Haiti and Horror Movies

"Haiti and Horror Movies" is a six-minute video made by Rot & Decay Films that we hope you will watch and let us know what you think.

Scorsese and Horror

FEARnet recently posted an article on The 12 Scariest Moments in Scorsese Movies in anticipation of "Shutter Island." A creepy trip through memory lane worth checking out.

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"Peeping Tom" and First-Person Horror

The Criterion Collection recently announced that they are discontinuing a slate of StudioCanal owned titles. They’ve lost the DVD rights to films like “Grand Illusion,” “Pierrot Le Fou” and Jean Cocteau’s Orphic Trilogy.

(They are having an Out of Print Sale, linked here)

I was dismayed to see “Peeping Tom” on the list. I can think of few films so essential to our understanding of contemporary horror.

The film follows the murderous exploits of Mark Lewis, a solitary photographer who preys on women. Sometimes posing as a documentarian, Mark gets his victims in front of his 16mm film camera, he kills them with his tripod immortalizing their death throes on film.

The viewer is thrust into the point of view of the camera’s viewfinder, forcing us into identification with both the deadly mechanism and the deeply disturbed Mark. We become both the murderer and the means. Even more disconcerting is the allegorical significance of this approach. The viewer is confronted with their own voyeurism.

“Peeing Tom’s” first person aesthetic takes on a new significance when we consider the current horror film fixation with POV. Camera phones, video messaging, and other portable media have provided a new awareness of the first person field of vision that the modern horror film exploits. Movies like “Quarantine” and “Cloverfield” mimic familiar digital platforms as a foray into traditional zombie/infection and monster films respectively.

These are standard genre movies but they are always seem to be reaching to a higher level of verisimilitude. Their approach assumes that the familiarity of the first person digital viewpoint is what incites fear in the viewer. The limited range of vision offered by this approach can be genuinely terrifying (see "[REC]") but a film like “Peeping Tom” exposes an oversight these recent horror films make. They do not realize that identification with the monster is far more horrifying than relation to the victim. When we are forced to identify with the monster, we are faced with out own unrepresentable dark side.

John Carpenter’s "Halloween” aligns us with the central monster to great effect. The opening tracking shot gives us the POV of Michael Myers as a child.

The power of this opener is that it gives us a greater understanding of his monstrous pervasiveness. When we find ourselves yelling at the screen at some nubile slasher victim-“Don’t go into that house, whatever you do, don’t go in that damn house!”- it’s because we have this special access to the monster that Carpenter provides.

(please refer to this great explication of the opening of “Halloween” on Jim Emerson’s Scanners website: Opening Shots: Halloween)

This does not mean that victim identification and pro-sumer video are useless as horror strategies. Perhaps more successful than the strict video mimicry of a film like “Quarantine” is the hybrid method of “28 Days Later" which replicated the lo-fi look of broadcast style video without tethering the film to a visual conceit. The flip side of this aesthetic discussion is the practical use of video. "The Blair Witch Project" and "Paranormal Activity" -despite all their flaws and even- made their limitations a narrative virtue, far outstripping production costs upon release.

Robin Wood and American Horror

With the recent passing of the great film critic Robin Wood, I’ve taken to revisiting his articles. While he was a scholar, he produced articles and books with the swiftness of a journalist.

I’ve just reread my favorite piece by Wood: “An Introduction to the American Horror Film.” This was the first Wood article I encountered. I have a special place for it because he writes so passionately and insightfully about horror. Horror is so often belittled or entirely overlooked by critics. Wood shows us just how vital horror is and how meaningful it can be.

Here is a link to the full-article. Below is an excerpt that lays out some of his ideas.

I have been laying the foundations, stone by stone, for a theory of the American horror film which (without being exhaustive) should provide us with a means of approaching the films seriously and responsibly. One could, I think, approach any of the genres from the same starting-point; it is the horror film that responds in the most clear-cut and direct way, because central to it is the actual dramatization of the dual concept of the repressed/the Other, in the figure of the Monster. One might say that the true subject of the horror genre is the struggle for recognition of all that our civilization represses or oppresses: its re-emergence dramatized, as in our nightmares, as an object of horror, a matter for the terror, the “happy ending” (which exists) typically signifying the restoration of repression.

"The Shining" at IFC

The IFC Center in New York screens midnight movies almost every weekend. The Shining is coming up at the end of the week. Here is a link for more info.

William Friedkin on Horror

William Friedkin, director of The Exorcist provided commentary on the dvd release of The Leopard Man directed by Jacques Tourneur:

"The enemy of the horror film is coherence. I think the more that is explained, the more somebody in the film tries to help you to understand what's going on the less helpful they really are because these films lurk in the imagination, they lurk in that part of the unconscious where night terrors occur. These films play out like nightmares. They have the logic or illogic of a nightmare. They're flawed, as nightmares are. They have elements of surrealism--things within them that happen that are inexplicable and yet seem to make a kind of sense when it's all over or at least they stay with you...."

Shooting "The Shining"

From an interview with John Alcott, DP, The Shining, with Michel Ciment:

What lens did you use for Barry Lyndon?

A 22mm one for most of the interiors. We rarely used the 18mm as we often did on The Shining….


What lenses did you use for The Shining?

Faster lenses even than for Barry Lyndon. We used the whole range of Zeiss lenses, from 18mm to 85mm. On the other hand, we didn’t use the zoom much….

How did you envisage color for The Shining?

In two ways. For the beginning of the film, which takes place in autumn, we wanted, with natural light, to obtain a warm light. Then, with the approach of winter, we switched to one that was colder. I put blue filters on the outside of windows and used artificial lighting aside in relation to that blue.

Stephen King on the Success of Horror.

A bit from Stephen King's book Danse Macabre:

"Horror movies and the horror novels have always been popular, but every ten or twenty years they seem to enjoy a cycle of increased popularity and visibility. These periods almost always seem to coincide with periods of fairly serious economic and/or political strain, and the books and films seem to reflect those free-floating anxieties (for what of a better term) which accompany such serious but not mortal dislocations. They have done less well in periods when the American people have been faced with outright examples of horror in their own lives... Horror films went through a boom period in the 1930s.... We find few horror movies or novels of note in the 1940s..."