Tuesday, October 31, 2023

Denis Villeneuve (Ongoing Filmmaker Archive)

 MB - Denis Villeneuve has had the most amazing 8 film run of any filmmaker. I named my dog after him (and Claire Denis) as a sign of my respect for his art/craft.  Be warned - the video essays below have spoilers, if that bothers you, wait until you watch your film.










MB: all of the films have resource archives (except Enemy) - click on the titles after you have watched the films

Polytechnique (2009)
"A dramatization of the 1989 Montréal Massacre, during which several female engineering students were murdered by an unstable misogynist."
Trailer

Incendies (2010)
"Twins journey to the Middle East to discover their family history and fulfill their mother's last wishes."
Trailer


Enemy (2013)
"A man seeks out his exact look-alike after spotting him in a movie."
Click on the title for the trailer

Prisoners (2013)
"When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts."
Trailer


Sicario (2015)
"An idealistic FBI agent is enlisted by a government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico."
Trailer

Arrival (2016)
"A linguist works with the military to communicate with alien lifeforms after twelve mysterious spacecraft appear around the world."
Trailer

Blade Runner 2049 (2017)
"Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years."  MB - note, this is a sequel to Ridley Scott's 1982 film Blade Runner (you can watch and respond to both if you want).
Trailer

Dune (2021)
"A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive."
MB - this is part one of the overall story, but it is a heck of a ride and satisfying in itself. I have watched it multiple times. Part 2 will be coming out in the Spring.
Trailer

ENG 281 Week #12: Aliens Classic Films

MB: As we have been thinking about these movies throughout the semester it has been discussed that "monsters" serve as a metaphor for what a society fears or feels threatened by. This is very clear from the different options here, from the straight-out horror of the first three, to the more satirical last two. Besides the easy enjoyment of these as horror films, whether they scare you or not, we should pay close attention to these representations, as for the uncritical consumer they can interpellate us into a certain set of assumptions and condition us to blindly accept social/political realities (They Live examines this). Furthermore, the labeling of people/cultures as monsters, no matter the reasons, is a process of dehumanization that allows/encourages systemic oppression, mass slaughter, and cultural genocide (satirically explored in Starship Troopers).  The Thing is one of the most terrifying films I have seen in a theater and a masterpiece of existential horror. Alien created an iconic monster that was spun off into many sequels of varying success and gave us one of the major female action characters in Ripley (Sigourney Weaver). Invasion of the Body Snatchers is a classic of 70s paranoid thriller-horror films and left me frantic/chilled all the way up to the end.


Invasion of the Body Snatchers (USA: Philip Kaufman, 1978)
Film description: "The first remake of the paranoid infiltration classic moves the setting for the invasion, from a small town to the city of San Francisco and starts as Matthew Bennell notices that several of his friends are complaining that their close relatives are in some way different. When questioned later they themselves seem changed, as they deny everything or make lame excuses. As the invaders increase in number they become more open and Bennell, who has by now witnessed an attempted “replacement”, realizes that he and his friends must escape or suffer the same fate. But who can he trust to help him and who has already been snatched?"
Resources for after you watch the film:

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)."]

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."]


Alien (UK/USA: Ridley Scott, 1979)
"The crew of a commercial spacecraft encounters a deadly lifeform after investigating an unknown transmission."
Resource archive for after you watch the film


The Thing (USA: John Carpenter, 1982)
"A research team in Antarctica is hunted by a shape-shifting alien that assumes the appearance of its victims."
Resource archive for after you watch the film


They Live (USA: John Carpenter, 1988)

Resource for after you watch the film:

Bromley, Patrick, et al. "Special Report: They Live (1988)." The Projection Booth (April 11, 2017)

Jones, Eileen. "They Live Is a Timeless Anti-Capitalist Horror Classic." Jacobin (October 29, 2022) 


Starship Troopers (USA: Paul Verhoeven, 1997)
"Set in the future, the story follows a young soldier named Johnny Rico and his exploits in the Mobile Infantry. Rico’s military career progresses from recruit to non-commissioned officer and finally to officer against the backdrop of an interstellar war between mankind and an arachnoid species known as 'the Bugs'."

Resources for after you watch the film:

Neumeier, Ed and Paul M. Sammon. "Starship Troopers." The Projection Booth #99 (January 29, 2013)

Scott, Suzanne. "Starship Troopers: The Massacre Is the Message." Reverse Shot (June 22, 2003)





The Thing (USA: John Carpenter, 1982)

 



The Thing (USA: John Carpenter, 1982: 109 mins)

Billson, Anne. "The Thing Set on Survival." The Guardian (August 27, 2009)

Bromley, Patrick, et al. "Special Report: The Thing." The Projection Booth (December 23, 2016)
["Initially lambasted by critics, John Carpenter's The Thing (1982) was a brilliant adaptation of John W. Campbell's novella Who Goes There?. The film tells the story of a dozen men in Antarctica who are infiltrated by an alien shapeshifter. Interviews include authors John Kenneth Muir (The Films of John Carpenter), Jez Conolly (Devil’s Advocates: The Thing), actors Joel Polis (Fuchs), Thomas G. Waites (Windows), and cinematographer Dean Cundey."]

