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Posted on October 24, 2020

“Fucking Spic Bastard”: Zombies and the Latino Threat

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Zombies have become ubiquitous globally in film and television. This undead ghoul keeps returning and finding new ways to infect our screens. Here, I look at Cholo (John Leguizamo) from George A Romero’s Land of the Dead (2005), one of the few Latinx zombies in film, delving into what this ghoul represents.

In 1968 the zombie film forever changed with the release of George Romero’s Night of the Living Dead. This black-and-white low-budget horror flick now marks the before and after of zombie films. Before Night of the Living Dead, zombie films saw a transition from the fear-inducing film White Zombie (1932) to more comedic zombie films like 1945’s Zombies on Broadway. After Night of the Living Dead, zombies not only morphed from a voodoo creation into undead ghouls of unknown origins but also moved from exotic lands, outside of the U.S., to Pittsburgh. Thus, zombies were no longer ghouls that inhabited “uncivilized” spaces where tourists, the military, and corporations were at risk but were now an integral part of the American landscape.

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Posted on October 20, 2020

Wallpaper + Horror

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When Suzy Bannion (Jessica Harper) stumbles down a hallway in Dario Argento’s Suspiria (1977), we sense that the crimson flocked wallpaper is participating in a spell. In a blinding white flash punctuated in Goblin’s score by the word “witch,” a shard of mirror illuminates the dust that permeates the space with cognitive and respiratory menace. Suzy runs her hand along the flocked damask and clutches her chest as she struggles to breathe. In that moment, Argento’s Suspiria not only connects wallpaper to witchcraft, but also evokes, intentionally or not, the real-world pulmonary illnesses of wallpaper factory workers asphyxiated by flocking dust.[i] On screen and off, the allure of wallpaper has always been countered by disquieting side-effects. The bright colors of nineteenth-century wallpapers were made possible by arsenic, known to seep from the walls in damp weather and infuse a room with dangerous fumes. Nineteenth- and twentieth-century advice writers saw in wallpaper opportunities for the aesthetic and moral enrichment of the working class, even while fearing that the sensual impact of the wrong wallpaper might lead astray the sensitive soul. Oscar Wilde once remarked, “Why, I have seen a wallpaper which must lead a boy brought up under its influence to a career of crime”—a joke, perhaps, but one taken seriously by moralists, home decor treatises, and horror films.[ii]

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man with a skull head
Posted on October 16, 2020

The Legends of Sleepy Hollow

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When autumn rolls around horror movies awake.  Among the most enduring of stories for fall frights is the short story by Washington Irving, “The Legend of Sleepy Hollow.”  The story is simple: an outsider schoolmaster, Ichabod Crane, comes to Sleepy Hollow and is smitten by Katrina Van Tassel. Katrina’s beau, Brom Bones, frightens the credulous schoolmaster out of town by masquerading as the headless horseman of local lore.  This secular ghost story became a big screen hit with the addition of a religious element to the script. This addition fueled two seasons of Fox’s sleeper hit of 2013, Sleepy Hollow. It also may have contributed to the series’ demise. How did all of this come about?

Published two centuries ago in 1820, Irving’s story was the basis for one of the early ghost films of the cinematographic era—The Headless Horseman (1922), directed by Edward D. Venturini. While horror films have a longer pedigree than is generally acknowledged, this was clearly an early attempt to translate a ghost story to cellulite.  Two other silent films addressed the topic as well, but they don’t survive in film. Read more

Posted on October 14, 2020

Tech Horror During Covid: 8 Classic Films

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Now more than ever, we’ve been living in a horror film, as the isolation of seven plus months of lockdown has forced us into a reality mediated almost entirely by screens. For those of us working remotely, days are spent on computers and in video meetings. We socialize through phones and laptops too: Zoom birthday parties, FaceTime calls with friends, and confessional Instagram stories. Every person I interact with is as far away or near as every other. They’re all talking heads inside the same digital squares, as known to me as actors on TV.

It’s strange to live through a time of so much illness and death when daily experience has become so nonphysical. The virus, of course, isn’t virtual at all. Unlike the supernatural transmissions in tech horror films, where a haunting is passed from one form of cursed media to another, Covid-19 spreads through bodily proximity. So, we aren’t living in a tech horror film exactly, but our dependence on digital technologies sets us up to appreciate the genre anew.

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Posted on October 6, 2020

Deconstructive Nostalgia in Clown in a Cornfield

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Adam Cesare’s first YA horror novel Clown in a Cornfield delivers exactly what it promises from the title. High school senior Quinn Maybrook, a city girl from Philadelphia, moves with her father to the rural town of Kettle Springs, Missouri, after a family tragedy. They’re looking to move on from this trauma, and so it’s ironic that they settle in Kettle Springs, a town rooted in the past. Quinn quickly assimilates into the surprisingly vibrant youth culture in the town, but she soon learns that not everyone is so fond of the town’s teens. The majority of the novel takes place over the course of one night, as a group of killer clowns attack Quinn and her new friends.

So, why killer clowns? As Brandon Cornett’s article on creepy clowns claims, clowns are terrifying because of their inherent unknowability. Their true emotions are hidden through the use of a painted-on facial expression that’s often overly exaggerated. Clowns fit well within the realm of the uncanny valley: they look one way, but, in the case of horror films, commit acts of violence that don’t always add up with their outward appearance – cheerful and animated. Read more

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