Wednesday, 23 December 2015
Wednesday, 16 December 2015
Tuesday, 15 December 2015
Monday, 14 December 2015
“Repulsion” (1965) by Roman Polanski - Ventures into the world of mental disease and the crumbling of a mind, seeping down into the murky claws of Madness. Set in London during the 60’s in the era of the “Sexual liberation” society where beginning to have the freedom of sexual expression and flirtatious behaviour from both male and female was in full Swing on the streets.
The cracks and deformations that appear throughout the home of Carol are a reflection of the instability of her mind, hands that burst through the walls groping at her flesh, could be seen as the lecherous male society that constantly cat-talk and ogle Carol or maybe the perverted hands of her father. “They are more plausibly (and more tragically) the echoes of a very real trauma that Carol experienced in her past”. (Y. Nguyen, 2014)
• (Fig. 01) http://deadshirt.net/wp-content/uploads/2014/10/CatcallPOV.png
• (Fig. 02)http://deadshirt.net/wp-content/uploads/2014/10/WallNightmares.png
Sunday, 13 December 2015
A visual “TRIP”, Dario Argento’s “Suspiria” (1977) pays very little attention to the narrative of the film, instead provides set designs and colour relationships more suited to cartoon worlds, where realism can be hanged from the ceiling and a stylised magnum opus can be produced. “Suspiria is self-consciously stylised, artificial and, as the first victim will remark in a kind of meta-commentary, “so absurd, so fantastic.” (Williamson, K. 2000)
“Suspiria” stylisation has been compared like the darker twin to Disney. “As much a reverberation as an inversion of Disney” and “Disney’s hidden reverse” (Schulte-Sasse, 2002). Key scenes seem to have a relationship with Disney’s “Alice in wonderland”, from the disoriented environment, to the effects of being drugged through the food creating the psychedelic colour shifts and not knowing if this is all occurring in reality or just ones mind.
Although Argento has openly said he wanted to achieve the colour satuartion of one of Walt Disneys earlier films “we were trying to reproduce the color of Walt Disney’s Snow White” (Williamson, K. 2000) but with the nuance of a psycholigical thriller. Argento’s vision of creating a Fairytale building and juxtaposing with all the gore and violence of a Horror flick, Mixed with the repetitive eerie soundtrack and the subtly overlayed screams and wines produced some contemplative if somewhat disturbing viewing.
• “Williamson, K. (2000) Rise of the Neo-Stalker,” Post Script: Essays in Film and the Humanities