Earles, Steve. "30 Years On: The Thing Revisited." The Quietus (October 19, 2012)

Fichera, Blake and James Hancock. "John Carpenter, Horror Master." Wrong Reel #272 (May 29, 2017)

Flight, Thomas and Tom van der Linden. "The Thing." Cinema of Meaning #56 (March 30, 2023)     ["Thomas Flight and Tom van der Linden discuss how movies can go from being dismissed to being hailed as masterpieces, the dynamics of (dis)trust, and the non-existence of the soul, in John Carpenter’s The Thing."]

Graham, Jamie and Mike Muncer. "Aliens Pt. 15: The Thing (1982)." The Evolution of Horror (2021)

Hancock, James and Martin Kessler. "Getting Assimilated by The Thing." Wrong Reel #271 (May 2017) ["... the history of The Thing including ‘Who Goes There?’ (1938), ‘The Thing from Another World’ (1951) and John Carpenter’s ‘The Thing’ (1982)."]

"John Carpenter’s Apocalypse Trilogy: The Thing - Prince of Darkness - Mouth of Madness." Horror Vanguard (October 4, 2022)

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

Pridham, Matthew. "Underneath the Skin: John Carpenter’s The Thing and You." Weird Fiction Review (March 25, 2012)

Subisatti, Andrea and Alexander West. "In Plain Sight: The Thing." Faculty of Horror #59 (February 25, 2018) ["John Carpenter’s terrifying cult classic stands the test of time in many regards – from the practical effects, to the performances to the storytelling, there’s little about the film that doesn’t work. Andrea and Alex tackle the film and its stances on leadership, paranoia, the notion of discovery, and more over a bottle of Jim Beam."]

























Alien (UK/USA: Ridley Scott, 1979)

 



Alien (UK/USA: Ridley Scott, 1979: 117 mins)

Benedict, Steven. "Analysis of Alien." (Posted on Vimeo: 2013)

Brooks, Xan. "The First Action Heroine: It is 30 years since Ridley Scott's Alien burst on to cinema screens and introduced us to Ellen Ripley, chestbursters and body horror." The Guardian (October 12, 2009)

Buckle, Andy. "Critical Analysis: Alien (Ridley Scott, 1979)." The Film Emporium (March 25, 2011)

Cassidy, Brendan, et al. "AlienAliensAlien 3." InSession Film #221 (May 15, 2017)

Cinefix. "Alien Chestburster: Art of the Scene." (Posted on Youtube: January 21, 2015)

Eggert, Brian. "Alien." Deep Focus Review (June 4, 2012)

Falzon, Christopher. "Philosophy Through Film." Internet Encyclopedia of Philosophy (August 12, 2013)



Gamboa, Rafael. "An Analysis: Alien." Long Take (Posted on Youtube: October 8, 2015)

Haggstrom, Jason. "Reassessing Alien: Sexuality and the Anxieties of Men." Reel 3 (June 8, 2012)

McKenna, Juliet, et al. "Fight Scenes and Women Warriors." Breaking the Glass Slipper 2.8 (April 13, 2017) ["As Kameron Hurley discusses in her Hugo Award-winning article, ‘We Have Always Fought‘, women have always fought. So why don’t we see more women warriors in science fiction and fantasy novels? History is full of women on battlefields and in brawls, even if the history books might gloss over it. Remember: much of the history we hold as the gold standard was written by men who were reinforcing the social structures they created. When it comes to fight scenes, there’s already enough to think about without worrying about gender representation (and no, that’s not an excuse…). A well-written fight scene is a rare gem. We talk to writer and martial artist Juliet McKenna about the common mistakes writers make when writing fight scenes, from grand military battles to a pub fight, we talk weapons, fight styles, point of view, and more. What makes a fight scene interesting? How much detail is too much? And it wouldn’t be an episode of Breaking the Glass Slipper without us championing some of our favourite examples of great women warriors in SFFH."]

Richards, Jill. "Pussy Wars." Los Angeles Review of Books (March 24, 2017)

Shone, Tom. "Woman: The Other Alien in Alien." Slate (June 6, 2012)

Subisatti, Andrea and Alexandra West. "Alienation Part 1: Alien (1979) and Aliens (1986)." Faculty of Horror #38 (May 10, 2016)

Williams, Kristian. "Alien - H.R. Giger's Beautiful Monster."u (Posted on Youtube: September 13, 2016)











Thursday, October 26, 2023

Rachel Kapanga - Critical Thinking: A Christian Perspective (BCTC: ENG 102)

 MB: Hi Rachel,

This essay shows a high level of sophisticated thinking, even though it has some minor problems.

