Saturday, May 30, 2020

Dialogic Cinephilia - May 30, 2020





Anderson, Jake. "V for Vendetta: Ideas Cannot Bleed." Letterboxd (May 29, 2020) ["As he puts it, V says there is a serenity, a tranquility in ignorance and complacency. Why would anyone WANT to be informed as to how this world truly works? It’s horrifying, but it’s something we all have to face. Ignoring it, the privilege of being able to ignore it, precisely, cannot mask us, secure us, or fortify us. For the longest time, it has. But this year, at the dawn of this decade, it seems like fear is finally releasing its grip on us. We are being thrust into this because it’s inevitable, and it’s a damn shame it’s taken this long. We are the only ones who have our best interest at heart, so I guess that means we’re the ones who finally have to do something. We are legion. We are many. And we will not go quietly into that good night."]

Carr, Jeremy. "Rubble Romance: A Foreign Affair (Billy Wilder, 1948)." Senses of Cinema #94 (Spring 2020)

McGowan, Todd. "Is It Future or Is It Past?" Hammer & Camera #27 (February 23, 2020) ["Episode 27 sees the Hammer & Camera crew tackling the work of longtime loadstone David Lynch for the first time. Specifically, we're talking 2017's Twin Peaks: The Return, and we're joined by author, professor, and fellow Lynchian, Dr. Todd McGowan. We talk about what's special about Lynch and his approach to cinema, what's great about Twin Peaks, whether or not The Return is "cinema," and delve deep into the thematic elements of one of the most interesting series of television ever produced."]











The Directors Series- Paul Thomas Anderson [3.1] from Cameron Beyl on Vimeo.



The Directors Series - Paul Thomas Anderson [3.2] from Cameron Beyl on Vimeo.


The Directors Series - Paul Thomas Anderson [3.3] from Cameron Beyl on Vimeo.


The Directors Series - Paul Thomas Anderson [3.4] from Cameron Beyl on Vimeo.


The Directors Series- Paul Thomas Anderson [3.5] from Cameron Beyl on Vimeo.





SHORT CUTS — Episode 1: Milkshakes, Monopoly & Murder from Cameron Beyl on Vimeo.


The Directors Series - Paul Thomas Anderson [3.7] from Cameron Beyl on Vimeo.


Thursday, May 28, 2020

Weird Studies & Monster Theory (Ongoing Archive)

[This is being developed for my film classes and to track my interest in the "wyrd/weird" and "monster theory."]

I classify "weird fiction" as not necessarily a genre-in-itself, instead it operates in the interstices of mainstream genres, creating through poetic prose, vivid imagery, hallucinatory experiences, existential angst, dream logic and shocking stories, a powerful effect upon the reader, provoking them to start to see the mundane world with a slant. If you look at the etymology of 'wyrd' it originates as the "power to control destiny" (no doubt in a magical or ritual sense) and morphs to the latter "weird" meaning of "unearthly" or strange. These stories stay with you, taking root deep inside your consciousness, reverberating like the ripples of a deep pond disturbed by a thrown rock and provoke you to rethink what you have always taken for granted. There is a commercial genre called "the new weird" (also an older pulp magazine "weird" usually involving cosmic horror) and some of these books/authors would be slotted into my broad genre classification here (many are not), but in the spirit of actual weirdness I include other books/films that operate under the aesthetic classification described above without being marketed as "new weird." The disturbance to perceived reality also may take place through a decoding/encoding process that challenges and restructures (exposing the myths and inconsistencies) of dominant narratives (also see situationist détournement). The purpose is to expose the cracks in the foundations of controlling narratives, destabilizing them through weird narratives that shake the assured assumptions of its adherents. The concepts of carnivalesque revelry and the dialogic nature of consciousness as developed by Mikhail Bakhtin are equally important, in that they involve the reversal of a dominant order and/or an exposure of the fantasy of the controlling order, in the process revealing the many perspectives/voices that are silenced/masked. As disturbing as these can be for many, perhaps the most problematic aspect of many weird narratives would be the decentering of humans (as the center of the universe) and explorations/recognitions of non-human perspectives. Importantly, in the context of my own American culture, this also involves narrative & theoretical displacement of our hegemonic way of seeing & being as the baseline for thinking about and understanding the world. In film studies there has also been a classification of Mind Fuck films which would be included here. All of these can provide a cathartic release from the anxiety/terror of the really fucked-up weird situation we are living through and the twisted creatures that our at the helm of planet earth. [Editorial note: my definition was written during the COVID-19 Pandemic and during the Trump administration in May 2020].

Under no circumstance is weird meant in a derogatory way.  Hopefully it is obvious, I appreciate works that challenge our constructed reality, pushing us to see that there is not just one way. Also it should be understood that what seems weird to some may seem obvious and normal to others. One of the great benefits of learning across time and space/places is that it can, following Bertolt Brecht, "make the familiar strange."

I am indebted to the authors in Jeffrey Andrew Weinstock's collection Monster Theory Reader, J.F. Martel and Phil Ford's fascinating Weird Studies, and the great community involved with The Outer Dark





--------------------------------------------

2001: A Space Odyssey (USA/UK: Stanley Kubrick, 1968) Dialogic Cinephilia (Ongoing Online Archive)

A Clockwork Orange (UK/USA: Stanley Kubrick, 1971) Dialogic Cinephilia (Ongoing Online Archive)

Adaptation (USA: Spike Jonze, 2002) Dialogic Cinephilia (Ongoing Online Archive)

A Girl Walks Home Alone at Night (USA: Ana Lily Amirpour, 2014: 99 mins)

Ahmad, Aalya. "Feminist Spaces in Horrific Places: Teaching Gender and Horror Cinema." Offscreen 18.6/7 (July 2014)

Alien (UK/USA: Ridley Scott, 1979) Dialogic Cinephilia (Ongoing Online Archive)

American Nightmare (USA: Adam Simon, 2000: 71 mins) [Amy Lynn on Amazon: "This is a documentary about horror films and their impact on the world between 1968-1979. We get to hear the points of views of the directors of some of the most frightening classic horror films ever made. ... Tobe Hooper, John Carpenter, David Cronenberg, John Landis, Wes Craven, George Romero and more. We get an in depth look at the politics and upheaval of the 60's and 70's and how they influenced ... the horror genre..."]

American Psycho (USA: Mary Harron, 2000: 102 mins) Dialogic Cinephilia (Ongoing Online Archive)

Armstrong, Raymond. "All Consuming Passions: Peter Greenaway's The Cook, the Thief, His Wife, and Her Lover." Reel Food: Essays on Food and Film. ed. Anne L. Bower. Routledge, 2004: 219 - 234. {Professor has a copy of the book.] 

Aster, Ari. "Hereditary." Film Comment Podcast (June 14, 2018) ["For the release of horror sensation Hereditary, we invited the film’s director, Ari Aster, to come for a wide-ranging chat. The talk was moderated by FSLC Editorial Director Michael Koresky, who wrote of Hereditary in our May/June issue: “We are compelled by our family stories, but they are often constructed narratives, given to biases, subjectivities, fictions. If at times Hereditary feels more like an askew domestic melodrama than a horror movie, that’s not accidental.” Aster talks about his love of Ingmar Bergman, his fear of The Wiz, his next project, and the arduous road to staging a scene just so.

Audition (Japan: Takashi Miike, 1999) Dialogic Cinephilia (Ongoing Online Archive)

The Babadook (Australia: Jennifer Kent, 2014) Dialogic Cinephilia (Ongoing Online Archive)

Bacon, Simon, ed. Horror: A Companion. Peter Lang, 2019. [Professor has a copy.]

Balaban, Bob, et al. "Altered States (1980)." The Projection Booth #216 (April 28, 2015) ["Based on the book by and adapted for the screen by Paddy Chayefsky, Ken Russell's Altered States tells the tale of Edward Jessup (William Hurt), a scientist who’s looking for answers to some of the big questions of life, memory, spirituality, and more. He meets, marries, divorces, and reconciles with Emily (Blair Brown) over the course of a decade of study where he ingests some questionable substances while subjecting himself to sensory deprivation. Here Eddie finds a way to travel back in time through his own body’s chemistry to the days of primeval man."]


Barker, Jennifer Lynne. The Aesthetics of Antifascist Film: Radical Projection. Routledge, 2013. [Get through interlibrary loan]

Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." (Originally published 1936: copy on Marxists Internet Archive)

Berrett, Trevor, David Blakeslee and Scott Nye. "Jack Clayton's The Innocents." Criterion Cast #187 (October 25, 2017) ["This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges. A psychosexually intensified adaptation of Henry James’s classic The Turn of the Screw, cowritten by Truman Capote and directed by Jack Clayton, The Innocents is a triumph of narrative economy and technical expressiveness, from its chilling sound design to the stygian depths of its widescreen cinematography by Freddie Francis."]

Birdman (USA/Canada: Alejandro González Iñárritu, 2014) Dialogic Cinephilia (Ongoing Online Archive)

"Black Horror: The Revolutionary Act of Subverting the White Gaze." Miskatonic Institute of Horror Studies (February 2018)

Blue Velvet (USA: David Lynch, 1986) Dialogic Cinephilia (Ongoing Online Archive)

Bond, Lewis. "Andrei Tarkovsky - Poetic Harmony." (Posted on Youtube: April 29, 2016)

Booth, Max, III. "Fun in the Funhole: Exploring Kathe Koje's Cipher." LitReactor (February 19, 2018)

Bradley, S.A. "Addendum of Doom: The Folk Horror Edition." Hellbent for Horror #2.5 (March 23, 2016) [Discussion of the films The Blood on Satan's Claw (1971), Wake Wood (2009), and Kill List (2011).]

---. "Fear of God: Faith Based Horror." Hellbent for Horror #41 (May 18, 2017) ["Religion is a comfort to some, and a horror to others. Some very good horror movies focus on deeds done in the name of the Almighty. The characters in these movies hear voices, or have dreams, and they’re compelled to act in strange and horrible ways. Are they mad? Are they? These movies haunt you because there’s not an easy answer."]

