![]() ![]() We set up a certain hierarchy within the horror genre, with the forms traditionally considered more closely related to “High Art” first: Classics ( Nosferatu, F W Murnaus, 1922 Frankenstein, James Whales, 1931) director’s fame ( Psycho, Hitchock) glossier satanic films sci-fi hybrid films highly produced films and then the “bottom,” with sub-genres such as slasher, splatter, shocker, Euro-trash, mondo, and so on. What makes these latter genres different from the three main ones that Williams highlights? You may want to compare these “body genres” to other genres that also make the body react viscerally (in some ways), such as comedy, musicals, performance art, documentaries, etc. ![]() Each of these films causes corporeal reactions that mimic what the film’s characters are supposedly feeling, offering either an active or passive identification with a subject(s) on screen. First, we discussed what Linda Williams has denominated the “body genres:” pornography, melodrama, and horror. This extremely long ASL may be symptomatic of recent trends in world cinema, and may point out our increasingly shorter attention spans.įrom here, professor Solomon turned to what he called “Horror made at home,” focusing specifically on the changes in the horror genre beginning in the 1970s. We also watched a brief clip from the brutally long cut film Honor de cavalleria (Albert Serrá, 2006), depicting a “typical” conversation between Sancho and Don Quijote, but in Catalan. To offer some final ideas for Spain’s regionalisms, we reviewed José Luis Cuerda’s short Primer amor, discussing issues from morriña and saudade, to wanderlust and domesticity. He spoke of the (at least) two form of spectator literacy or competency necessary to fully comprehend the significance of this complex film: (1) the regionalist aspect that plays both with Basque emblematic as well as its relationship to Spanish culture and (2) an idea of Medem as auteur, which includes formal and thematic traits common in his (earlier) films such as incest, doublings, circular framing, and an ambivalent relation to the Basque Country. Before beginning our discussion on horror cinema and other ”sub-genres,” professor Solomon made some concluding remarks regarding last week’s film Vacas (1992) and its director, Julio Medem. ![]()
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