I really like sections like this:


R: “When individuals use preference as a filter to perceive the world and form judgements, they restrict their ability to think with objectivity and close themselves off to new horizons of beneficial knowledge that come with a willing mind to learn from others. They create a world in their own minds where their extreme beliefs and ideologies are the only ones that are truthful and need to be taken seriously, while dismissing everything that is located outside of their zone of familiarity without giving it any thought as to whether it has any prospect of being viable. Most of the time, those kinds of people don’t use logic or choose to reject logical and critical thinking; they create a mechanism of self-defense that involves rejecting anything when it starts to challenge their beliefs system and ideologies. Making them uncomfortable to use their brains because of the fear of discovering that what they hold as true is in fact not, what they believe to be right is in fact wrong. They lock themselves in a bubble made of voluntary ignorance, but they call it protection. Because of their utmost desire for comfort, even though it is the root of their mediocrity, they build walls between themselves and the rest of the world to create a form of security. Because they are unsure of what to anticipate, they feel reluctant to venture outside of their familiar surroundings and enter a world where they will need to prove the viability of their beliefs with proof.”

MB: I do feel as if you turn your back on this powerful stance near the end of the essay, trying to come to terms with your faith you shoehorn a very problematic statement from a Christian writer about any other way of seeing the world as being lacking/problematic:

R: “The article "Shaping a Christian Worldview: An Introduction (Part I)" by David S. Dockery aims to argue that everyone has a worldview, whether conscious or unconscious, and a Christian worldview is more than just a personal religious statement or a theory. The author then compares a Christian worldview to various contemporary and postmodern worldviews such as naturalism, existentialism, nihilism, deism, pantheism, new-age spirituality, and postmodern relativism. The article demonstrates how these worldviews fail to give sufficient solutions to basic life issues, leading to moral perplexity, spiritual emptiness, and cultural degradation. The author also warns against the perils of syncretism, which is the mingling of disparate worldviews with no coherence or consistency. He also encourages Christians to acquire critical thinking and assessment abilities so that they can understand the underlying worldviews behind many ideas and expressions in our culture.”

If this is what Dockery is saying, it seems to me, that he is doing exactly what you are critiquing in the earlier parts.

1) He is saying every way of seeing and being in the world, but the Christian way is wrong.
2) As you have written it, I see no evidence or thought of why that is. The listing of seven extremely different ways of being in and seeing the world and then blanket dismissing them as destructive is problematic and wrong. I’ll defend the one I am closest to, existentialism does not leave me morally bankrupt, spiritually empty or culturally degraded. In fact, my understanding and study of existentialism has led to a complex understanding of a spiritual worldview and moral/ethical code, it isn’t Christian, instead I have formed it in conversation with multiple ways of seeing/perceiving our human condition (including Christian thinkers).
3) Your acceptance of Dockery’s reactionary attitude toward syncretism seems very problematic as you were stating in the lead up to this that we should be open to other ways of thinking/perceiving. Syncretism is simply the combining of two or more forms of thought or belief. Why would this be a threat to Dockery? Does he fear any challenge to his very strict and limited worldview? If a Christian wanted to also accept some of the precepts/ideas of Buddhism into their practice, is that a bad thing? Or, if a feminist sought to retain their Christian faith by critiquing its patriarchal traditions, would that be problematic? It seems that Dockery is shutting down the more thoughtful and open members of his faith.

I’m saying this Rachel, because I am truly impressed by the sophistication of your ideas/thought and hope to encourage you to both embrace your faith and remain open to other ways of seeing the world. Christianity, and our society, needs open, critical thinkers like you.


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

Having received her grade, and not being required to do so, she still went back to the essay and revised that section (the essay) below. I was blown away and impressed by her desire to think critically and be open, while staying true to her deeply held faith.

People like this make me optimistic about the possibility of bringing peace to our world 😊

PS – I asked for written permission to share this.
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"Critical Thinking: A Christian Perspective" - Rachel Kapanga (BCTC: ENG 102)

It's all in your head, they say. When we take the time to analyze and research how our perceptions might affect us, this seemingly impotent phrase becomes quite powerful. Why is perception so powerful, you may ask? The answer is simple: the way we elect to see the world, interact with others, process information, create opinions, and live our lives is influenced by our perception. Whatever or whoever shapes our perception controls our lives. Meaning, the way we act, interact, and make decisions is slightly influenced, consciously or subconsciously, by what we believe to be true and how we select to interpret information. Furthermore, our actions, decisions, and judgments are simply the mirror through which we see the results of how the units of perception we use affect us on a daily basis. Understanding how perception works and learning how to control it can transform the most mediocre mind into one that is gloriously brilliant and astute. I have been on a journey for answers, knocking at various doors in the hope of finding someone who could silence the noise of my unanswered questions about the effect of perception on the human mind. I have dived deep into the fascinating world of perception with a mind filled with questions, and at the end of my quest for answers, I have come to these conclusions. There are three types of people: first, those who radically choose only to perceive the world through their ideology and what they believe to be true and correct, regardless of whether it is logical or not; secondly, those who combine their beliefs and critical thinking; and finally, those who elect to see the world through the prism of critical thinking and logic, wanting everything to be logical and explicable. With the knowledge I have gained, please bear with me as I aim to illuminate your mind regarding the power of perception in the following paragraphs.