---. "The First Kiss." Hell Bent for Horror #1 (March 6, 2016) [Discussion of Nicholas Roeg's 1973 film Don't Look Now.]

---. "If You Aren’t Afraid in The Woods, You Haven’t Gone Deep Enough." Hell Bent for Horror #2 (March 18, 2016) [Discussion of the films The Hallow (2015), Eyes of Fire (1983), and Witchfinder General (1968). Also Algernon Blackwood's 1910 short story "The Wendigo."]

---. "Killed by Death." Hellbent for Horror #33 (February 27, 2017)

---. "My Horror Manifesto." Hellbent for Horror #66 (February 9, 2018)

---. "My Ride's Here: Remembering George A. Romero." Hellbent for Horror #48 (July 27, 2017)

---. "The Old Gods of Springtime Horror." Hellbent for Horror (April 10, 2018) ["Things might look bright and warm during Springtime, but there's something sinister underneath the surface. The pastel colors of the flowers camouflage the blood and death in the soil that helped them grow. When the difference between life and death depended on a bountiful harvest, people made human sacrifices to appease the Old Gods of the earth. In this episode I talk about horror movies devoted to the Old Gods of Springtime, man's uneasy connection to the earth, and how groups of people can be scarier than the Old Gods themselves."]

Bradley, S.A. and James Hancock. "Enfant Terrible: Roman Polanski's Monsters." Hellbent for Horror #38 (April 19, 2917)

Breznican, Anthony. "Black Storytellers Are Using Horror to Battle Hate." Vanity Fair (August 3, 2020) ["After Get Out, movies such as Antebellum, the upcoming Candyman retelling, and other tales of terror and the macabre are part of a cultural exorcism centuries in the making."]

Brockmann, Stephen. A Critical History of German Film. Rochester, NY: Camden House, 2010.  [Has chapters on The Cabinet of Dr. Caligari (1920), Metropolis (1927), Aguirre, The Wrath of God (1972), Wings of Desire (1987), and Run Lola Run (1998).] Professor has copy of the book - ask if you want a chapter copied.]

Bronson, Zak. "Thinking Weirdly with China Miéville." Los Angeles Review of Books (November 13, 2018)

Bulkin, Nadia, Mike D. and Tyler Unsell. "A Dark Song." The Horror Pod Class (April 18, 2019) ["Today we are talking to one of our favorite horror and weird fiction authors, Nadia Bulkin! We discuss a really great movie that she turned us on to on Netflix called A Dark Song. Specifically, we discuss the concept of the Sublime and how it interacts with horror fiction."]

Bulkin, Nadia, et al. "The Outer Dark Symposium 2019, Part 5: Ecstatic Weird Panel." The Outer Dark (October 10, 2019) ["In this podcast The Outer Dark presents the fifth installment of The Outer Dark Symposium on the Greater Weird 2019 including the panel ‘The Ecstatic Weird: The Weird as a Source of Transcendence and Awe’, moderated by Gordon B White and featuring Nadia Bulkin, Selena Chambers, Kurt Fawver, Orrin Grey, and Liv Rainey-Smith, as well as readings by Jeff Strand, Kurt Fawver, and Zin E Rocklyn. Also Gordon B White presents Reviews from The Weird including Spirits Unwrapped (Lethe Press), edited by Daniel Braum, and Luminous Body (Dim Shores), by Brooke Warra. The readings and panel were recorded live on Saturday March 23, 2019 at Silver Scream FX Lab in Atlanta, GA. Reviews from The Weird was recorded on Oct. 3, 2019."]

Butler, Andrew Mark. "Ontology and Ethics in the Writings of Philip K Dick." (Ph.D Thesis at University of Hull: October 1995)

The Cabin in the Woods (USA: Drew Goddard, 2012) Dialogic Cinephilia (Ongoing Online Archive)

Cade, Octavia. "Women, Monstrosity and Horror: Gynaehorror by Erin Harrington." Strange Horizons (September 18, 2017)

Carrol, Noel. The Philosophy of Horror or Paradoxes of the Heart. Routledge, 1990.

Carter, David. "The Climb to The Holy Mountain." A Place for Film (September 5, 2017)

Cemetary Man (Italy/France/Germany: Michele Soavi, 1994) Dialogic Cinephilia (Ongoing Online Archive)

Clark, Ashley. "Alien abductions: 12 Years a Slave and the past as science fiction."  Sight and Sound (April 14, 2015)

---. Facing Blackness: Media and Minstrelsy in Spike Lee's Bamboozled. The Critical Press, 2015. [Professor has copy.]

Clasen, Mathias. Why Horror Seduces. Oxford University Press, 2017. [Professor has copy.]

Cloud Atlas (Germany/USA/Hong Kong/Singapore: Tom Tykwer, Lana Wachowski and Lily Wachowski, 2012: 172 mins)

Clover, Carol J. "Her Body, Himself: Gender in the Slasher Film." Misogyny, Misandry, and Misanthropy. Eds. R. Howard Bloch and Frances Ferguson. Berkeley: University of California Press, 1989: 187-221.

Collins, Brian, et al. "Polymath Robert Eisler: Episode 1 Man Into Wolf." New Books in Biography (June 9, 2020) ["In this episode, we discuss how I discovered Robert Eisler’s Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy and unpack the book’s argument that modern humans are descended from primates who imitated the hunting practices and pack hierarchies of wolves during the scarcity of the ice age. We also hear from a crime novelist and a sociologist who were inspired by Man into Wolf in their own work and examine Eisler’s take on evolution."]

Cox, Damian and Michael P. Levine. Thinking Through Film: Doing Philosophy, Watching Movies. Wiley-Blackwell, 2012. [Has chapters on La Jetee (1962), Funny Games (1997), The Matrix (1999), and Memento (2000). Professor has a copy.]

Creed, Barbara. "Horror and the Monstrous-Feminine: An Imaginary Abjection." (Excerpt of essay originally published in Screen, January 1986)

Curti, Roberto. "Teruo Ishii, the Outcast." Offscreen (May 31, 2003)

Daisies (Czechoslovakia: Vera Chytilová, 1966: 74 mins)

Dalpe, Victoria, et al. "State of the Weird 2019, A Roundtable Discussion." The Outer Dark (October 24, 2019)  ["Victoria Dalpe, Gwendolyn Kiste, John Langan and Teri.Zin (Zin E Rocklyn) join host/moderator Scott Nicolay for the most epic episode of The Outer Dark since The State of the Weird 2018. The roundtable conversation kicks off with reactions to pronouncements that the Weird Renaissance/boom is over at a time when so many talented writers from disenfranchised groups (women, PoC, LBGTQ+, disabled) are expanding and transforming Weird fiction with game-changing work. The authors discuss how more perspectives lift all writers and increase readership, the importance of having editors of color and other marginalized groups, changing the definition of agency especially in relation to mentally ill characters, the need to retool storytelling in ways that reflect diverse experiences and not just the same old archetypes, why Weird fiction is a fertile space for exploring different narrative and genre expectations, steps writers and readers can take to support new voices, recognition of Michael Kelly for the now retired award-winning Year’s Best Weird Fiction series (Undertow Publishing), Nightscape Press as an example of a risk-taking press, ‘Trojan Horsing’ diverse authors into anthologies along with the same big names, a Small Press Challenge for listeners, questions from the audience, and the future of Weird fiction."]

Davis, Erik. "Weird Shit." Boing Boing (July 14, 2014)

Dead Man (USA/Germany/Japan: Jim Jarmusch, 1995) Dialogic Cinephilia (Ongoing Online Archive)

Deibler, Emily. "The Sublime's Effects in Gothic Fiction." The Artifice (December 29, 2015)

Deighan, Samm and Kat Ellinger. "Lust for a Female Vampire Lover: The Evolution of Lesbian Vampires in Cinema, Part 1." Daughters of Darkness #1 (March 12, 2016) ["This first episode of three begins by examining the lesbian vampire from her origins in eighteenth century Gothic literature, particularly Samuel Taylor Coleridge’s unfinished poem “Christabel” (1797) and Irish writer Sheridan Le Fanu’s story “Carmilla” (1871), both of which explore themes of monstrosity, repressed sexuality, and female identity. “Carmilla” — the source material for the majority of lesbian vampire films — follows a lonely young woman named Laura, who makes a strange, seductive new friend, Carmilla, whose designs on Laura are decidedly sanguinary. Carl Theodor Dreyer’s surreal horror film Vampyr (1932) was the first to adapt “Carmilla,” however loosely, but was followed soon after by the more straightforward Universal horror film, Dracula’s Daughter (1936). The latter — with its depiction of an elegant, sympathetic female vampire reluctantly driven to act out her bloodlust out on female as well as male victims — was among the first to portray vampirism as a blend of madness, female hysteria, sexual dysfunction, and addiction. Dracula’s Daughter would influence subsequent adaptations of “Carmilla,” like Roger Vadim’s lush arthouse effort Blood and Roses (1960) and obscure Italian Gothic horror film Crypt of the Vampire (1964). The film co-starred Hammer star Christopher Lee, who spends much of the running time in an outrageous smoking jacket. Speaking of Hammer studios, the episode wraps up with a discussion of their Karnstein trilogy, a watershed moment for lesbian vampire cinema. Films like The Vampire Lovers (1970), Lust for a Vampire (1971), and Twins of Evil (1971) — as well as some of the studio’s outlier efforts like The Brides of Dracula (1960) or Countess Dracula (1971) — left a bloody mark on vampire films. With minimal violence and plenty of nudity from buxom starlets like Ingrid Pitt, these films generally depict aristocratic vampires preying on innocent young ladies in pastoral settings. A film like The Vampire Lovers was famous for its use of lesbianism and casual nudity, but is quite restrained compared to the films discussed in episode two by European directors like Jess Franco and Jean Rollin."]

