Posted on November 27, 2015

Slow Violence, Environmentalism, and The Walking Dead

Dawn Keetley

There is much to say about The Walking Dead and many people saying it, so I feel there’s room before the upcoming mid-season finale of season 6 to write about something a little bit off the beaten track.

Especially since the beginning of season 6, I’ve been thinking that among the many things the zombies of The Walking Dead connote is the slow lurch of catastrophic environmental damage.

My theory is, no doubt, in large part due to the fact that I’ve been reading Rob Nixon’s excellent 2011 book, Slow Violence and the Environmentalism of the Poor. Nixon coins the term “slow violence” to describe long-term ecological devastation, “a violence that occurs gradually,” a “violence of delayed destruction that is dispersed across time and space, an attritional violence that is typically not viewed as violence at all.” Nixon argues that while sudden cataclysmic environmental disasters (typhoons etc.) are easy to narrativize, it’s harder to tell stories about often almost-imperceptible “slow violence.”[i] I would suggest that one place to look for such stories is the zombie narrative—because, for me at least, the term “slow violence” also inevitably conjures up zombies (the slow kind, anyway!).

Season 6 has offered the repeated shot of Daryl (Norman Reedus) on his motorcycle, cresting the hill of a rural road with a horde of walkers looming behind him, as he tries to lead them away from the community of Alexandria. This image suggests the way in which the consequences of a reckless use and misuse of our planet follows slowly but inexorably behind us.

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Posted on November 24, 2015

#Horror Review (2015)

Dawn Keetley

101 mins   | Tara Subkoff |   (USA)   |   2015

Grade: B

Synopsis: Six twelve-year-old friends gather for a sleepover at the fabulous Connecticut home of Sofia (Bridget McGarry), whose mother, Alex, is played by Chloë Sevigny. The girls alternately create various scenarios so they can upload pictures and verbally abuse each other. One of the girls, Cat (Haley Murphy), crosses the line, telling the one girl who’s not unhealthily thin, Georgie (Emma Adler) that she should kill herself. She’s kicked out of the house and soon the other girls realize they are being stalked online and then in deadly reality.

1. hashtag horror georgie by cow

#Horror is the writing and directorial debut of Tara Subkoff, actress and fashion designer. She has talked quite explicitly about her interest, in this project, in marrying the horror film to social commentary. Mentioning some of her favorite horror films and directors (Wes Craven, The Exorcist, Halloween, The Shining), she describes horror’s important work of “social commentary,” its way of “talking about politics.” Subkoff’s interest in social commentary pervades #Horror, which directly speaks to our obsession with electronic devices and social media. According to Subkoff, cultural narcissism is reaching boiling point: “we’re just obsessed with ourselves and promoting ourselves,” she said, in an interview on Quiet Earth.[i] Subkoff also takes aim at cyberbullying, as the girls in #Horror pass up no opportunity to ridicule and abuse each other in person and on social media.

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Posted on November 23, 2015

Horror Rewatch: Tales From the Darkside the Movie (1990)

Gwen

Revisiting this film is a lot like going to a high school reunion. There are a lot of mixed feelings, but in the end you get to see forgotten faces and have some good old fashioned fun. The first thing that caught my attention was how I had completely erased the number of huge stars in this movie. Instantly I was taken back in time when I saw such staples of the time period as Debbie Harry, William Hickey, and Christian Slater. In hindsight, though, the stories within the film are like the lunch tables at school, they don’t quite mix well with one another. Each is to be appreciated for what it is, but there is a general lack of cohesion. Nonetheless, this film maintains the necessary creep factor, good story telling, and was well worth the revisit if simply for the feelings you get opening a time capsule.

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Posted on November 20, 2015

Aimy in a Cage Review (2015)

Elizabeth Erwin

79 mins   | Hooroo Jackson |   (USA)   |   2015

Grade: A+

With lush cinematography and a challenging feminist infused narrative, Aimy in a Cage is unlike any other horror film in recent memory. While there are certainly traditional elements of the genre at play in the film (forced imprisonment, global plague), the narrative is less interested in creating a sense of impending doom and more focused on exploring how perceptions of sanity are dependent upon environment. The end result is a remarkable film that contextualizes adolescent female sexuality in a wholly original way.

Our entry into the story comes courtesy of comic style drawings through which each character is introduced without fanfare. Not only do these drawings set a stylistic tone for the film, but they are an effective callback to the graphic novel upon which the film is based. On the surface, the story is a simple one. Aimy, whose refusal to acquiesce to any of her family’s behavior modification demands, is deemed to be troubled and is forced to undergo a lobotomy of sorts to make her behavior more socially acceptable. Meanwhile, the Apollo Plague, a mysterious and deadly virus, begins to make the national news.

There is an unfair tendency of audiences to equate low budget with low production value but Aimy in a Cage shatters that myth with a visual flair that suggests a Hollywood style budget. Stylistically, the film is reminiscent of works by David Lynch and Stanley Kubrick in that the visuals serve to create a story parallel to the one verbalized on screen. Kubrick, in particular, appears to have been an influence on director Hooroo Jackson, not least in his framing of Aimy’s forced medical procedure: the scene instantly draws comparisons to Alex’s conversion therapy in Kubrick’s famed A Clockwork Orange.

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Posted on November 18, 2015

Top Five Films Screened at the Ithaca International Fantastic Film Festival

Dawn Keetley

I just got back from a weekend at the Ithaca International Fantastic Film Festival, where some amazing films were in the lineup. Thanks to Hughes Barbier for putting together such a stimulating event.

Here are my top five, all of which you should watch when they become commercially available:

1. The Invitation, directed by Karyn Kusama (USA). Grade: A+

Michael Gingold of Fangoria introduced The Invitation at IIFFF, saying it was one of the best horror films of the last couple of years. I agree (though I still think the standout horror film of 2015 is David Robert Mitchell’s It Follows, which I review here).

Gingold also said that the less you know about The Invitation going into it, the better—and I wholeheartedly agree with that too. I (purposefully) hadn’t read any reviews of the film ahead of time, and so I got to experience the disconcerting and disorienting events just as the protagonist did. It’s very difficult to write anything about the film without giving too much away and thus spoiling it, so I guess the two principal things I want to convey here are: (a) see the film (which will apparently get general release in March 2016); and (b) don’t read any reviews of it before you do.

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