             Beliefs are a basic component of our everyday human experience; we cannot go one day without them. In fact, we need them to function. The word “belief” has many meanings that very across disciplines of inquiry. However, among the most common is the noncontroversial definition that a belief is a mental state in which a person regards particular propositions as true (Schwitzgebel, 2011). Beliefs are invisible yet potent drivers of our perception. When it comes to how we choose to perceive the world, handle challenges, create a line between good and evil, and live our lives, beliefs seem to have a particularly large impact. to comprehend the impact extremist ideologies and beliefs may have on a person. We must draw a line between facts and preferences, reality, and delusion.

            Political scientists contend that, in contrast to Mannheim, in performing the functions of mobilizing people, whether by class, group, nation, party, race, or sex, ideology can serve as a root of both stability and instability, concord and conflict. (Nancy S. Love). Prefernce is defined as a greater liking for one alternative over another or others, whether true or false, rational, or irrational. In contrast, a fact is an assertion that has been proven as true or known. A fact cannot be changed or refuted. One thing can be perceived as correct and rational for one group and not for another, depending on their preferences—preferences that take their source from their beliefs, whether they are true or not. When individuals use preference as a filter to perceive the world and form judgements, they restrict their ability to think with objectivity and close themselves off to new horizons of beneficial knowledge that come with a willing mind to learn from others. They create a world in their own minds where their extreme beliefs and ideologies are the only ones that are truthful and need to be taken seriously, while dismissing everything that is located outside of their zone of familiarity without giving it any thought as to whether it has any prospect of being viable. Most of the time, those kinds of people don’t use logic or choose to reject logical and critical thinking; they create a mechanism of self-defense that involves rejecting anything when it starts to challenge their beliefs system and ideologies. Making them uncomfortable to use their brains because of the fear of discovering that what they hold as true is in fact not, what they believe to be right is in fact wrong. They lock themselves in a bubble made of voluntary ignorance, but they call it protection. Because of their uttermost desire for comfort, even though it is the root of their mediocrity, they build walls between themselves and the rest of the world to create a form of security. Because they are unsure of what to anticipate, they feel reluctant to venture outside of their familiar surroundings and enter a world where they will need to prove the viability of their beliefs with proof.

            Now with a scenario, I will help you to visualize how perception, through the delusion of what we believe reality to be, can affect people. You wake up all excited; it’s the first day of high school. You’ve been thinking about this all summer; you’ve made up thousands of stories in your head about this day. You don’t want to be late, so you get yourself ready a little early. You want to make a good first impression, so you wear your best outfit. You arrive exactly on time, but as soon as you walk into the first class, everyone bursts into laughter. They are laughing for no apparent reason, but you believe they are laughing at you, so you move as swiftly as you can. You choose a seat where you won't be seen for the remainder of the day or even the entire academic year. You don't realize that they weren't laughing at you, but rather at the joke that had just been delivered seconds before you entered the room. However, when the same thing happens to someone else, they decide to disregard it and carry on with their day as usual. Despite the possibility that it is untrue, they convince themselves through their delusion that those individuals are simply fanatics and that they are the most stylish people. When delusion takes the place of reality in someone’s mind, their perception of a thing can either become a blessing or a curse. Delusion is a belief that has no evidence and is, in fact, a complete illusion. It casts a person in a fictional universe where they consciously choose not to acknowledge reality and solely perceive things according to how they ought to see them. Many people who are bound tightly believe that they are extremely free, while others who are free perceive that they are not. Delusional individuals are content in their fantasy, which places them in invisible, appealing cells, so that they may never feel the desire to leave what they perceive to be the ideal world filled with comfort and an illusion of a perfect reality to go discover what the "wild world" has to offer. In essence, our mind is bright and pure, yet it is obscured by clouds of delusions. But even the biggest delusions may be banished from our brains, just as the heaviest clouds can evaporate. (Kelsang Gyatso).

            Consumers of faith healing perceived their health status to be good due to the perceived effectiveness of faith healing for curing health problems. (Peprah, P. 3). The absence of a human explanation for something does not exclude the use of the provided evidence to demonstrate its correctness. If someone believes that they are healed yet all the signs show the opposite, then their beliefs are without a doubt wrong. However, if all available scientific evidence demonstrates that they have an incurable medical condition, they don't deny it; they are aware of the illness's presence within their bodies. Nevertheless, they choose to hold the opinion that what science deems to be incurable is not, and as a result, they recover, so their beliefs need to be accepted as true since they have been supported by viable evidence. Those who use not only their beliefs but also critical thinking to perceive things don’t ignore reality; in fact, they enjoy having their beliefs questioned because they don't just believe because they need something to fill the void inside of them or their existential crises; they believe because they possess evidence for the veracity and efficacy of those beliefs. As a result, they don't close themselves off out of the dread of having their beliefs challenged and come crashing down like a house built on swampy ground. They see reality through the prism of their beliefs, but they critically evaluate each one of them. They accept their struggles and limitations; instead of hiding behind what they believe, they use them to overcome what could be thought to be insurmountable.

