Browsing Tag

short cuts

Posted on February 3, 2016

Short Cuts: Morgan in Chains

Elizabeth Erwin

Perhaps because of my higher than usual comfort with horrific imagery, I’m usually not the best at anticipating what images will be labeled as triggering (a word I loathe but that’s for a separate post), and so my immediate reaction to this image as problematic was a surprise. Excited to be ahead of the curve for once, I immediately went to the interwebs to see how people were responding—only to be met with silence. It’s an obvious cliché but in this case the silence truly was deafening.

And so in today’s Short Cut, I want to spend a little time unpacking why I find the image troubling and posing a few questions I hope people will weigh in on. While I fully expect many will argue it is just one image and of little consequence, I truly believe that the popular culture we consume greatly influences our beliefs and perceptions, even if we aren’t fully aware of it.

I want to acknowledge from the outset that clearly this image does not exist within a vacuum. As viewers, we know that Morgan’s captivity is a consensual act negotiated between the two characters in an attempt to ward off The Wolves, who are violently attacking the community. We recognize that the intent of this moment is about subterfuge and not enslavement. For viewers in the moment, the distinction is clear.

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Posted on February 2, 2016

Short Cut: Carrie’s Final Girl and the Precariousness of Survival

Dawn Keetley

Carrie (Brian De Palma, 1976) is the quintessential horror film, opening with a scene that showcases one of its central themes: what is repressed inevitably gets unleashed.

The opening famously features Carrie (Sissy Spacek) getting her first period in the shower at gym (yes, we’re in the terrain of real horror here!). The other girls (of course) mock her, throwing pads and tampons and screaming at her to “Plug it up.” Carrie does “plug it up”—in all kinds of ways—and what she plugs up gets spectacularly released in blood and death on prom night.

The most compassionate of Carrie’s high school acquaintances, Sue (Amy Irving), survives the blood bath, however (perhaps because of her kindness)—becoming one of the first Final Girls of horror (arguably preceded only by Lila from Psycho [1960], Sally from The Texas Chain Saw Massacre [1974], and Jess from Black Christmas [1974]).

1. Carrie, ending, hand

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Posted on January 30, 2016

Keepin’ it in the Family: Death in Pet Sematary (1989)

Gwen

We take for granted how much we learn from our families. Through family, we learn about life, love, strength, absence, guilt, and death. Sociologists frequently categorize the family as a primary socialization group which builds the foundation for future navigation of the world around us. It is widely accepted that within our formative years, from birth to school age, as well as in our later life, we learn from observing this primary social group.[i] Albert Bandura’s Social Learning Theory suggests that we learn consequence and reward by seeing the results of actions manifest in the lives of those around us. Considering the family as a core teaching mechanism of behavior and cognition helps me understand the film Pet Sematary (1989) in a new way.

In this Short Cut, I want to briefly examine death with a special emphasis on one video clip in Stephen King’s timeless film, Pet Sematary. (WARNING: there are spoilers) The Creed family consists of Louis (Midkiff), Rachel (Crosby), Gage (Hughes), Ellie (Berdahl twins), and Church (played by 7 blue British shorthairs). The first death in the family is that of Churchill the cat. Louis tries to shelter his daughter, Ellie, from the loss by resurrecting him via the pet sematary. One after another, Louis holds on to rotting replicas of the family to dangerous ends, as Gage and Rachel are buried in the same sour ground as Church. Louis Creed’s inability to let go puts the family in escalating danger.

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Posted on January 27, 2016

Goodnight Mommy: Who are we?

Dawn Keetley

Goodnight Mommy is a 2014 Austrian film directed by Severin Fiala and Veronika Franz and released in the US in 2015. This film blew me away: it is so agonizingly disturbing, so beautiful, and so thought-provoking. I haven’t reviewed it because it would be almost impossible to do so adequately without dropping some major plot spoilers. And I think everyone should watch the film and experience its surprises. Part of the pleasure of watching the film is how unsettling it is, how unsure you become of what’s real and what’s not.

So, in this Short Cut, I just want to point out one of the many fascinating issues Goodnight Mommy raises, and, happily, I can do so without giving anything important away.

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Posted on January 22, 2016

Short Cuts: Ex Machina and Dracula?

Dawn Keetley

Ex Machina (Alex Garland, 2015) has obvious gothic roots. The eccentric Nathan Bateman (Oscar Isaac), who creates artificially intelligent female “robots” in his isolated compound is a clear descendent of both Frankenstein and Doctor Moreau. A less obvious forebear for the film, though, is Dracula (both Bram Stoker’s 1897 novel and Tod Browning’s 1931 film).

The frame above is centered on programmer Caleb Smith (Domhnall Gleeson), who has been whisked by helicopter to Nathan’s compound after supposedly winning a competition. In actuality, he’s there to perform the Turing test on Nathan’s latest creation.

The opening of the film is replete with references to Dracula. As the helicopter pilot drops Caleb seemingly in the middle of nowhere, Caleb protests, “You’re leaving me here?” The pilot replies, “This is as close as I’m allowed to get to the building”—which evokes Renfield’s unceremonious abandonment at the Borgo Pass in Browning’s film, as the driver refuses to get any closer to Count Dracula’s castle.

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