---. "Lust for a Female Vampire: The Evolution of Lesbian Vampires in Cinema, Part 2." Daughters of Darkness #2 (March 28, 2017) ["Kat and Samm continue their three-part discussion of lesbian vampire films, this time with a focus on European cult directors like Jess Franco, Jean Rollin, and Walerian Borowczyk. They begin their discussion with the career of the prolific Jess Franco, who produced a number of films with lesbian vampire themes, namely Vampyros Lesbos (1971). This starred his first muse, Soledad Miranda, as the mysterious Countess Carody, who sunbathes by day but thirsts for blood at night. Franco also adapted Bram Stoker’s novel with the relatively traditional Count Dracula (1970), but continued to explore his own perverse variations on vampire mythology in Dracula’s Daughter (1972) and the explicit Female Vampire (1975), with his longtime partner Lina Romay. Also explored is the work of French director Jean Rollin, known for his dreamlike, often surreal vampire films such as The Rape of the Vampire (1968), The Nude Vampire (1970), The Shiver of the Vampires (1971), and Requiem for a Vampire (1973). While these films infrequently use overt depictions of lesbianism, they are generally concerned with pairs or groups of female vampires banded together against the world. In films like Fascination (1979), about blood-drinking socialites, and The Living Dead Girl (1982), the tragic tale of a love that survives beyond death, Rollin expanded on his early themes. The episode concludes with a discussion of a few films that touch upon the legend of historical murderer and alleged blood-drinker Elizabeth Bathory. Most importantly is Belgian film Daughters of Darkness (1971), the podcast’s namesake, which follows a newly married couple who encounter an elegant and possibly ageless woman at a seaside hotel."]

Deighan, Sam and Mike White. "The Cremator (1968)." The Projection Booth #341 (September 19, 2017) ["Czechtember continues with a look at Juraj Herz's The Cremator (AKA Spalovac mrtvol). Released in 1968, the year of the Prague Spring, the film stars Rudolf Hrusínský as Karl (or Roman) Kopfrkingl, a man dedicated to the idea of liberating the soul from the body through the practice of cremation. Samm Deighan joins Mike to discuss collaborators and the madness that gripped the world in the 1930s and '40s."]

Dennis, Zach, et al. "Freaks." Cinematary #164 (October 6, 2017)

Derry, Charles. Dark Dreams 2.0: A Psychological History of the Modern Horror Film from the 1950s to the 21st Century. McFarland and Co., 2009.

Dick, Philip K. "If you can control the meaning of words, you can control the people who use the words." Dialogic (January 8, 2009)

Dickey, Colin. "The Suburban Horror of the Indian Burial Ground." The New Republic (October 19, 2016) ["In the 1970s and 1980s, homeowners were terrified by the idea that they didn't own the land they'd just bought."]

"Director Alfred Hitchcock’s ‘Shadow of a Doubt’ – ‘Psycho’ – ‘The Birds’." Sound on Sight #309 (February 29, 2012)

Diresta, Renee. "Online Conspiracy Groups Are a Lot Like Cults." Wired (November 13, 2018)

Dixon, Wheeler Winston. "An Artist Always Paints His Own Portrait": : Jean Cocteau’s Testament of Orpheus (1960)." Senses of Cinema #95 (July 2020)

Dogtooth (Greece: Giorgos Lanthimos, 2009) Dialogic Cinephilia (Ongoing Online Archive)

Dorian, M.J. "H.R. Giger: A Beautiful Darkness." Creative Codex #9 (September 2, 2019) ["H.R. Giger is considered by many to be the most evil artist in history. Join us as we take a deep dive into the abyss where Giger's strange ideas are born. In this episode we also explore: how did Giger create a style so distinct that people see it as 'out of this world'?"]

Dowd, A.A. "Hereditary is the most traumatically terrifying horror movie in ages." A.V. Club (January 23, 2018)

Drain, Heather, et al. "Celine and Julie Go Boating." The Projection Booth #277 (June 28, 2016) ["Jacques Rivette's Celine and Julie Go Boating (1974) tells a story of friendship, adventure, and magic between two women (Juliet Berto and Dominique Labourier) in Paris."]

Dunn, Rob. "Home Alone, with 200,000 Friends." American Scholar (February 5, 2021) ["As we in the United States approach a full year of spending even more time than usual at home, and away from friends and family, we’re all a little bit lonely. But even though it might feel as if your immediate family and your pets are the only signs of life in your house—you’re not as alone as you might think. The modern American house is a wilderness: thousands of species of insects, bacteria, fungi, and plants lurk in our floorboards, on our counters, and inside our kitchen cabinets—not to mention the microbes that flavor our food itself. The trouble with wilderness, however, is that we always want to tame it. Cleaning, bleaching, sterilizing, and killing the organisms in our houses has had unintended—and dangerous—consequences for our health and the environment. Biologist Rob Dunn, a professor in the department of applied ecology at North Carolina State University, joins us to impart some advice about how to graciously welcome these unbidden guests into our homes."]

Effress, Inna, Matthew M. Bartlett, and Jon Padgett. "Quarantine Readings." The Outer Dark #78 (July 2020) ["The eighth installment of The Outer Dark Quarantine Reading series features Inna Effress, a Weird fiction rising star, and some Weird double trouble with Matthew M. Bartlett and Jon Padgett (0:35:50), collaborating on their first duet. Inna reads ‘The Devil and the Divine’ (0:13:04), which will appear in the first issue of the much anticipated Weird Horror magazine from Undertow Publications, coming in October. Matt and Jon read the beginning of the epistolary title story of The Latham-Fielding Liaison (0:46:05), part of The Secret Gateways hardcover boxset coming from Nightscape Press and funded by a Kickstarter campaign. As alway, the writers also share their own experiences with lockdown living, their creative news including a story by Inna in Noir Nation, a novel by Matt coming from Broken Eye Books in 2021, and Jon’s update on his editorial/publishing ventures Vastarien: A Literary Journal and Grimscribe Press. Plus everyone’s quarantine reading recommendations."]

Eggert, Brian. "Suspiria." Deep Focus Review (October 26, 2018)

Eig, Jonathan. "A Beautiful Mind(fuck) -- Hollywood Structures of Identity." Jump Cut #46 (2003)

Eraserhead (USA: David Lynch, 1977) Dialogic Cinephilia (Ongoing Online Archive)

Ex Machina (UK: Alex Garland, 2015) Dialogic Cinephilia (Ongoing Online Archive)

"Eyes Wide Shut (UK/USA: Stanley Kubrick, 1999)." Dialogic Cinephilia (Ongoing Online Archive)

Fales, Adam. "Horror in Revision: On the Contemporary Gothic." Los Angeles Review of Books (January 23, 2018)

Fantasmarium. "The Fisherman by John Langan." Medium (September 5, 2019)

Fawver, Kurt. "Why Weird, Why Now?: On the Rationale for Weird Fiction's Resurgence." Thinking Horror #1 (October 2015): 139 - 150. [Professor has a copy - ask me if you want to read it]

Fear and Loathing in Las Vegas (USA: Terry Gilliam, 1998) Dialogic Cinephilia (Ongoing Online Archive)

The Ferroni Brigade. "Beginnings Are Useless: A Conversation with Andrzej Żuławski." Notebook (March 12, 2012)

Fhlainn, Sorcha Ní. "Postmodern Vampires." This Is Not a Pipe (November 26, 2020) ["Sorcha Ní Fhlainn discusses her book Postmodern Vampires: Film, Fiction, and Popular Culture with Chris Richardson. Ní Fhlainn is Senior Lecturer in Film Studies and American studies at Manchester Metropolitan University, United Kingdom. She is a founding member of the Manchester Centre for Gothic Studies and author of Postmodern Vampires: Film, Fiction, and Popular Culture (Palgrave, 2019). She has published widely on socio-cultural history, subjectivity and postmodernism in Film Studies, American studies, Horror studies, and Popular Culture. Previous books include Clive Barker: Dark imaginer (Manchester UP, 2017), and The Worlds of Back to the Future: Critical Essays on the Films (McFarland, 2010), and articles in Adaptation (Oxford UP), and Horror Studies (Intellect). She is currently leading a research project and writing a monograph on the popular culture of the 1980s."]

Fight Club (USA: David Fincher, 1999) Dialogic Cinephilia (Ongoing Online Archive)

Files, Gemma, Orrin Grey and Tyler Unsell. "Blood Quantum." Horror Pod Class #32 (July 2, 2020) ["The dead are coming back to life outside the isolated Mi’gMaq reserve of Red Crow, except for its Indigenous inhabitants who are strangely immune to the zombie plague."]

Fisher, Mark. The Weird and the Eerie. Repeater Books, 2016.

Ford, Phil and J.F. Martel. "Art is a Haunting Spirit." Weird Studies #11 (April 25, 2018) ["M. R. James' "The Mezzotint" is one of the most fascinating, and most chilling, examples of the classic ghost story. In this episode, Phil and JF discover what this tale of haunted images and buried secrets tells us about the reality of ideas, the singularity of events, the virtual power of the symbol, and the enduring magic of the art object in the age of mechanical reproduction. To accompany this episode, Phil recorded a full reading of the story."]

---. "Below the Abyss: On Bergson's Metaphysics." Weird Studies #76 (June 24, 2020) ["According to the French philosopher Henri Bergson, there are two ways of knowing the world: through analysis or through intuition. Analysis is our normal mode of apprehension. It involves knowing what's out there through the accumulation and comparison of concepts. Intuition is a direct engagement with the absolute, with the world as it exists before we starting tinkering with it conceptually. Bergson believed that Western metaphysics erred from the get-go when it gave in to the all-too-human urge to take the concepts by which we know things for the things themselves. His entire oeuvre was an attempt to snap us out of that spell and plug us directly into the flow of pure duration, that primordial time that is the real Real. In this episode, JF and Phil discuss the genius -- and possible limitations -- of his metaphysics."]