            The article "Shaping a Christian Worldview: An Introduction (Part I)" by David S. Dockery aims to argue that everyone has a worldview, whether conscious or unconscious, and a Christian worldview is more than just a personal religious statement or a theory. This statement holds a sense of truth, but while Christianity is not just a preference, those who base their perception on it should not reject the viability of other sources but rather employ critical thinking to judge all of them objectively without any bias. And if, at the end of their examination, they obtain the ultimate proof that their perception of things can solve the unsolvable and answer the unanswerable, they shouldn’t try to enforce their point of view on others but instead let them decide for themselves. He who is completely certain of the veracity of his beliefs and ideologies does not force them on others, but rather provides them with evidence and allows them to make their own decisions. If Christian beliefs are considered to be the ultimate truth or more viable by those who hold them, then they should be able to defend themselves by providing concrete evidence that supports the argument they present and separate themselves from the shadows of what they believe to be false or wrong.                

            The accuracy of perception, which is a difficult process of processing the information obtained from the senses, affects a person's capacity for thought. As a result, critical thinking is a particular kind of thinking that occurs when a person applies logic and reasoning to draw conclusions about the world, things, or circumstances. Those who elect to see the world through the eyes of critical thinking and logic alone can be counted among the smartest minds, having the astute ability to solve problems when it comes to rational issues. But in contrast, they reject everything that they have no understanding of and that fails to make sense from a logical point of view, only finding the substance of their existence in things they completely comprehend. They possess an imaginary capacity filled with borders that they refuse to cross out of fear of the unexplainable unknown. Now, let me introduce you briefly to imagination. The literal meaning of imagination is the ability or process of creating fresh conceptions for or mental representations of outside objects that are not physically existent. Employing our imaginative abilities necessitates the use of logic and critical thinking. Nevertheless, logic, in a way, can restrict someone’s ability to think outside the box and perceive the world with a touch of more than just reason, aborting the expended ability of their imagination to remain in the safety of laws or what is considered to be natural and normal; But it's essential to bear in mind that natural and normal may differ between various categories of individuals.

            In conclusion, our source of perception, whether it be critical thinking, logic, or beliefs, can either open us to new vistas or confine us in a bubble that imposes limitations and isolates us from the rest of the world. making us believe that only our ideologies are right and that everyone else is mistaken. Or turn us into open-minded people who are not scared to cross the boundaries of the unknown world to gain knowledge and a sense of more. When we force ourselves to accept something negative that is only true in our imagination through perception, we convert ourselves into our own enemies and push us to self-destruct. However, when we do it correctly, learning to control our perception can become a superpower that unlocks a world full of opportunity and diversity; in contrast, when we do it wrong, it can turn us into limbless-minded individuals. Perception is crucial, and so is the lens through which we choose to view the world. We will have all we need to build a better world and life for ourselves once we learn and comprehend how our perception of things has the potential to influence us either positively or negatively. By learning and becoming familiar with how powerful perception is, we will be able to break free from self-sabotage and think outside the box.

 

References

Dockery, David S. “Shaping a Christian Worldview: An Introduction (Part I).” Union University, a Christian College in Tennessee, (Nd) https://www.uu.edu/centers/faculty/teaching/article.cfm?ID=364

Kelsey Schultz.” Delusions: Definition, Causes, & Examples” Berkely Wellbeing Institute, (nd)  https://www.berkeleywellbeing.com/delusions.html

Leicester, Mal. Teaching Critical Thinking Skills. Bloomsbury Academic, 2010.

Love, Nancy S. “Introduction: Ideology and Democracy." Dogmas and Dreams: A Reader in Modern Political Ideologies, ed. Nancy s Love. 4th Edition.” C Q Press College, 2006. pp 1-10

Peprah, P., Gyasi, R.M., Adjei, P.OW. et al. Religion and Health: exploration of attitudes and health perceptions of faith healing users in urban Ghana. BMC Public Health 18, 1358 (2018). https://doi.org/10.1186/s12889-018-6277-9

Schwitzgebel E. Edward N, editor. Belief. The Stanford Encyclopedia of Philosophy. 2011 Retrieved from http://plato.stanford.edu/entries/belief/



 


Tuesday, October 24, 2023

ENG 281 Week #11: Mind/Body Contemporary Films

MB: This theme is everywhere the last decade or so. Our zeitgeist is one of deep anxiety about what our ubiquitous screens and accelerating technologies are doing to our minds/bodies. This is but the tip of the iceberg. Keep in mind that when dealing with issues and anxieties concerning our minds & bodies, many artists looking at the dark side veer toward the satiric or weird, but they are still operating in what I consider the horror genre (even if we laugh or say WTF). 

