by Lewis Martin
CW: contains strong imagery of graphic and horrorific nature
Children have always had a pivotal role in the Horror genre. Often presented as the reason for the eventual defeat of the monster or villain, they demonstrate something we can physically see in our day to day lives and, for the most part, wholeheartedly love. However, children are not always the point of redemption in Horror. There have been a number of movies which juxtapose the role of the child against the norm, and present the child as the very reason that the horror exists. this paradoxical use of the child, I’d argue, is in fact even more frightening than usual because of the breaking of the naturally presumed innocence of child that is usually presented to us.Continue Reading
by Lewis Martin
Video media have always had a way of tapping into the current fears of the watcher. Be it in horror movies or films aimed at children, they show us topical fears in either exaggerated gory fashion or in subtle ways that stay with you well past the end of the credits. This has never been more true of the fear of screens. Over the decades, the screen has often been used on screen as a device that either projects our worst fears or captivates us and holds us against our will. The fear of screens warping our minds is a form of mild technophobia, an attitude dismissed by many as socially conservative. Nonetheless, many filmmakers have used it to their advantage to create horror and thrills, as well as using it as a form of social commentary.
by Carmina Masoliver
cw: mentions violence
Genesis Cinema, in London’s Whitechapel, is an independent cinema on the site of a pub-turned-music hall that first opened in 1848, and which housed a number of theatres before turning to the silver screen. As part of its Fringe! Queer Film & Arts Fest, it screened German film The Misandrists by Bruce LaBruce. Complemented by a moderated discussion about the film, it raised a range of questions on the importance of author intent, the role of sex and violence in film, and the issue of when satire becomes mockery.
by Richard Worth
Hollywood seems once again to be trying to prove that it is incapable of coming up with an original idea, while the ideas that they do have are disturbingly off base and fly in the face of prevailing winds. The latest is a forthcoming remake of William Golding’s Lord of the Flies featuring female characters playing the traditionally male roles. Predictably, it got the internet, usually known for its tempered and considered reactions, good and riled up.
Lord of the Flies is a complex and challenging piece of literature. As such, adapting it with such a major fundamental change, threatens the integrity of the original story. Having the story revolve around a group of girls, rather than boys, presents some hurdles but I think it doesn’t necessarily destroy the story’s function.
by Eli Lambe
Released shortly before the disaster at Grenfell, Dispossession: The Great Social Housing Swindle is a timely and balanced exploration of the factors that led to the tragedy, and to the wider social cleansing of working class and low income communities throughout the UK. Introducing the film to a packed room in Norwich’s Cinema City, director Paul Sng emphasised the need to counter the “media culture of denigrating people who live in social housing”. The goal of the film, for Sng, was to show that people living in these estates and situations are valuable in themselves, and that the communities that exist there are important and should be preserved, as well as highlighting how this is overshadowed constantly by the prioritisation of profit and private sector gains.
by Eli Lambe
Dave Eggers’ The Circle, both the book and the recent feature-length adaptation, is a dystopia formed around a Facebook/Apple/Google/Amazon-esque corporation, one which hosts and shares almost every aspect of its users lives. The novel does a remarkable job of capturing the subtle ways in which this model is marketed to us, how this format of data-as-product is often shrouded in apparently progressive buzzwords – community, accountability, transparency, participation – whilst the company which operates under this model does so under the same values as every other corporate entity.
There is a veneer of progressivity and respectability that companies adopt in order to retain and gain customers – like Facebook making it easier to harass trans people, or implementing guidelines that protect white men but not black children, and at the same time, for one month of the year, patchily providing a rainbow “pride” react to the users who liked lgbt@facebook. Perhaps not as extreme as Eggers writes in The Circle, but eerily close enough: “Anytime you wanted to see anything, use anything, comment on anything or buy anything, it was one button, one account, everything tied together and trackable and simple, all of it operable via mobile or laptop, tablet or retinal.”Continue Reading