---. "The Dark Eye: On the Films of Rodney Ascher." Weird Studies #12 (May 2, 2018) ["American filmmaker Rodney Ascher is a master of the weird documentary. Whether he be exploring wild interpretations of a classic horror film in Room 237, bracketing the phenomenon of sleep paralysis in The Nightmare, studying the uncanny power of the moving image in "Primal Screen," or considering the sinister power of a kitschy logo in "The S from Hell," Ascher confronts his viewers with realities that resist final explanations and facile reduction. In this episode, Phil and JF follow Ascher's films into the living labyrinth of a strange universe that isn't just unknown, but radically unknowable."]

---. "Does Consciousness Exist, Part One." and "Does Consciousness Exist, Part Two." Weird Studies #17 & #18 (June 6 & June 13, 2018) ["In this first part of their discussion of William James' classic essay in radical empiricism, "Does 'Consciousness' Exist?", Phil and JF talk about the various ways we use the slippery C-word in contemporary culture. The episode touches on the political charge of the concept of consciousness, the unholy marriage of materialism and idealism ("Kant is the ultimate hipster"), the role of consciousness in the workings of the weird -- basically, anything but the essay in question. That will come in part two." & "JF and Phil finally get down to brass tacks with William James's essay 'Does Consciousness Exist?' At the heart of this essay is the concept of what James calls 'pure experience,' the basic stuff of everything, only it isn't a stuff, but an irreducible multiplicity of everything that exists -- thoughts as well as things. We're used to thinking that thoughts and things belong to fundamentally different orders of being, but what if thoughts are things, too? For one thing, psychical phenomena (a great interest of James's) suddenly become a good deal more plausible. And the imaginal realm, where art and magic make their home, becomes a sovereign domain."]

---. "Ecstacy, Sin and 'The White People.'" Weird Studies #3 (February 21, 2018) ["JF and Phil delve deep into Arthur Machen's fin-de-siècle masterpiece, "The White People," for insight into the nature of ecstasy, the psychology of fairies, the meaning of sin, and the challenge of living without a moral horizon."]

---. "The Medium is the Message." Weird Studies #71 (April 15, 2020) ["On the surface, the phrase "the medium is the message," prophetic as it may have been when Marshall McLuhan coined it, points a now-obvious fact of our wired world, namely that the content of any medium is less important than its form. The advent of email, for instance, has brought about changes in society and culture that are more far-reaching than the content of any particular email. On the other hand, this aphorism of McLuhan's has the ring of an utterance of the Delphic Oracle. As Phil proposes in this episode of Weird Studies, it is an example of what Zen practitioners call a koan, a statement that occludes and illumines in equal measures, a jewel whose shining surface is an invitation to descend into dark depths. Join JF and Phil as they discuss the mystical and cosmic implications of McLuhan's oracular vision."]

---. "Morning of the Mutants: On the Castrati." Weird Studies #72 (April 29, 2020) ["For over two centuries in early modern Italy, boys were selected for their singing talent castrated before the onset of puberty. The goal was to preserve the qualities of their voice even as they grew into manhood. The procedure resulted in other physiological changes which, combined with an unnaturally high voice, made the castrati the most prodigious singers on the continent. As Martha Feldman shows in her book The Castrato, a masterpiece of cultural history, the castrated singer was such a singular figure that he invited comparisons with angels, animals, and kings, attracting adoration and ridicule in equal measures. The castrato was a true liminal being, and as JF and Phil discover in this episode of Weird Studies, an unlikely herald of the present age."]

---. "On Aleister Crowley and the Idea of Magick." Weird Studies #9 (April 11, 2018)

---. "On Hyperstition." Weird Studies #36 (December 19, 2018) ["Hyperstition is a key concept in the philosophy of Nick Land. It refers to fictions which, given enough time and libidinal investment, become realities. JF and Phil explore the notion using one of those optometric apparatuses with multiple lenses -- deleuzian, magical, mythological, political, ethical, etc. The goal isn't to understand how fictions participate in reality (that'll have to wait for another episode), but to ponder what this implies for a sapient species. The conversation weaves together such varied topics as Twin Peaks: The Return, Internet meme magic (Trump as tulpa!), Deleuze and Guattari's metaphysics, occult experiments in spirit creation, the Brothers Grimm, and the phantasmic overtones of The Communist Manifesto. In the end we can only say, "What a load of bullsh*t!""]

---. "On Lost Highway." Weird Studies #83 (September 30, 2020) ["David Lynch's Lost Highway was released in 1997, five years after Twin Peaks: Fire Walk With Me elicited a fusillade of boos and hisses at Cannes. The Twin Peaks prequel's poor reception allegedly sent its American auteur spiralling into something of an existential crisis, and Lost Highway has often been interpreted as a response to -- or result of -- that crisis. Certainly, the film is among Lynch's darkest, boldest, and most enigmatic. But of course, we do the film an injustice by reducing it to the psychological state of its director. Indeed, one of the contentions of this episode is that all artistic interpretation constitutes a kind of injustice. But as you will hear, that doesn't stop Phil and JF from interpreting the hell out of the film. Just or unjust, fair or unfair, interpretation may well be necessary in aesthetic matters. It may be the means by which we grow through the experience of art, the way by which art makes us something new, strange, and other. Perhaps the trick is to remember that no mode of interpretation is, to borrow Freud's phrase, the one and only via regia, but that every one is just another highway at night..."]

---. "On Lovecraft." Weird Studies #29 (October 9, 2018) ["Phil and JF indulge their autumnal mood in this discussion of Howard Phillips Lovecraft's work, specifically the essay "Notes on the Writing of Weird Fiction" and the prose piece "Nyarlathotep." Philip K. Dick, Algernon Blackwood, and David Foster Wallace make appearances as our fearsome hosts talk about how the weird story differs from conventional horror fiction, how Lovecraft gives voice to contemporary fears of physical, psychological and political infection, and how authors like Lovecraft and Dick can be seen as prophetic poets of the "great unbuffering of the Western self.""]

---. "On the I Ching." Weird Studies #82 (September 16, 2020) ["The Book of Changes, or I Ching, is more than an ancient text. It's a metaphysical guide, a fun game, and -- to your hosts at least -- a lifelong, steadfast friend. The I Ching has come up more than once on the show, and now is the time for JF and Phil to face it head on, discussing the role it has played in their lives while delving into some of its mysteries."]

---. "Orbis Tertius: Borges on Magic, Conspiracy and Idealism." Weird Studies #32 (October 31, 2018) ["Jorge Luis Borges's story "Tlön, Uqbar, Orbis Tertius" is a metaphysical detective story, an armchair conspiracy thriller, and a masterpiece of weird fiction. In this tale penned by a true literary magician, Phil and JF see an opportunity to talk about magic, hyperstition, non-linear time, and the power of metaphysics to reshape the world. When Phil questions his co-host's animus against idealist doctrines, the discussion turns to dreams, cybernetics, and information theory, before reaching common ground with the dumbfound appreciation of radical mystery."]

---. "Philip K. Dick: Adrift in the Universe." Weird Studies #10 (April 18, 2018) ["In 1977, Philip K. Dick read an essay in France entitled, "If You Find this World Bad, You Should See Some of the Others." In it, he laid out one of the dominant tropes of his fictional oeuvre, the idea of parallel universes. It became clear in the course of the lecture that Dick didn't intend this to be a talk about science fiction, but about real life - indeed, about his life. In this episode, Phil and JF seriously consider the speculations which, depending on whom you ask, make PKD either a genius or a madman. This distinction may not matter in the end. As Dick himself wrote in his 8,000-page Exegesis: "The madman speaks the moral of the piece.""]

---. "Weird Music, Part One." Weird Studies #27 (September 26, 2018) ["In this first of two episodes devoted to the music of the weird, Phil and JF discuss two works that have bowled them over: the second movement of Ligeti's Musica Ricercata, used to powerful effect in Stanley Kubrick's Eyes Wide Shut, and the opening music to Cronenberg's film Naked Lunch, composed by Howard Shore and featuring the inimitable stylings of Ornette Coleman. After teasing out the intrinsic weirdness of music in general, the dialogue soars over a strange country rife with shadows, mad geniuses, and skittering insects. And to top it all off, Phil breaks out the grand piano."]

---. "What a Fool Believes: On the Unnumbered Card in the Tarot." Weird Studies #77 (July 8, 2020) ["'What a fool believes he sees, no wise man can reason away.' This line from a Doobie Brothers song is probably one of the most profound in the history of rock-'n'-roll. It is profound for all the reasons (or unreasons) explored in this discussion, which lasers in on just one of the major trumps of the traditional tarot deck, that of the Fool. The Fool is integral to the world, yet stands outside it. The Fool is an idiot but also a sage. The Fool does not know; s/he intuits, improvises a path through the brambles of existence. We intend this episode on the Fool to be the first in an occasional series covering all twenty-two of the major trumps of the Tarot of Marseilles."]

---. "Whirl Without End: On M.C. Richards' Centering." Weird Studies #35 (December 5, 2018) ["The first step in any pottery project is to center the clay on the potter's wheel. In her landmark essay Centering: In Pottery, Poetry and the Person (1964), the American poet M. C. Richards turns this simple action into a metaphor for all creative acts, including the act of living your life. The result is a penetrating and poetic reflection on the artistic process that values change, unknowing, and radical becoming, making Richards' text a guide to creativity that leaves other examples of that evergreen genre in the dust. Phil and JF get their hands dirty trying to understanding what centering is, and what it entails for a life of creation and becoming. The discussion brings in a number of other thinkers and artists including Friedrich Nietzsche, Norman O. Brown, Carl Jung, Antonin Artaud, and Flannery O'Connor."]

Frazer, James George. The Golden Bough: A Study in Magic and Religion. Project Gutenberg, 1922.

Freud, Sigmund. "The Uncanny." (First published in Imago, Bd. V., 1919; reprinted in Sammlung, Fünfte Folge. [Translated by Alix Strachey.])