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Mulholland Dr (USA: David Lynch, 2001)
Film description: "A love story in the city of dreams . . . Blonde Betty Elms (Naomi Watts) has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia (Laura Harring). Meanwhile, as the two set off to solve the second woman’s identity, filmmaker Adam Kesher (Justin Theroux) runs into ominous trouble while casting his latest project. David Lynch’s seductive and scary vision of Los Angeles’s dream factory is one of the true masterpieces of the new millennium, a tale of love, jealousy, and revenge like no other." - Criterion
Resources for after you watch the film


American Mary (Canada: The Soska Sisters, 2012)
Film Description: "A young medical student struggling to pay tuition is drawn into the shady world of underground body-modification."
Resource for after you watch the film:
Corriveau, Arielle. "A Spectacle of Modified Bodies: The Contemporary Grand-Guignolesque as a Feminist Challenge to Somatophobia in American Mary." Monstrum #2 (June 2019)


It Follows (USA: David Robert Mitchell, 2014)
"It Follows may boast a doozy of a high-concept scenario that referentially riffs on all manner of horror subgenres, but the steady hand of director David Robert Mitchell ensures no resting on conceptual gimmickry. Anonymous monsters are in solemn pursuit of suburban high-schoolers, a curse only shed – and passed on – through sex. But this is no puritanical cautionary tale, its metaphorical ambiguities enveloping the teenage experience in an all-consuming blanket of dread. The stately march of its menace coupled with Mitchell’s gliding camera instils an inexorable terror. Not for nothing does water serve as a recurring motif in a film that itself feels submerged in a pressurised state of liminal arrest." – Matthew Thrift
Resources for after you watch the film


The Lobster (Greece/Ireland/Netherlands/UK/France: Yorgos Lanthimos, 2015)
"The Lobster tries to look at how we are as people – what it means to be single, alone, or involved with someone and all of the constraints that society puts on that. We tried to reflect upon these aspects of the human condition while portraying a very original love story." - Yorgos Lanthimos
Film Description: "In a dystopian near future, according to the laws of The City, single people are taken to The Hotel, where they are obliged to find a romantic partner in 45 days or they're transformed into beasts and sent off into The Woods."
Resources for after you watch the film

Cam (USA: Daniel Goldhaber, 2018)
Film description: "
In Daniel Goldhaber and Isa Mazzei's paranoid horror thriller "Cam," an erotic webcam performer finds her followers stolen by a doppelganger who hijacks her channel, pushes the sexual envelope further, and otherwise seems determined to destroy her life. Call it identity theft of a possibly supernatural kind."—Hugo Van Herpe
Resources for after you watch the film


Saint Maud (UK: Rose Glass, 2019)
"Having recently found God, self-effacing young nurse Maud arrives at a plush home to care for Amanda, a hedonistic dancer left frail from a chronic illness. When a chance encounter with a former colleague throws up hints of a dark past, it becomes clear there is more to sweet Maud than meets the eye." - Acolytes of Horror
Resource for after you watch the film:
Acolytes of Horror. "Saint Maud: God As A Self-Portrait." (Posted on Youtube: May 12, 2021) 


Us (USA: Jordan Poole, 2019)
"Films often ask performers to play multiple roles as something of a gimmick. It’s been done for comedic effect in something like “The Nutty Professor” or for philosophical examination in something like “The Double” or “Enemy.” No one has ever asked as much of a double performer as Jordan Peele asked of Lupita Nyong’o in “Us,” and the Oscar winner delivered one of the best performances of 2019 in return. As Adelaide’s worst fear comes to life and she witnesses the shadow version of her family sitting across the living room from her, the actress doesn’t just play good and evil – she goes much deeper than that. She sells both the depth behind the fear of who we presume is the “normal” Adelaide and the wounded monster who has been tied to her. For some reason, great acting has often become synonymous with either a great impersonation or a great couple of scenes. What’s most often ignored when we discuss acting is physicality. Watch what Nyong’o does with her body to both distinguish and tie the two versions of herself in “Us.” They are distinct and yet also mirrors of each other in so many ways. It’s the kind of performance one can break down scene by scene and appreciate with greater depth and nuance with each viewing. It’s not just a great 2019 performance, it’s an all-timer." (Brian Tallerico: December 23, 2019)
Resources for After You Watch the Film


