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Diversity in SF Film: The Day the Earth Stood Still (1951)

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I thought I’d seen this film before, but apparently not. For a film made in the early ’50s — the era when post WW2 women were told to return to their “feminine roles” — it’s pretty inclusive. From the beginning, we see PoCs as part of the world’s population — even as part of the American population. They may not always have lines, and they may not be a big part of the action, but they exist in the background. Watch an American film today and you’ll see exactly what I mean. Not only do non-model-worthy people not exist, but neither do PoCs. Mind you, the British newscasters say things like “Throughout the Empire and the rest of the world,” and we see shots of these colonials in their colonial-ness — but hey, they EXIST. Wooo.

The Skiffy and Fanty Show Podcasts

225. Godzilla vs. Kaiju Panel at CONvergence 2014

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http://media.blubrry.com/skiffyandfanty/dts.podtrac.com/redirect.mp3/archive.org/download/SandFEpisode225GodzillaVsKaijuAtCONvergence/SandF%20–%20Episode%20225%20–%20Godzilla%20vs%20Kaiju%20at%20CONvergence.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Spotify | Android | iHeartRadio | Podchaser | Podcast Index | Email | TuneIn | Deezer | RSSCritters, giant lizards, and monster movies, oh my!  Earlier this year, David and Shaun were part of the “Godzilla vs. Kaiju” panel with Dave Margosian and Melissa Kaercher.  We began with the following questions:  Is the new Godzilla movie a true Godzilla movie? How does it relate to the past movies and to the genre as a whole?  From there, things took on a life of their own! We hope you enjoy the episode! Note:  If you have iTunes and like this show, please give us a review on our iTunes page, or feel free to email us with your thoughts about the show! Here’s the episode (show notes are below): Episode 225 — Download (MP3) Show Notes: Dave Margosian’s Facebook Melissa Kaercher’s Twitter Tin Lizard Productions Xanadu Cinema Reel Edu Our new intro music is “Time Flux” by Revolution Void (CC BY 3.0). That’s all, folks!  Thanks for listening.  See you next week.

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The Disquieting Guest — Bracing for the Universal Monsterverse

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In 2012, we witnessed an unusual (to put it mildly) phenomenon: The Avengers was simultaneously the start of a new franchise, and a sequel to four other franchises:  Iron Man, Thor, Captain America and The Incredible Hulk. There was, however, a precedent. Almost 60 years earlier, in 1943, Frankenstein Meets the Wolf Man was a sequel to both The Ghost of Frankenstein (and thus the fourth Frankenstein film) and The Wolf Man. The two series merged into one, and Dracula would be added to the mix in the films that followed. The continuity was very loose, but it was there all the same. Now, Universal has announced that it is rebooting (yet again) its monster titles with the purpose of aping the Marvel Cinematic Universe. All the icons from the 30s and 40s will be present:  the Frankenstein Monster, Dracula, the Mummy, the Wolfman, and the Invisible Man. Also present is the late arrival from the 50s, Universal’s last classic monster:  the Creature from the Black Lagoon. Though the official start to the Monsterverse is the Mummy reboot in 2016, it appears that Dracula Untold has been rejigged slightly to act as a prologue (assuming it isn’t a miserable failure).

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Indy Genre: African Shorts

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I get the sense that short films are often viewed as a way to develop skills and advertise those skills, or as a proof of concept for a feature-length film. I’m starting to see more and more short film available for general viewing on Youtube, Vimeo, and even Hulu as a way to reach audiences that don’t normally go to film festivals. Shorts, because they can be filmed much more quickly, also give filmmakers who have a very limited budget a chance to still tell an engaging story. Finding genre film from Africa is a challenge in the US. Other than District 9, I don’t think much has made it over here as of yet, and I don’t honestly know how much is actually made, (tough there is plenty of film being made in various African countries, particularly Nigeria! Just do a bit of googling about Nollywood if you don’t believe me. In terms of sheer number of films produced per anum, it’s right on Bollywood’s heels and ahead of Hollywood). Read on for a selection of African short films. On the strength of these, I hope we will see more feature length films from these countries over here soon!

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Metropolis (1927), Feminism, and Influence

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Since there seems to be so much noise these days about the Golden Age of SF, I decided to begin rewatching (or in some cases, watching) classic genre films in order to get a more sound foundation in my chosen genre. If I do this with novels, why not films? In this case, I’m glad that I did. One of my graphic design professors had us watch Metropolis in class. I’d vaguely remembered it as stylish — it’s a fine example of Art Deco design — and only a little coherent. At the time, I wondered why anyone would sit through the whole thing. It made no sense. The professor didn’t mention that the film had been censored. I’m not sure she was aware of how much it’d gotten cut as she didn’t mention it in the introduction. When I looked for it on Netflix, I found two versions. The first claimed to have restored footage and an 80s soundtrack. The second also had restored footage. What I failed to notice was that the first print was one hour and fifteen minutes long. The second? Two hours and fifteen minutes. I recall the version I saw in class was less than an hour. Wow.

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The Disquieting Guest — Calvaire and the Tyrannies of Desire

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There is no denying that extreme horror, at its worst, fulfils pretty much every outside observer’s worst surmises about quote-unquote torture porn. But at its best, it has a merciless rigour that pushes viewers into places they may not wish to go but are important for them to confront. Fabrice Du Welz’s Calvaire (2004) is a case in point. Calvaire is a Belgian film and not, strictly speaking, part of the New French Extreme trend in horror films (Inside, High Tension, Martyrs, etc.). But if we reconsider the term slightly as the New French-Language Extreme, then it fits in very nicely with its dark cousins (and Martyrs, a France-Canada co-production, becomes a better fit as well). While not as gory as some, its unblinking willingness to explore the heart of darkness marks it, for me, as part of that loosely defined movement.*

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