Funny Games (Austria: Michael Haneke, 1997) and (USA/France/UK/Austria/Germany/Italy: Michael Haneke, 2007) Dialogic Cinephilia (Ongoing Online Archive)

Gallagher, Ryan and James McCormick. "Erle Kenton's The Island of Lost Souls." CriterionCast #128 (August 3, 2012) ["A twisted treasure from Hollywood’s pre-Code horror heyday, Island of Lost Souls is a cautionary tale of science run amok, adapted from H. G. Wells’s novel The Island of Dr. Moreau. In one of his first major movie roles, Charles Laughton is a mad doctor conducting ghastly genetic experiments on a remote island in the South Seas, much to the fear and disgust of the shipwrecked man (Richard Arlen) who finds himself trapped there. This touchstone of movie terror, directed by Erle C. Kenton, features expressionistic photography by Karl Struss, groundbreaking makeup effects that have inspired generations of monster-movie artists, and the legendary Bela Lugosi in one of his most gruesome roles."]

Get Out (USA: Jordan Peele, 2017) Dialogic Cinephilia (Ongoing Online Archive)

Gidney, Craig Laurance. "Dreaming a Weird That Shimmers." The Outer Dark #74 (June 2020) ["In this podcast Anya welcomes back Craig Laurance Gidney to discuss his novels A Spectral Hue (Word Horde, 2019) and Hairsbreadth (Eyedolon/Broken Eye Books, 2020; support their Patreon to read this serialized novel). The conversation begins with Craig’s experience living in Washington, D.C., in a time of pandemic and Black Lives Matter protests. Craig then reads the opening of A Spectral Hue (0:11;11) and delves deep into the creative process behind this groundbreaking Weird novel. Discussion includes the book’s roots in his fascination with Outsider Art, the transformative beauty of The Weird and creating art out of trauma, why traditional cosmic horror from the white cis male gaze doesn’t scare him, the muse as intrusion, his passion for writing and art that is ‘a beautiful mess’ and ‘dream logic’, a non-Western perspective on the trope of ‘possession’, threading memory and ‘tasting’ words, writing process as ‘mosaic’, leaning into The Weird as character, a new story featuring Emily Bronte, color and Tanith Lee, Leonora Carrington, and Mervyn Peake, as well as why it’s not necessary to have closure in endings. The dialogue then shifts to Hairsbreadth in which Rapunzel meets Black Girl Magic including incorporating African-American folklore such as the boo-hag, affinity with Victor LaValle’s The Changeling, finding a Weird community, and a recent abundance of Weird fiction journals including soon-to-be-launched queer flash fiction journal Baffling which Craig is co-editing. The interview closes with news and his recommended authors including Black Girl Unlimited by Echo Brown, Patricia McKillip’s Riddlemaster series, and Head to Toe by Joe Orton."]

---. "Weird Beauty: The Weird Fiction of Tanith Lee." Weird Fiction Review (September 19, 2017)

Grafius, Brandon. Reading the Bible with Horror. Fortress Academic, 2019.

Graham, Zack. "A Fantastic Novel of a Black Hustler in 1920s Harlem." National Book Review (February 19, 2016) [Review of Victor LaValle's The Ballad of Black Tom (2016).]

Grant, Barry Keith. Invasion of the Body Snatchers. Bloomsbury, 2019.

Grey, Orrin and Tyler Unsell. "Gags the Clown and Cosmic Horror." Signal Horizons (April 16, 2020)

Griffiths, David. "Queer Theory for Lichens." Undercurrents #19 (2015)  ["The symbiotic view of life suggests that we are not individuals, and that we have never been individuals. While the traditional view of organisms (including humans) is that they are self-contained, discrete, and autonomous individuals, scientific research is increasingly suggesting that this is misleading; the view of organisms as individuals is perhaps no longer viable. This is illustrated in the symbiotic bacterial ancestry of the mitochondria in “human” cells, as well as in the contemporary symbiotic relationships that are at work in the human gut microbiota. Eating, digesting and living are impossible without our symbiotic relationships. The brief natural cultural history of lichens that I have offered illustrates these points and demonstrates that if life and nature are to be found anywhere, it is not autonomous individuals but the constitutive comminglings, involvements, and interconnected relationships that make up the ecological mesh."]

Hancock, James and Bradley J. Kornish. "Fear of the Unknown." Wrong Reel #198 (November 7, 2016) ["Author Bradley J. Kornish (co-host of the Four Brains One Movie podcast) joins us to discuss the career of H.P. Lovecraft and the incredible documentary ‘Lovecraft: Fear of the Unknown’ (2008)."]

Hancock, James and Tony Stella. "Talking Japanese Ghost Stories." Wrong Reel #335 (November 2017) ["Illustrator Tony Stella returns to discuss some of his favorite Japanese ghost stories on film: ‘Ugetsu’ (1953), ‘Onibaba’ (1964) & ‘Kuroneko’ (1968)."]

Hancock, James and Victor Rodriguez. "Top Ten Lovecraft Adaptations." Wrong Reel #489 (December 2019)

Harrison, Sheri-Marie. "Us and Them." Commune (June 6, 2019) [On Jordan Peele's 2019 horror film Us.]

Heath, Jr., Glenn. "The Addiction." Not Coming to a Theater Near You (October 1, 2012)

Heath, Roderick. "Hour of the Wolf (1968)." Film Freedonia (October 15, 2020) ["As a filmmaker, Ingmar Bergman synthesised two vital artistic modes, the psychological realism of Scandinavian theatre, and the essential faith of Modernism, that understanding of the world depended on perception and therefore art had to find ways to replicate modes of perception, groping towards a rational understanding of the irrational impulse. And yet Bergman’s fascination, even obsession with pathological behaviour and with the dark and tangled roots of the modern psyche and civilisation repeatedly drew him towards the fantastical, the hallucinatory, and the oneiric, conveyed through cinema that often reached back to the supple blend of naturalism and expressionistic stylisation achieved in early masters of Scandinavian cinema like Carl Dreyer, Benjamin Christensen, and Victor Sjöström. So, much as it might once have infuriated some of his high-minded worshippers in his heyday to say so, Bergman’s films very often grazed the outskirts of Horror cinema, and sometimes went the full distance. The anxious, unstable, beleaguered tenor of Bergman’s mature work often employed imagery sourced from the same wellsprings as Horror’s lexicon of preoccupations and metaphors."]

Heller-Nicholas, Alexandra. "Andrzej Żuławski and the powerlessness of language." Overland (February 25, 2016)

---. "Ms. 45." The Cinephiliacs #90 (March 17, 2017) ["Cinema is not just watching: it's shivering, sweating, and screaming. Those aspects of the moves are part of what drives Australian film critic Alexandra Heller-Nicholas. The co-editor of Senses of Cinema discusses her interest in horror films through a number of multimedia projects from radio to image collages on Twitter. They also dive deep on her books on rape-revenge, Dario Argento's Suspria, and now her latest on Abel Ferrara's exploitation classic, Ms. 45...or does the film actually belong to its lead actress Zoë Lund? The two look at the unique tension between director and performer, and how this surprisingly complex film has become an icon for feminist horror buffs."]

---. Silence and Fury: Rape and The Virgin Spring." Screening the Past (September 1, 2010)

---. "Three Mothers Redux: Kathy Acker, Pina Bausch, Tilda Swinton and Luca Guadagnino’s Suspiria." Senses of Cinema #88 (October 2018)

Her (USA: Spike Jonze, 2013) Dialogic Cinephilia (Ongoing Online Archive)

Heron, Christopher. "A Woman Constructing Her World: Anna Biller Interview (The Love Witch)." The Seventh Art (April 5, 2017) ["American independent filmmaker Anna Biller discusses her latest film, The Love Witch (2016), which investigates gender and psychology through the prisms of love and witchcraft. Following Viva (2007) and her preceding short films, the aesthetic of The Love Witch is a bricolage of different formalist reference points found across the writing, performance, sets, music and more. Through this unique world building, Biller explores the underlying narcissistic personality of the complex main character, Elaine, as well as a means to explore notions of fantasy, desire, patriarchal structures, craft, and meta-level symbolism, among its many themes. We discuss these components of the film, its reception, critical misunderstandings of cinema history, and the realities of making films as a woman."]

Holtmeier, Matthew. Entertainment-wise, a motherfucker: Critical race politics and the transnational movement of Melvin van Peebles." Jump Cut #59 (Fall 2019)

The Holy Mountain (Mexico/USA: Alejandro Jodorowsky, 1973) Dialogic Cinephilia (Ongoing Online Archive)

Hudson, David. "Terence Nance's Random Acts of Flyness." Current (August 6, 2018)

I Heart Huckabees (USA/Germany: David O'Russell, 2004) Dialogic Cinephilia (Ongoing Online Archive)

Ince, Kate, et al. "Eyes Without a Face." The Projection Booth #278 (July 5, 2016) ["Georges Franju's Eyes Without a Face (1960) is an atmospheric "anguish story" about a young woman who's lost her face and the overbearing father who works to give her a new one. Special Guest Kate Ince, author of the French Film Directors book Georges Franju, relates Franju's career and themes."]

Innocence (Belgium/France/UK/Japan: Lucile Hadžihalilović, 2004) Dialogic Cinephilia (Ongoing Online Archive)

It Follows (USA: David Robert Mitchell, 2014) Dialogic Cinephilia (Ongoing Online Archive)

Janisse, Kier-La. House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. FAB Press, 2014. [Sections on

Jenkins, Jamie, Mark Mcgee and Mike White. "Invasion of the Body Snatchers." The Projection Booth #130 (September 3, 2013) ["From the deep reaches of space the pods arrive, ready to take over the human race, erasing our humanity and turning us into walking vegetables. We're looking at the four versions of Invasion of the Body Snatchers (and a few other films)."]

Jinx and Chris Maynard. "The Endless." Following Films (April 24, 2017) ["The Endless is the latest film from directors Justin Benson and Aaron Moorhead. It's the story of two brothers who return to deal with the cult from which they fled a decade ago, only to find that there might be some truth to the group’s otherworldly beliefs."]

Jones, Matthew. "Politicizing the Horrific: How American Anxieties Play Out on Screen." Philosophy in Film (March 25, 2017)

Joshi, S.T. The Weird Tale. University of Texas Press, 1990.