Titane (France/Belgium: Julia Ducournau, 2021) 
"In an introduction to Frankenstein, written for a new edition of the work in 1831, Mary Shelley recounted a question she had been asked frequently in the thirteen years since the novel’s publication: how had she, ‘then a young girl, come to think and to dilate upon so very hideous an idea?’ A prying concern permeates the query, as if the monstrosity of the work’s content must indicate perverse conditions of production, some titillating mistreatment inflicted on the nineteen-year-old Shelley that could justify the creation of a new category of monster. For Julia Ducournau, director of the Palme D’Or-winning Titane (2021), the fallacy of the question would be obvious. No backstory is necessary: to be a young girl is monstrous inspiration enough." - Catlin Doherty
"In the first images of Titane, the camera lingers on engine parts shot like sweaty appendages, dripping with perspiration and vibrating orgasmically with the motor’s hum. The metal shimmers with grease and droplets of oil, and its curves look almost fleshy in the way they bend and give way to the rolling shapes in the undercarriage. French director Julia Ducournau films these inhuman auto parts like erotica, exploring the connection between bodies and automobiles in ways not attempted since David Cronenberg’s controversial 1996 film, Crash, about the relationship between the little death and the death drive. The link between sexuality and cars has been there for a long while. After all, why do they call a mechanic’s workspace a body shop? Consciously or not, motorheads make these connections as well. Car magazines and calendars pair bikini-clad women with muscle cars and hot rods, coupling sex and automobiles in literal and figurative terms. Ducournau’s film considers how the male gaze creates this strange relationship of images and takes the next logical step. The result is something wildly original, brutally visceral, oddly funny and tender, and singular in its vision." - Brian Eggert
"We can all stop wishing it a long life: the new flesh is thriving, living rent-free in Julia Ducournau‘s fucked-up titanium brain, oozing from every frame of her bizarrely beautiful, emphatically queer sophomore film, and thence seeping in through your orifices, the better to colonize your most lurid, confusing nightmares, as well as that certain class of sex dream that you’d be best off never confessing to having. “Titane,” Ducournau’s follow-up to her sensational debut “Raw,” is roughly seven horror movies plus one bizarrely tender parent-child romance soldered into one machine and painted all over with flames: it’s so replete with startling ideas, suggestive ellipses, transgressive reversals and preposterous propositions that it ought to be a godforsaken mess. But while God has almost certainly forsaken this movie, He wouldn’t have been much needed around it anyway. Ducournau’s filmmaking is as pure as her themes are profane: to add insult to the very many injuries inflicted throughout, “Titane” is gorgeous to look at, to listen to, to obsess over, and fetishize." - Jessica Kiang
Resources for the film after you watch it


Bones and All (Italy/USA: Luca Guadagnino, 2022)
"Guadagnino is an artist I’ll confess to having possibly underestimated. I liked his previous films—especially I Am Love, for the way that he portrays the stifling elegance of Milan’s Villa Necchi and the heavenward iconography of the Piazza del Duomo—but perhaps it is my own imaginative failing that I did not see in them the possibility of this one, which is a stunning work of art that seeped in deep and stained my sense of the world with its own hallucinatory version of such. Bones and All captures what it’s like to drift, to be excluded, and to be nonetheless full of life-force, but life-force whose expression can only ever be futile and tragic. Guadagnino perfectly handles social class and alienation, the sort of social atomization that is so terribly American—everyone just out there, without a club, a church, a union, a pastime, without support or a safety net of any kind. (The one “nice” home we see in this movie, decorated with ornate wallpaper and fussy knickknacks, contains a person, an old woman, who is dying, perhaps of a stroke or of a heart attack, alone, on the floor.) Bones and All is an extraordinary document of American psychoanalysis. Guadagnino’s main character, an eighteen-year-old girl named Maren, played by Taylor Russell, is abandoned by her father near the beginning of the film. She sets off by bus to try to find her birth mother, whom she’s never met. She encounters a boy named Lee, played by Timothée Chalamet, equally adrift and lonely, but full of rebellious verve. They circle each other and eventually connect. What constitutes home? the film asks. And what about the trauma that people inherit, and vow not to replicate, and do replicate? (Maren’s mother and Lee’s father have both passed on the same genetic affliction to their children.)" - Rachel Kushner
Resources for after you watch the film:

Kushner, Rachel. "Flesheater Blues." Harper's (December 2022)  

McKenna, Steph and Mike Muncer. "Bones and All (2022)." The Evolution of Horror (November 23, 2022) 


Cam (USA: Daniel Goldhaber, 2018)

 





 Cam (USA: Daniel Goldhaber, 2018: 94 mins)


Barna, Daniel. "How Cam Flips Hollywood's View of Sex Workers." Playboy (November 20, 2018)

Bordun, Troy. "Isa Mazzei and Daniel Goldhaber discuss their debut Cam (2018)." Offscreen 23.6 (May 2019)

 Cleaver, Sarah Kathryn, et al. "Cam featuring Daniel Goldhaber & Isa Mazzei." Projections (November 21, 2018) 

Lazic, Elena. "Cam is an intelligent and positive look at sex work." Seventh Row (September 7, 2018)

Luers, Erik. "How a Filmmaking Team Found a New 'Cinematic Language' to Make Cam." No Film School (November 21, 2018)

Saito, Steven. "Isa Mazzei & Daniel Goldhaber on Shifting Perspectives with Cam." Moveable Feast (November 17, 2018)

Slater-Williams, Josh. "The sex work-positive horror written by a former camgirl." Little White Lies (October 19, 2018)

What's So Great About That? "Phantom You [Tube]: Fighting Our Digital Doubles." (Posted on Youtube: March 14, 2019) ["With our online and offline lives becoming increasingly connected, to what extent do we create our own other? And to what effect? Since the 1990s, horror and sci-fi have considered how we might create our own worst enemy - and the friendly face of this dystopian future is yours."]



