpenter moved in..."

J for Japan : "Since the war, Japan has put its faith in technology, but sometimes technology takes on a life of its own. Tokyo filmmaker Shinya Tsukamoto makes movies about men turning into machines. The hero and his tetsuo, or 'iron man', is part warrior insect and part driller killer."

I for Innocents : "Ever since Cain and Abel, kids have been getting worse. At least, that's what some adults who forget they were ever kids themselves will tell you. Did you really bring up your angels to behave like little devils? And, if you didn't, what exactly is driving them?"

K for Killing Joke : "At its best, theatrical horror can be overwhelmingly intense - think of Greek tragedy or Shakespeare. But for sheer, well, spectacle you can't beat the French Grand Guignol. Grand Guignol is a term which has entered our language to describe the most gruesome events. But was there anything quite so harrowing as the events enacted on a small stage in Paris almost 100 years ago?"

Part Five - A Fate Worse Than Death

D for Devil Rides Out : "Classic British horror has an unwritten rule - aristocrats should suffer mightily against the forces of darkness, but it is always the servants who should mop up the blood. No British author understood this better than Dennis Wheatley, servant of the Queen and sworn enemy of the Devil."

P for Pain : "Among special effects artists, Tom Savini holds a unique place. He's affectionately known as the Wizard of Gore, the man who put splatter on the map. In films like Dawn Of The Dead and Friday the 13th he makes us believe that the carnage is for real. And he should know, he's seen it with his own eyes."

G for Grim Tales : "Pick up a book of classic fairy tales now and you might be surprised. Did we really grow up on such an unrelieved diet of infanticide, cannibalism and bestiality? We develop our taste for the Dark Side very early in life and some of us, if we're lucky, never lose it."

Part Six - Beyond Good And Evil

M for Mistress Of The Night : "The British born actress Barbara Steele has a face, a look, unlike anyone else in movies. Most of her Italian-made horror films, like Mario Bava's Black Sunday, are modern day cults. She does what few actresses are capable of doing - she let syou see both destruction and delight in the same pair of eyes."

U for Unborn : "Everybody knows that, when we're born, a ruthless system of biological machinery takes over. Sex or birth, they either function to plan, which is awesome, or they go wrong, which is the stuff of nightmares..."

C for Chaos : "In the 1930s, the Old Gods had their golden age, courtesy of one Howard Philip Lovecraft. His works - clotted, paranoid narratives about the clash between man and the supernatural - are dense and difficult but, for anyone interested in horror, completely indispensable."

F for Final Frame : "All of us yearn for immortality, for ourselves or a loved one. But, as the sages say, be careful what you wish for - it might come true..."


BBC produkcija, Barker kao host, gomila poznatih faca - vrjedi pogledati. Link za prvi dio - svi ostali takođe na istom profilu -

www.youtube.com/watch?v=OJH1tX9gYBQ

[C Q]

Kratki interview sa JC, Guardian 2.Feb 2015. - (Povodom Lost Themes)

http://www.theguardian.com/film/musicblog/2015/feb/02/john-carpenter-im-just-this-old-school-person

" I'm making orchestral music with electronic sounds. They are making electronic music with electronic sounds. There's a difference."

www.youtube.com/watch?v=ZLWpcdU7QwA

[C Q]

The Pseudonyms of seventeen horror writers -

1. Stephen King—Richard Bachman; John Swithen
2. Dean Koontz—K. R. Dwyer; Leigh Nichols; David Axton; Owen West;
Brian Coffey; Aaron Wolfe

3. Dennis Etchison—Jack Martin
4. David J. Schow—Oliver Lowenbruck; Chan McConnell
5. Douglas Clegg—Andrew Harper
6. Whitley Strieber—Jonathan Barry (this pseudonym "collaborated"
with Strieber on the novel Catmagic)

7. Ramsey Campbell—Carl Dreadstone; Jay Ramsay
8. John Skipp—Maxwell Hart
9. Shaun Hutson—Robert Neville; Nick Blake; Frank Taylor; Tom Lambert;
Samuel P. Bishop; Wolf Kruger; Stefan Rostov

10. Douglas Borton—Michael Prescott; Brian Harper
11. Anne Rice—Anne Rampling; A. N. Roquelaure
12. Robert Bloch—Collier Young
13. Bentley Little—Phillip Emmons
14. Richard Matheson—Logan Swanson
15. Kim Newman—Jack Yeovil
16. Harlan Ellison—Cordwainer Bird
17. Rick Hautala—A. J. Matthews

[C Q]

Danas u Blic Knjiga možete pročitati review/overview - Čudni slučaj doktora Džekila i gospodina Hajda (Makondo). Spominjem to ovde samo zbog pogovora Ghoula.

[C Q]

Ko do sada nije pogledao a ne moze naci - Published on Jan 16, 2015

www.youtube.com/watch?v=i1OSVENj_ws

[C Q]

The Penny Dreadfuls: Tales of Horror: Dracula, Frankenstein, and The Picture of Dorian Gray

912 pages, Hardcover - April 28. 2015

http://www.amazon.com/Penny-Dreadfuls-Dracula-Frankenstein-Picture/dp/1634501144/ref=sr_1_1?ie=UTF8&qid=1428576002&sr=8-1&keywords=The+Penny+Dreadfuls%3A+Tales+of+Horror%3A+Dracula%2C+Frankenstein%2C+and+the+Picture+of+Dorian+Gray

Masivno hardcover 3-u-jedan izdanje. Jos malo eksploatacije popularnosti tv-serije, u ovome slucaju Penny Dreadful. (odustao nakon prve tri epizode) Ipak, izuzetan intro -

www.youtube.com/watch?v=wzCUY_IhgkE

[C Q]

Relativno svjez skype intervju sa -

www.youtube.com/watch?v=r2Nl2ZbR1tY

- O njegovom pristupu dokumentarnim filmovima
- The Island of Dr. Moreau slucaj to jest - novi dokumentarni film o tome
- Kako bi izgledao Hardware 2 i uopste sanse da se on desi, crowdfunding ...
- O projektu kog sad pokusava snimiti - low budget sci-fi horror movie - adaptaciju "The Colour Out of Space"

[C Q]

The Humanity of Monsters Paperback – September 1, 2015

Neil Gaiman, Laird Barron, Joe R Lansdale, Catherynne M Valente, Kij Johnson, Nathan Ballingrud, Gemma Files, Kaaron Warren, Rachel Swirsky, Indrapramit Das.

WE ARE ALL OF US MONSTERS. WE ARE NONE OF US MONSTERS. Through the work of twenty-six writers, emerging to award-winning and masters of their craft, THE HUMANITY OF MONSTERS plumbs the depths of humane monsters, monstrous humans, and the interstices between: Monstrous heralds of change, the sight of whom only children can survive. Monsters born of the battlefield, in gunfire and frost and blood, clothed in too-familiar flesh. Monsters, human and otherwise, born of fear, and love, and retribution all, wrapped tight and inextricable one from the other: the Fallen outside of time, lovers and monsters in borrowed skin, and creatures from beyond the stars and humans who have travelled to them. Dreams of lost and siren-song depths-of other half-held, half-remembered lives. And the things we have survived, and the things we might yet survive, in the face of greater, eviscerating loss. In stories by turns surreal, sublime, brutal, and haunting, there are no easy answers to be found, no simple nor uncomplicated labels to be had. Only the surety that though there be monsters, you will name them false. And when you meet those who truly are, you will not know them.

http://www.amazon.com/The-Humanity-Monsters-Neil-Gaiman/dp/1771483598