Kasman, Daniel. "Between Day and Night: Bertrand Bonello Discusses Zombi Child." Notebook (May 30, 2019)

Kaufmann, Anthony. "It's Happening Here: Trump's America and Totalitarian Dystopias." Keyframe (November 17, 2016)

Kohn, Eduardo. How Forests Think: An Anthropology Beyond Humans. University of California Press, 2013.

Koresky, Michael. "Altered Beast: Tropical Malady Meets Mulholland Dr.." Reverse Shot (May 19, 20005)

Koshy, Yohann. "The Revolution Will Be Weird and Eerie." Vice (February 20, 2017) ["Mark Fisher's 'The Weird and the Eerie' tells us how to embrace the future."]

Koski, Genevieve, et al. "Double Troubles, Pt. 1 - Invasion of the Body Snatchers (1978)." The Next Picture Show #170 (April 2, 2019) ["Jordan Peele’s new US extends a long history of horror stories that use doppelgängers to explore identity, one that includes as a cornerstone Philip Kaufman’s 1978 adaptation of INVASION OF THE BODY SNATCHERS. This episode we delve into the film’s eerie version of San Francisco to talk about how its atmosphere of dread and late-‘70s malaise distinguishes it from other versions of this story, and amplifies the human drama within this classic alien-invasion narrative."]

---. "Double Troubles, Pt. 2 - Us." The Next Picture Show #171 (April 9, 2019) ["Our pairing of devious doppelgängers arrives at Jordan Peele’s new US, which brings into 2019 some of the same themes of paranoia and dread seen in one of its many predecessors, Philip Kaufman’s INVASION OF THE BODY SNATCHERS. After comparing our reactions to US’s “messy by design” narrative and the conversations that have sprung up around it, we bring these two films together to compare how they reflect their respective eras, how each works as horror, and the weird character relationships that underscore the human drama behind the allegory."]

---. "It Comes at Night / The Thing (Pt. 1)." The Next Picture Show #82 (June 27, 2017)

---. "It Comes at Night / The Thing (Pt. 2)." The Next Picture Show #83 (June 29, 2017)

Krämer, Peter. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Bloomsbury, 2014. [Professor has a copy.]

Küçük, Serdar. "Bird Box and Apathetic Blindness." Film Criticism 43.3 (2019)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

---. "CinemArchetype #4: The Hanged Man." Acidemic (February 12, 2012)


---. "Sex is a Hen Decapitated: Bluebeard and the Eroticism of Catherine Breillat." Acidemic #6 (2010)

Kwiatkowski, Al and Brad Strauss. "Andrzej Zulawski." Director's Club #126 (March 14, 2017)

Lady Vengeance (South Korea: Chan-Wook Park, 2005) Dialogic Cinephilia (Ongoing Online Archive)

Lagalisse, Erica. Occult Features of Anarchism. PM Press, 2019. [Professor has a copy.]

---. "Occult Features of Anarchism: With attention to the conspiracy of kings and the conspiracy of the peoples." The London School of Economics and Political Science (March 20, 2019) ["Erica Lagalisse explores the relationship of 19th century anarchism with the clandestine fraternity, challenges leftist attachments to atheism, and intervenes in current debates concerning 'conspiracy theory.'"]

Langan, John and Brooke Warra. "Quarantine Readings." The Outer Dark #77 (July 2020) ["The seventh installment of The Outer Dark Quarantine Reading series features John Langan (0:40:31) and Brooke Warra. Brooke discusses her recent Shirley Jackson Award (Best Novelette) for Luminous Body (Dim Shores), and John Langan, who is a SJA Board Member, goes behind the scenes on producing an online awards ceremony to air during a pandemic. Brooke reads her ‘only original monster’ story ‘The Scritch’ (0:13:27), first published in Mantid and included in The Outer Dark Symposium 2020 Program Chapbook. John reads an excerpt from ‘Sweetums’ (0:50:00), which opens Children of the Fang, his fourth collection coming in August from Word Horde, and which originally appeared in A Season in Carcosa, edited by Joseph S. Pulver. They also talk about their own experiences with lockdown living, their writing and publishing news, and their quarantine reading recommendations. The episode concludes with Gordon B White critiquing Children of the Fang by John Langan in an all-new Reviews from The Weird (1:08:33)."]

Langill, Molly. "‘Mad Women’ in Robert Altman’s 3 Women and Images." Offscreen 18.8 (August 2014)

Lanzagorta, Marco. "Great Directors: John Carpenter." Senses of Cinema (March 2003)

LaValle, Victor and Benjamin Percy. "Creepy Stories (and More)." LitHub (October 31, 2019) ["How writing about politics relates to horror. LaValle explains how devices like monsters make it possible to write about how something feels, rather than merely what happened; Percy discusses doppelgängers, and asks whether politically, the call is coming from inside the house."]

Let the Right One In (Sweden: Tomas Alfredson, 2008) Dialogic Cinephilia (Ongoing Online Archive)

Lindbergs, Kimberly. "Ancient Evil is Now a Modern Industry: Thirst (1979)." Cinebeats (October 13, 2020)

LoBrutto, Vincent. "Surrealism in Cinema: Un Chien Andalou." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 77-83. [BCTC Library: PN1994 L595 2005]

The Lobster (Greece/Ireland/Netherlands/UK/France: Yorgos Lanthimos, 2015) Dialogic Cinephilia (Ongoing Online Archive)

Lodge, Guy. "The horror? How Suspiria leads the way for arthouse scares." The Guardian (October 24, 2018) ["In Luca Guadagnino’s lavish remake of the giallo classic, genre formula is upended for something far more audacious. It’s the latest ‘art-horror’ to confuse audiences."]

Longworth, Karina. "Why Antichrist Is a Feminist Horror Film." Slate (October 23, 2009)

"Lost Isles." Grand Old Movies (November 2015)

Louison, Evan. "Forbidden Truths, the Symmetry of Myth, and a Friendship Uninterrupted by Death: Werner Herzog on Nomad: In the Footsteps of Bruce Chatwin." Filmmaker (August 28, 2020)

Lovecraft, H.P. "At the Mountains of Madness." (Originally published February–April 1936  in Amazing Stories)

Mad Max: Fury Road (Australia/USA: George Miller, 2015) Dialogic Cinephilia (Ongoing Online Archive)

Mafe, Diana Adesola. Where No Black Woman Has Gone Before: Subversive Portrayals in Film and Television. University of Texas Press, 2018. [Has chapters on Children of Men and Beasts of the Southern Wild.]

Marsh, James, et al. "Terry Jones' Monty Python's Life of Brian." CriterionCast #121 (April 5, 2012)

Martel, J.F. "Consciousness in the Aesthetic Imagination." Metapsychosis (July 11, 2016)

---. Reclaiming Art in the Age of Artifice: A Treatise, Critique, and Call to Action. Evolver Editions, 2015. [Professor has a copy.]

Matarazzo, Heather and April Wolfe. "The Invitation." Switchblade Sisters #3 (November 23, 2017) ["This week, April sits down with actress, producer, and director Heather Matarazzo (Welcome to the Dollhouse, Saved, The Princess Diaries). They talk about a movie directed by last week's guest Karyn Kusama, the 2015 film The Invitation. April and Heather discuss the effectiveness of the setting as well as the powerful performance of Tammy Blanchard. Heather also talks about what it's like navigating a corrupt Hollywood system as a woman, having her role recast two weeks before a production, and what interests her about violence committed by women in cinema."]

Mathijs, Ernest and Xavier Mendik, eds. The Cult Film Reader. Open University Press, 2008. [Professor has a copy - ask if you want to borrow or if you want a photocopy of a particular chapter.]

The Matrix/The Matrix Reloaded/The Matrix Revolutions (Australia/USA: Andy Wachowski and Lana Wachowski, 1999/2003/2003b)

Maude, Kit, Rob Prouse and Sam Pulham. "The Naked Woman by Armonía Somers." Sherds Podcast #27 (February 8, 2020) ["The Naked Woman by Armonía Somers was originally published in Spanish in 1950. The translation was made by Kit Maude and the book is published by The Feminist Press. On her thirtieth birthday, the main character, Rebeca Linke undergoes a violent physical and mental transformation. She leaves her home in only an overcoat and wanders through the local forests and fields. When she is spotted in broad daylight, divested of her clothes, the event sends tremors through the rural village, penetrating the hearts, bodies and minds of its inhabitants. Some view her as the return of Eve, some as a malignant curse. In either case, the village must confront this happening, and undergo its own transformation. Over the course of the episode, we discuss the author’s violent expression of feminine autonomy, consider it in the context of the gothic, and examine the response of a staid patriarchal society to the concept of feminine desire.]

Mayer, Sophie. "Horror in Paradise." The F Word (August 7, 2014) ["Sophie Mayer looks at Lucia Puenzo's Wakolda, film narrating the Patagonian epilogue to extremely dark period in European history"]

McAuley, Paul. Brazil. Palgrave/Macmillan, 2014. [Professor has a copy.]

McGowan, Todd. The Impossible David Lynch. Columbia University Press, 2007. [Professor has a copy.]

---. "Is It Future or Is It Past?" Hammer & Camera #27 (February 23, 2020) ["Episode 27 sees the Hammer & Camera crew tackling the work of longtime loadstone David Lynch for the first time. Specifically, we're talking 2017's Twin Peaks: The Return, and we're joined by author, professor, and fellow Lynchian, Dr. Todd McGowan. We talk about what's special about Lynch and his approach to cinema, what's great about Twin Peaks, whether or not The Return is "cinema," and delve deep into the thematic elements of one of the most interesting series of television ever produced."]

---. The Real Gaze: Film Theory After Lacan. State University of New York Press, 2007. [Professor has a copy.]

