Genre & Ideology in HORROR

Last lecture, my professor asked us this question: what is it in Horror that keeps us coming back for more?

My initial answer to this question: absolutely nothing.

I, rightfully so, have been in fear of horror films for, well, my entire life. For some reason In my college experience though, I thought I could somehow dodge horror as a genre while still pursuing my degree as a film major. Well, I was very wrong. Sure enough, the day came.

Let the Right One In

Thomas Alfredson (dir.)

As I forced myself to think of horror in a new light, I began to analyze and depict certain traits of the film with meaning I had never allowed (myself to watch far enough into a film so as to allow) its purpose to strike me. I as the viewer, the consumer, the absorber, would previously skim the surface and only allow my toes to get wet. I was so fearful of the possibility that the story line could somehow come to life.

Aside from the fact that I forced myself to sit through the film and look away when heads were being torn off, and aside from the fact that the film ended up being marvelous with visually pleasing imagery and a tasteful story line, aside from all of that, the one connection I found fascinating within my own experience was our abilities as humans to write violence off when depicted in a manner that seems impossible. This film was about vampires. As far as I am concerned vampires are a manifestation of the human psyche, therefore I was able to sit throughout the entire film, blood, guts, and all. Where as if the film was strictly about a child with serious psychological issues and a craving/intention to kill; if the film led us to image after image of this boy on a killing spree, I would have most likely walked out because there is a chance that this story line could become a reality, and that is scary. The idea that the female protagonist was a vampire and needed these peoples blood to survive off of, forces the audience to sympathize her and to grow a relationship, an attachment to her. Making it difficult to hate or be fearful of her.

Documentme

Expository.Observational.Poetic.Participatory.Reflexive.Performative.

...Bill Nichols different forms of Documentary Film.

This clip from 'Planet Earth' exemplifies Expository in that it is a form of Documentary Film that addresses the viewer directly through voice-over. The speaker is never seen but speaks form a position of authority, conducting the images we see.

http://dsc.discovery.com/videos/planet-earth-shallow-seas-humpbacks.html

This clip from 'Super Size Me' exemplifies Performative documentary filming in that the filmmaker himself, Morgan Spurlock, becomes the subject of the film. I enjoy every type of Documentary film but I especially enjoy performative because of its ability to be personable. Allowing the audience to directly connect to the purpose of the film and what the point the director is making.

http://www.youtube.com/watch?v=QBG0G-G_hVg&feature=related

Lets Experiment. . .

Experimental Film intrigues me the most.

The freedom in it, the open space for no judgment although a judgment in itself. Simply a place to allow your mind and thoughts to run free, with no structure or way of development, in this space, anything goes.

In Monday's lecture the idea of boredom was proposed in a new light. It was more of an AHA moment for me, when our guest speaker stated " When a film makes you bored, ask why? Why are you feeling bored? What is the purpose behind this emotion, for it is most likely purposeful, or not, But what is the point the director is trying to get across?" As silly as it may sound, I say AHA in that I honestly had never thought of emotions, or at least the ones we don't usually like to feel, as good. Emotions such as boredom, anger, sadness, angst, not typically felt in a "mainstream" narrative, for it leaves us feeling uncomfortable. And that is exactly the experiment.

That idea that notion, is pure brilliance to me. I love it and am inspired to push the limits in my own creative. There are no written rules of what is good or bad in this media we share a passion for. There is no right, no wrong.

FLUXUS

. . . FOUR. . .

YOU ASK WHY? I ASK WHY NOT?

Hey Kid. . .

This shoot blew my mind. The sky was going off, the colors couldn't have been more majestic, OH, and not to mention,

the waves were dreamlike.

And the new little logo, isn't too shabby either.

Its days like this. . .

with people like these

that make me stoked to be alive.

As I. . .

As I studied for the midterm I watched different scenes from Chungking Express analyzing each on replay. Trying to figure out which scene was the probable choice for our in class analysis, I of course overlooked the one scene that was chosen. Luckily, this scene although one of the less chaotic scenes of the film had so much in content especially when focussing on elements of sound, mise-en-scene, and cinematography. A few things that were visually and soundly pleasing from it were how both of the two long takes in the scene paralleled each other from the start. Literally mirroring the close up to the fish tank followed by a slow pan to the left. And each scene placed back to back gave it, an obviously well thought out, before and after effect. The diagetic sounds of the fish tank in part with the green/blue filter (or green blue hues) used throughout the room both helped to emulate to us, that this man was in fact in his own fish tank. He being the fish, his apartment being the tank, excluded from the outside world, in a small space, almost as a sense of punishment, that he must finish each can of pineapple before he can release himself of the grief that currently captivates his world. He opens the window to place his feet up as he eats and eats, he looks out on the world, he is entrapped in his own manifested world of mild suffering.

If Your Not Doing What You Love. . .

. . . . Then what are you doing.

REST IN PEACE, Andy Irons.

Sending love and good thoughts, vibes, and wishes to your family and friends.