It’s summer, so shark movies abound, notably Meg 2: The Trench (Ben Wheatley, 2023) and The Black Demon (Adrian Grünberg, 2023). Both films feature not just a shark but a megalodon, suggesting the need to up the ante when it comes to shark fare – the ante, in this case, being the shark’s size. Neither film is faring terribly well at the hands of critics, although The Black Demon seems to be marginally more highly-praised. It’s not, in truth, a very good film. It is, however, an interesting one.
AMERICAN FOLK HORRORS
Edited by Dawn Keetley
Abstracts due: October 29, 2023
There has been a veritable outpouring of both popular and academic writing on folk horror in the wake of folk horror’s resurgence in the post-2009 period. The last three years, for instance, has seen an excellent, comprehensive documentary film, Kier-La Janisse’s Woodlands Dark and Days Bewitched: A History of Folk Horror (2021); a special issue of the journal Revenant: Critical and Cultural Studies of the Supernatural (2020) dedicated to folk horror (with a special issue of Horror Studies in the works); and four collections of scholarly essays either just published or forthcoming in 2023 (see Bacon; Bayman and Donnelly; Edgar and Johnson; and Keetley and Heholt).
In today’s episode, it’s a disturbing journey into the misleading world of social media courtesy of Kurtis David Harder’s Influencer (2023). The story follows social media influencer Madison (Emily Tennant), who is in Thailand for what was supposed to be a romantic getaway with her boyfriend, Ryan (Rory J. Saper). But her lonely and mundane reality is shown to be completely at odds with the exciting, friend-filled adventures she portrays online. When a chance meeting with local CW (Cassandra Naud) offers Madison an opportunity to turn her lies into truth, she embarks on a dark journey where image is definitely not everything. Equal parts eviscerating indictment of influencer culture and cautionary tale about the importance of skepticism, Influencer is a film specifically of its time. But is that a good thing? We’re breaking it all down today with spoilers, so stay tuned.
We discussed Kurtis David Harder’s 2019 film Spiral in an earlier podcast.
Our seventh special issue takes up found footage horror – and we have a real bumper crop of essays here, eighteen of them, along with the special issue introduction. We’ve made an point here of seeking to expand the canon of found footage horror, so you’re as likely to find unfamiliar as familiar names and titles: H. P. Lovecraft’s The Call of Cthulhu (1928); Shelley Jackson’s “dossier” novel, Riddance: Or: The Sybil Joines Vocational School for Ghost Speakers & Hearing Mouth Children (2018); Abel Gance’s World War I film, J’accuse (1919) and its 1938 reboot; the French TV program, Les Documents Interdits (1989-1991, 2010); The WNUF Halloween Special (2013); Jordan Peele’s Nope (2022); The Curse of Professor Zardonicus (2022); the first found footage horror tabletop role-playing game, The Devil in New Jersey (2022); What Happened to Crow 64? (2020), a collection of YouTube videos exploring a fictional video game; and the video game Immortality (2022).
But you’ll also find new readings of plenty of found footage favorites: The Blair Witch Project (1999), The Collingswood Story (2002); Lake Mungo (2008); The Taking of Deborah Logan (2014), Savageland (2015), Butterfly Kisses (2018), As Above So Below (2014), The Pyramid (2014), Deadstream (2022), Host (2020), and We’re All Going to the World’s Fair (2022).
“Make the choice” demands the advertising tag line for M. Night Shyamalan’s theocratic thriller, Knock at the Cabin (2023), which comes with a tagline as heavy with political implications as its peremptory plot. The latter’s orthodox overtones, a curious mix of cultish Christianity, archaic aggression and sectarian spectacle, retrospectively seem the plausible progression for a director whose films are littered with conspiracy theories, quasi-Christian lore, and a constant emphasis on patriarchal family values. The cornerstones of religion and reactionism are accompanied by a pattern of often intertwined key motives neatly fitting into a set of larger concepts: being chosen or singled out to play a specific role, a divine plan or predetermined fate, and an existential truth which protagonists either can’t see or refuse to believe.
Shyamalan’s forcefully forward allegories, which transmit these ideas along with an unwavering approval of the gospel, make for a curious series of faith based movies. Signs has a father regain his faith while discovering that crop circles are indeed caused by aliens. The Sixth Sense already spells out in its title the faith which the central story of purgatory is rooted. The Village pairs an exaltation of “blind faith” with surveillance schemes. The Unbreakable series mixes political paranoia with modernized myths of angels and demons. Old embraces traditional family values and the idea of big pharma plotting. Even the Edgar Allan Poe inspired low budget thriller The Visit evolves around deadly deception, validated suspicion, and the importance of biological family bonds. Read more
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