McInroy, Jack, Daniel Mills and Steve Walsh. "Dhalgren (1975) by Samuel R. Delany." Sherds #28 (April 10, 2020) ["Samuel R. Delany’s Dhalgren was originally published in 1975. Since its publication, Dhalgren has had its fair share of proponents and enemies - it has been called both the best and the worst book ever to come out of the field of science fiction. Over the course of its eight-hundred pages, we follow our main character, the Kid, as he wanders listlessly through devastated city of Bellona, located somewhere in the United States on the border between utopia and dystopia. It is a city where time dilates and contracts, buildings spontaneously combust, obscuring mists curl through the streets. And here, all society’s misfits and outcasts have gathered under its twin moons. In this conversation we discuss the extent to which Dhalgren can be considered science fiction, examine the role of its metafictional games, and think about its presentation of racial and sexual politics."]

McKenna, Terence. Food of the Gods: The Search for the Original Tree of Knowledge. Bantam Books, 1993.

McMillan, Candice. "How Trump and #metoo Have Scared Us Into the New Decade." Chaz's Journal (March 10, 2020)

Midsommar (USA: Ari Aster, 2019: 140 mins) Dialogic Cinephilia (Ongoing Online Archive)

Michel, Brett and Stephen Slaughter Head. "Kaneto Shindô’s Kuroneko (1968)." Captive Eye #8 (April 2, 2012) ["Steve and Japanese film expert, Brett Michel, discuss Kaneto Shindô’s classic ghost story, KURONEKO (1968), the precursor to modern Japanese horror films like Ringu (1998) and Ju-on (2002)."]

Mittell, Jason. Narrative Theory and Adaptation. Bloomsbury, 2017. [Professor has copy.]

Moreno-Garcia, Silvia, et al. "It Is a Tiger that Destroys Me: Latin American Literature as Weird Fiction Panel at NecronomiCon 2019." The Outer Dark #59 (November 7, 2019)

Moulton, Jack. "Jungleland." Letterboxd News (September 26, 2019) ["'You’re in the most beautiful place you’ve ever seen, but it’s hell.' Colombian filmmaker Alejandro Landes takes us deep inside the extreme filming conditions of his acclaimed jungle thriller Monos, and the art of letting life come onto the page."]

Mulholland Dr. (France/USA: David Lynch, 2001) Dialogic Cinephilia (Ongoing Online Archive)

Muraresku, Brian and Graham Hancock. "The Immortality Key: The Secret History of the Religion with No Name." The Joe Rogan Show #1543 (June 21, 2020) ["Attorney and scholar Brian C. Muraresku is the author of The Immortality Key: The Secret History of the Religion with No Name. Featuring an introduction by Graham Hancock, The Immortality Key is a look into the psychedelic origins of the world's great spiritual practices and what those might mean for how we view ourselves and the world around us. Hancock's most recent book is America Before: The Key to Earth's Lost Civilization."]
 
Murdoch, Jim. "Time Out of Joint." The Truth About Lies (July 30, 2009) [On Philip K. Dick]

Murphy, J.J. Me and You and Memento and Fargo: How Independent Screenplays Work. Continuum, 2007. [Has chapters on Safe (1995), Gummo (1997), Memento (2000), Mulholland Dr. (2001), and Me and You and Everyone We Know (2005).]

Naked Lunch (Canada/UK/Japan: David Cronenberg, 1991) Dialogic Cinephilia (Ongoing Online Archive)

Nastasi, Alison. "We Exist: The Female Horror Directors of 2014." Balder and Dash (December 29, 2014)

The Neon Demon (France/USA/Denmark: Nicholas Refn Winding, 2016) Dialogic Cinephilia (Ongoing Online Archive)

Night of the Living Dead (USA: George Romero, 1968) Dialogic Cinephilia (Ongoing Online Archive)

Oldboy (South Korea: Chan-Wook Park, 2003) Dialogic Cinephilia (Ongoing Online Archive)

Only Lovers Left Alive (UK/Germany/Greece: Jim Jarmusch, 2013) Dialogic Cinephilia (Ongoing Online Archive)

The Outer Dark [Scott Nicolay's podcast with a focus on weird fiction. Associated with This is Horror.]

Owen, M.M. "Our Age of Horror." Aeon (September 19, 2018) ["In this febrile cultural moment filled with fear of the Other, horror has achieved the status of true art"]

Pan's Labyrinth (Spain/Mexico: Guillermo Del Toro, 2006) Dialogic Cinephilia (Ongoing Online Archive)

Penny Slinger: Exhibitions (Link to her art. Description of the documentary (link goes to trailer) Penny Slinger: Out of the Shadows: is the incredible untold story of the pioneering British artist Penny Slinger, who came of age in London’s 1960s counter-culture with a radical vision of female sexuality. So powerful was this body of work that 45 years later its influence can still be felt."]

Performance (UK: Donald Cammell and Nicholas Roeg, 1970) Dialogic Cinephilia (Ongoing Online Archive)

Phillips, Alastair and Julian Stringer, eds. Japanese Cinema: Texts and Contexts. Routledge, 2007. [Has chapters on Woman in the Dunes (1964), In the Realm of the Senses (1976), Ring (1998), and Spirited Away (2001).]

Phillips, Maya. "Sorry to Bother You and the New Black Surrealism." Slate (July 18, 2018) ["Like Get Out and Atlanta, Boots Riley’s gonzo satire realizes the best way to depict black people’s reality is to depart from it."]

Picnic at Hanging Rock (Australia: Peter Weir, 1975) Dialogic Cinephilia (Ongoing Online Archive)

PKD Otaku (Publication with 41 issues available online at last count: "It exists to celebrate, explore and discuss the work of Philip K Dick."]

Pontypool (Canada: Bruce McDonald, 2008) Dialogic Cinephilia (Ongoing Online Archive)

Poole, W. Scott. Wasteland: The Great War and the Origins of Horror. Counterpoint Press, 2019. [Your professor has a copy.]

Psycho (USA: Alfred Hitchcock, 1960)  Dialogic Cinephilia (Ongoing Online Archive)

"Punishment Park." Masters of Cinema (March 27, 2013)

Quiroga, Rodrigo Quian. "Neuroscience Fiction." New Books in Neuroscience (September 10, 2020) ["In NeuroScience Fiction (Benbella Books, 2020), Rodrigo Quian Quiroga shows how the outlandish premises of many seminal science fiction movies are being made possible by new discoveries and technological advances in neuroscience and related fields. Along the way, he also explores the thorny philosophical problems raised as a result, diving into Minority Report and free will, The Matrix and the illusion of reality, Blade Runner and android emotion, and more. A heady mix of science fiction, neuroscience, and philosophy, NeuroScience Fiction takes us from Vanilla Sky to neural research labs, and from Planet of the Apes to what makes us human. The end result is a sort of bio-technological “Sophie’s World for the 21st Century”, and a compelling update on the state of human knowledge through its cultural expressions in film and art. Dr. Rodrigo Quian Quiroga is the director of the Centre for Systems Neuroscience and the Head of Bioengineering at the University of Leicester. His research focuses on the principles of visual perception and memory, and is credited with the discovery of "Concept cells" or "Jennifer Aniston neurons" - neurons in the human brain that play a key role in memory formation."]

Raup, Jordan. "Annihilation." The Film Stage (February 21, 2018) ["More terrifying than any creature Hollywood could dream up is the unraveling of one’s mind—the steady loss of a consciousness as defined by the memories, motivations, and knowledge built up from decades of experience and reflection. With Annihilation, Alex Garland’s beautiful, frightening follow-up to Ex Machina, he portrays this paralyzing sensation with a sense of vivid imagination, and also delivers a cadre of horrifying creatures to boot."]

Reilly, Phoebe. "From Babadook to Raw: The Rise of the Modern Female Horror Filmmaker." Rolling Stone (October 27, 2016)

Repo Man (USA: Alex Cox, 1984)  Dialogic Cinephilia (Ongoing Online Archive)

The Ring (USA/Japan: Gore Verbinski, 2002) Dialogic Cinephilia (Ongoing Online Archive)

Ringu (Japan: Hideo Nakata, 1998) Dialogic Cinephilia (Ongoing Online Archive)

Robinson, Andrew. "Bakhtin: Carnival against Capital, Carnival against Power." Cease Fire (September 9, 2011) ["The dominant worldview of medieval Europe was of a natural order which is hierarchical, stable, monolithic and immutable, but poised on the brink of disaster or ‘cosmic terror’, and hence in need of constant maintenance of order. This is similar to Aristotle’s view. For Bakhtin, such a view is oppressive and intolerant. It closes language to change. The fear of ‘cosmic terror’, the pending collapse of order if things got out of control (or the threat posed by the Real to the master-signifier), was used by elites to justify hierarchy and to subdue popular revolt and critical consciousness. Today, we might think of this vision of monolithic order in terms of fantasies of ‘broken Britain’, of civilisation under siege from extremists, and a discourse of risk-management (and the crisis-management of ‘ungovernability’) in which ‘terrorism’, disease, protest, deviance and natural disaster fuse into a secularised vision of cosmic collapse. This vision of collapse has infiltrated legal and political discourse to such a degree that any excess of state power seems ‘proportionate’ against this greater evil. The folk view expressed in carnival and carnivalesque, and related speech-genres such as swearing and popular humour, opposes and subverts this vision. For Bakhtin, cosmic terror and the awe induced by the system’s violent power are the mainstays of its affective domination. Folk culture combats the fear created by cosmic terror.""]

Rogin, Michael. "Kiss Me Deadly: Communism, Motherhood and Cold War Movies." Ronald Reagan, The Movie and Other Episodes in Political Demonology. University of California Press, 1988: 236-271. {Your professor has a copy.]

Romney, Jonathan. "Inside Your Head: Conceptual Science Fiction." Sight and Sound (February 24, 2015)

Salo, or 120 Days of Sodom (Italy/France: Pier Paolo Pasolini, 1975) Dialogic Cinephilia (Ongoing Online Archive)

"Sam Raimi's Low Budget Camera Rigs for Evil Dead." Curly Horns and Iron Teeth (May 25, 2016)

Schalk, Sami. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Duke University Press, 2018.

