The Disquieting Guest — A Few Thoughts On ‘The Quiet Ones’
The Marvel logo that introduces the company’s movies (and their respective trailers) is a pretty sharp piece of work. That flipping by of comic book images primes the viewers, gesturing toward the history of all that came before. I bet that many viewers feel a bit of a thrill the moment that logo appears, even if — when seeing a trailer for the first time — they don’t know what movie is coming up after those images. I have much the same reaction to the new Hammer logo, which you can check out here. Hammer Studios are a storied institution. They brought Quatermass to the big screen and revived Gothic horror with 1957’s The Curse of Frankenstein. That first pairing of Peter Cushing and Christopher Lee has a hallowed place in horror history, as do the films that followed. But the late-sixties and early-seventies brought difficult times to Hammer. Films such as Rosemary’s Baby, Night of the Living Dead, The Texas Chainsaw Massacre and The Exorcist changed the face of the horror film. Hammer’s period pieces, which had been so radical with their colour, gore and sexuality (tame though those elements appear today), now seemed quaint. Attempts to modernize (Dracula A.D. 1972) were met with mixed success (to put it kindly). The last theatrical hurrah was To the Devil… A Daughter in 1976, an attempt both to follow up the earlier success of The Devil Rides Out and mimic The Exorcist.
#16 — Godzilla (1954) — A Shoot the WISB Discussion
http://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/ShootTheWISB16Godzilla1954AShootTheWISBDiscussion/Shoot%20the%20WISB%20%2316%20–%20Godzilla%20%281954%29%20–%20A%20Shoot%20the%20WISB%20Discussion.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSKaiju classics, Tokyo destruction, and mad science, oh my! Shaun, Julia, Paul, Mike, and Kaiju Master David join forces to tackle Ishiro Honda’s 1954 classic, Godzilla (or Gojira), for the World SF Tour! Question for everyone: What is your favorite kaiju movie and/or favorite kaiju? Spoiler Alert: the following podcast contains spoilers for the film being reviewed; if you wish to see the film without having it ruined for you, download this podcast and save it for later. Download the episode here. Show notes (info about our contributors can be found on the about page): Godzilla (1954)(IMDB) Godzilla (Criterion Edition on BluRay, DVD, or Digital) https://www.youtube.com/watch?v=YNKPY3LkotE
Book Review: Surfacing by Margaret Atwood
This semester, I’m teaching a course on American literature which seeks to challenge what that term actually means and how we can define “American Lit” as something which is multi-national, multi-cultural, and infinitely larger. After all, we live in the Americas; technically speaking, Canadians are Americans in this sense of the term. That’s why I’m here talking about Surfacing by Margaret Atwood and not As I Lay Dying by William Faulkner. Though only loosely fantastic, Atwoods Surfacing is a complex, character-driven feminist tale about relationships, patriarchy, nationalism, and the human psyche. It follows an unnamed narrator who returns with her friends to her childhood home to search for her missing father, who she assumes has either died or run off into the woods. As she tries to piece together her father’s last days from the clues left in his cabin, she is confronted with her friends’ abusive marriage, her recent and distant past, and the crippling expectations of post-WW2 society (and the changes brought on by the Quiet Revolution in 1960s Quebec). Though not intended as horror, Surfacing explores its themes with a sense of impending terror, such that the final moments, which I won’t discuss in any detail here, are profoundly fantastic, with the character drama forming the root of an exploding, terror-driven tree.
Boo! Horror in Southeast Asia!
When I was growing up, I heard stories about the flying heads-with-entrails that would lurk in the dark. People would grow cacti or thorny plants in their gardens to deter such horrific creatures. So there I was, listening to my relatives breathlessly account their experiences (or friend of a friend’s, you know, the usual) of finding one of those flying heads stuck in the cacti, their entrails caught and snared. Then, there were the stories when I grew up and started working. How my friend’s father confronted a pontianak out right. They had heard her shrieks in the darkness. Frightened, they huddled, but the father simply stalked out and challenged the Pontianak: “I know you are here! Show yourself!” A pontianak is a spirit of a woman who has died in childbirth and undead; she stalks for blood, especially the blood of a newborn and its mother.
The Disquieting Guest — The Sublime Terror of Kaiju
In 1985, I had the chance to see Godzilla on the big screen for the first time since that treasured day in the mid-70s, when my father took me to a matinee of Godzilla vs. the Thing (aka Mothra vs. Godzilla, 1964). On this occasion, the film was Godzilla 1985 (aka The Return of Godzilla, 1984). Like the 1954 original, it had been re-edited by its American distributor, with Raymond Burr shoehorned in. It was also dubbed. I didn’t care. It was Godzilla. When a couple of kids (about eight years old, I’m guessing) called out “Hi, Godzilla!” when he appeared, I barely restrained myself from doing the same. But there was another voice in that theatre. In the row ahead of me, a couple sat with their daughter. She was young enough (four? five?) that it’s possible this was her first movie. Twice during the film, I heard a small voice emerge from the seat in front of me with a quavering, “This scares me.” The first time was early in the film, when a corpse is found on a derelict ship. The second time was when Godzilla’s massive foot comes down on a fleeing crowd.
My Superpower: Kyle Burnett
My Superpower is a regular guest column on the Skiffy and Fanty blog where authors and creators tell us about one weird skill, neat trick, highly specialized cybernetic upgrade, or other superpower they have, and how it helped (or hindered!) their creative process as they built their project. Today we welcome Kyle Burnett to talk about how the power of Cinematic Superimposition relates to Big Driver. ————————————————– Origin stories for most superheroes involve tragedy of one type or another. My story is no different. My super power is called Cinematic Superimposition. What this does is allow me to see and hear everything in terms of cinematic production value. Growing up, I experienced trauma of both the emotional and physical variety. When I was four years old, I watched my three year old brother fall into a river and drown in front of me. I helplessly watched my father deteriorate from Huntington’s Chorea before finally passing when I was seventeen. In a single year, I cremated my step father, my sister, and another of my little brothers. It happened to be the same year my grandfather passed, but I wasn’t involved in his cremation.