Segade, Alexandro. "We Belong: On Sense 8." Art Forum (August 24, 2017)

Se7en (USA: David Fincher, 1995) Dialogic Cinephilia (Ongoing Online Archive)

Sense 8 (Netflix: J. Michael Straczynski, Andy Wachowski and Lana Wachowski, 2015 - ) Dialogic Cinephilia (Ongoing Online Archive)

The Seventh Seal (Sweden: Ingmar Bergman, 1957) Dialogic Cinephilia (Ongoing Online Archive)

The Shining (USA/UK: Stanley Kubrick, 1980) Dialogic Cinephilia (Ongoing Online Archive)

Singer, Olivia. "Lessons We Can Learn From The Rocky Horror Picture Show." AnOther (October 30, 2015)

The Skin I Live In (Spain: Pedro Almodovar, 2011) Dialogic Cinephilia (Ongoing Online Archive)

Smalley, Gregory J. "3 Women (1977)." 366 Weird Movies (February 19, 2014)

---. "Altered States (1980)." 366 Weird Movies (July 24, 2010)

Stalker (Soviet Union: Andrei Tarkovsky, 1979) Dialogic Cinephilia (Ongoing Online Archive)

The Strange Color of Your Body's Tears (Belgium/France/Luxembourg: Hélène Cattet and Bruno Forzani, 2013) Dialogic Cinephilia (Ongoing Online Archive)

Subissati, Andrea and Alexandra West. "Boxed In: Cube (1997)." Faculty of Horror #53 (September 24, 2017) ["Andrea and Alex tackle the mysterious and ever changing narrative landscape of Vincenzo Natali’s Canadian cult film, Cube (1997). From workers rights to torture porn to prime numbers, they try to solve it all before they succumb to the film’s traps and trappings."]

---. "Man Eater: Ravenous (1999)." Faculty of Horror #70 (February 25, 2019) ["Andrea and Alex head West to explore the notions of Manifest Destiny and the Frontier Myth in Antonia Bird’s Ravenous. Combining historical context through a modern gaze, Ravenous proves you are who you eat."]

---. "Season of the Witch: Witches in Film Part 3, The Witch (2015) and The Autopsy of Jane Doe (2016)." The Faculty of Horror #60 (March 25, 2018) ["The past few years have seen the figure of the witch become a cultural touchstone for progressives and conservatives alike. From the resurgence of astrology, tarot, and natural healing methods to feminist rallying cry, the witch has never been more inclusive or divisive. Through analysis of two recent films, Andrea and Alex examine the witch’s new meaning in contemporary Western society, and why she remains a symbol of subversive feminism."]\

---. "Violent Visage: Eyes Without a Face (1960)." Faculty of Horror (March 30, 2019) ["Andrea and Alex unmask Georges Franju’s 1960 masterpiece Eyes Without a Face and peer into the damaged landscape of a post-World War II France, body modification and why sometimes, father doesn’t know best."]

Tafoya, Scout. "The Post-Punk Cinema Manifesto: Side A." and "The Post-Punk Cinema Manifesto: Side B." Vimeo (2017)

Taubin, Amy. "Free Range." Film Comment (July/August 2017) ["With Okja, Bong Joon Ho creates his most dramatically protean adventure yet—a work of interspecies friendship, galloping satire, and monstrous truths."]

The Texas Chainsaw Massacre (USA: Tobe Hooper, 1974) Dialogic Cinephilia (Ongoing Online Archive)

Thacker, Eugene. "Horror of Philosophy: Three Volumes." New Books Network Seminar (September 28, 2015) ["Eugene Thacker‘s wonderful Horror of Philosophy series includes three books – In the Dust of this Planet (Zero Books, 2011), Starry Speculative Corpse (Zero Books, 2015), and Tentacles Longer than Night (Zero Books, 2015) – that collectively explore the relationship between philosophy (especially as it overlaps with demonology, occultism, and mysticism) and horror (especially of the supernatural sort). Each book takes on a particular problematic using a particular form from the history of philosophy, from the quaestio, lectio, and disputatio of medieval scholarship, to shorter aphoristic prose, to productive “mis-readings” of works of horror as philosophical texts and vice versa. Taken together, the books thoughtfully model the possibilities born of a comparative scholarly approach that creates conversations among works that might not ordinarily be juxtaposed in the same work: like Nishitani, Kant, Yohji Yamamoto, and Fludd; or Argento, Dante, and Lautramont. Though they explore topics like darkness, pessimism, vampiric cephalopods, and “black tentacular voids,” these books vibrate with life and offer consistent and shining inspiration for the careful reader. Anyone interested in philosophy, theology, modern literature and cinema, literatures on life and death, the history of horror…or really, anyone at all who appreciates thoughtful writing in any form should grab them – grab all of them! – and sit somewhere comfy, and prepare to read, reflect, and enjoy."]

---. "Weird, Eerie, and Monstrous: A Review of The Weird an the Eerie by Mark Fisher." Blackout (June 8, 2018)

The Thing (USA: John Carpenter, 1982) Dialogic Cinephilia (Ongoing Online Archive)

Thomas, Lou. "Raw director Julia Ducournau: ‘I’m fed up with the way women’s sexuality is portrayed on screen'" BFI (April 6, 2017)

Thorpe, Charles. Necroculture. Palgrave Macmillan, 2016. [Professor has a copy.]

"Tropical Malady: The Transformation of Memory." Filmsick (October 5, 2010)

Trouble Every Day (France/Germany/Japan: Claire Denis, 2001) Dialogic Cinephilia (Ongoing Online Archive)

True Detective (HBO: Nic Pizzolatto, 2014 - ) Dialogic Cinephilia (Ongoing Online Archive)

Uncle Boonmee Who Can Recall His Past Lives (Thailand/Germany/Spain/France/United Kingdom: Apichatpong Weerasethakul, 2010) Dialogic Cinephilia (Ongoing Online Archive)

Under the Skin (UK/USA/Switzerland: Jonathan Glazer, 2013) Dialogic Cinephilia (Ongoing Online Archive)

Unsell, Tyler, et al. "Weird Fiction." Horror Pod Class #2 (January 31, 2018)

Us (USA: Jordan Peele, 2019) Dialogic Cinephilia (Ongoing Online Archive)

Valerie and Her Week of Wonders (Czechoslovakia: Jaromil Jires, 1970) Dialogic Cinephilia (Ongoing Online Archive)

VanderMeer, Jeff. "When Science Fiction is Fiction." On the Media (August 14, 2020) ["While apocalyptic narratives have been part of popular culture for centuries and are common subject matter for films and literature, such stories now seem scarily realistic given the increasing impact of climate change. Brooke speaks with science fiction writer Jeff VanderMeer about the responsibility of fiction to illuminate the threats of climate change and human degradation of the planet, and how he imagines what our existence will look like in the coming years. His novel is Borne, and part of his Southern Reach Trilogy has been adapted as a movie."]

Vandermeer, Ann and Jeff Vandermeer. The Weird: A Compendium of Strange and Dark Stories. Tor, 2012. [Professor has a copy - ask if you need a story copied.]

Videodrome (Canada: David Cronenberg, 1983) Dialogic Cinephilia (Ongoing Online Archive)

Vint, Sheryl. "Don’t Let the Future Be Written For You: Sabrina Vourvoulias’s Ink." Los Angeles Review of Books (December 27, 2012) ["Set in a near future (one that perhaps seemed nearer still before the recent presidential election), the novel imagines a world in which immigration law has become overtly totalitarian, drawing an absolute line between the citizen and any “aliens” residing within the US. The title refers to a practice of border control in which one’s status is tattooed permanently onto one’s skin: naturally-born citizens are unmarked, but all others have tattoos whose distinctive colors make immediately visible their visa status, with black tattoos denoting the most despised immigrant class, temporary workers who are also fitted with GPS trackers. As the novel opens, we learn of the new legislation regarding tattoos, and it is soon revealed that an English-only ordinance has passed as well; as the plot unfolds, the legal repression of non-white subjects is further exacerbated by curfews (for those with tattoos only) and legislation regarding an infectious disease — which suspiciously seems only to target anyone with a tattoo — that is used as a pretext to strip such immigrants of their rights as legal residents, confine them to Inkatoriums for “treatment,” and eventually sterilize many without consent."]

Waking Life (USA: Richard Linklater, 2001) Dialogic Cinephilia (Ongoing Online Archive)

Weinstock, Jeffrey Andrew, ed. The Monster Theory Reader. University of Minnesota Press, 2020. [Professor has a copy - let him know if there is a chapter you would like photocopied.]

"Weird Fiction." Horror Pod Class #2 (January 31, 2018) [Michael Benton -- What is very interesting to me is the idea that the "new weird" genre is speaking to a 21st Century dis-ease with the impossibility of truly knowing reality. Propaganda, disinformation & official lies instantaneously and repeatedly disseminated through ubiquitous screen technologies, radically transforming science/technology/theories that even leave those that devote their lives to a particular discipline overwhelmed, and a general distrust from the general population in their traditional experts/leaders. This is played out vividly in Vandermeer's trilogy and Garland's film as the main characters struggling to understand/survive the transmutating Area X/The Shimmer are scientists/soldiers.  ]

West, Stephen. "Plato." Philosophize This! (June 20, 2013)

Wilkins, Budd. "Birthing Bad: Lars Von Trier’s Antichrist Through the Lens of 'Nordic Horror.'" Acidemic (2011)

Willis, Paul. "“She Knew Then That She was Going to Die of Her Femininity”: The Making of the Ayahuasca Drama Icaros: A Vision." Filmmaker (April 19, 2017)

The Witch (Canada/USA: Robert Eggers, 2015) Dialogic Cinephilia (Ongoing Online Archive)

Womack, Ytasha L. Afrofuturism: The World of Black Sci-Fi and Fantasy Culture. Lawrence Hill Books, 2013.


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This Video Essay Was Not Built on an Ancient Burial Ground from Offscreen on Vimeo.






































A History of Horror from Diego Carrera on Vimeo.