The Lobster (Greece/Ireland/Netherlands/UK/France: Yorgos Lanthimos, 2015)

 



The Lobster (Greece/Ireland/Netherlands/UK/France: Yorgos Lanthimos, 2015: 118 mins)

Bateman, Conor. "You Can Change Your Nickname Only Twice: Identity in the films of Yorgos Lanthimos." (Posted on Youtube: August 13, 2015)

Farrell, Colin. "The Lobster." The Treatment (November 9, 2016) ["Actor Colin Farrell's childhood in Ireland is reflected in the roles he plays, many both physical and melancholic. From super-heroes to high-ranking government officials, he feeds off of characters with enough emotional depth to dissect and play with. In his new film The Lobster, his character's stillness expresses the recognition of pain and circumstance in the bizarre world he lives in. Today he joins Elvis to discuss the ways in which life itself can be purgatory and shares his thoughts on the Total Recall re-boot."]


Ganjavie, Amir. "Futureworlds: Talking with Yorgos Lanthimos about The Lobster (2015)." Bright Lights Film Journal (May 19, 2016)

Graham, Bill, Nick Newman and Brian Roan. "The Lobster." The Film Stage #191 (May 31, 2016)

Karalis, Vrasidas. "Yorgos Lanthimos' The Lobster and the Cinema of Abeyance." Film Icon (December 18, 2015)

O'Malley, Sheila. "The Lobster." Roger Ebert (May 13, 2016)

Robinson, Tasha. "The Lobster draws out an illogical world to its most logical ends." The Verge (May 17, 2016)

Talbird, John Duncan. "The Serious Humor and the Beautiful Ugliness of The Lobster." Film International (June 8, 2016)

Talu, Yonca. "The Lobster." Film Comment (March/April 2016)

Weston, Hillary. "Kitchen Conversations: Yorgos Lanthimos and Ariane Labed." Current (October 2, 2015)

















It Follows (USA: David Robert Mitchell, 2014)

 





It Follows (USA: David Robert Mitchell, 2014: 100 mins)

It Follows may boast a doozy of a high-concept scenario that referentially riffs on all manner of horror subgenres, but the steady hand of director David Robert Mitchell ensures no resting on conceptual gimmickry. Anonymous monsters are in solemn pursuit of suburban high-schoolers, a curse only shed – and passed on – through sex. But this is no puritanical cautionary tale, its metaphorical ambiguities enveloping the teenage experience in an all-consuming blanket of dread. The stately march of its menace coupled with Mitchell’s gliding camera instils an inexorable terror. Not for nothing does water serve as a recurring motif in a film that itself feels submerged in a pressurised state of liminal arrest. – Matthew Thrift

Abrams, Simon. "It Follows." Roger Ebert (March 13, 2015)

Barone, Matt. "TIFF: Sex Is a Scary Killer in This Early Contender for 2015's Best Horror Movie." Complex (September 9, 2014)

Crucchiola, Jordan. "What Makes the New Horror Film It Follows So Good?" Wired (March 17, 2015)

Dalton, Ben. "It Follows: Horror in a Straight Line." Intensities #8 (January 2016): 88-93.

Digging Deeper. "It Follows: The American Nightmare." (Posted on Youtube: September 23, 2015)

Drumm, Diana. "Interview: David Robert Mitchell on Making It Follows." Slant (March 19, 2015)

Eggert, Brian. "It Follows." Deep Focus Review (March 27, 2015)

Leeder, Murray. "David Robert Mitchell's It Follows (2014) - The Limits of Knowledge." Horror. ed. Simon Bacon. Peter Lang, 2019: 11-18. [Professor has copy of the book.]

McKee, Lucky. "Talks David Robert Mitchell’s It Follows." Talkhouse (January 29, 2016) ["The director of an indie horror classic shares his appreciation for a new classic – and explains why it made him want to punch a kitten in the balls."]

Muncer, Mike and Tim Robey. "Slashers Pt. 13: It Follows." The Evolution of Horror (December 8, 2017)

Prewitt, Zach. "The Best Horror Cinema of the 21st Cinema." (Posted on Vimeo: October 2016)

Renée, V. "This is What Supernatural Horror Film It Follows is Really About (Besides Scary Sex)." No Film School (February 27, 2016)

Rossi, Jason Di. "It Follows." Final Cut (April 17, 2015)

Salisbury, Brian. "Q&A: It Follows Director David Robert Mitchell On Turning Nightmare into Magic." Film School Rejects (March 30, 2015)

Samoylenko, V. "Defying STIgma in It Follows." Monstrum 1.1 (April 2018)

Visvikis, Dylan. "A Pretentious Film Student Analysis of It Follows." Flicks/Kicks/Politics (July 12, 2016)

Wethington, Nicole. "It Follows and the Power of Sex." The Artifice (May 20, 2015)

Yanick, Joseph. "It Follows from Video Gaming: An interview with Soundtrack Composer Disasterpeace." Noisey (April 7, 2015)

















 IT FOLLOWS, as a Slasher Video Essay from Haylie Kohn on Vimeo.



Mulholland Dr. (France/USA: David Lynch, 2001)





Mulholland Dr. (France/USA: David Lynch, 2001: 147 mins)

Ayres, Jedidiah, et al. "Mulholland Dr (2001)." The Projection Booth #296 (November 8, 2016) ["David Lynch's Mulholland Drive (2001) lived a double life as a television pilot and feature film. A neo-noir that plays with themes of identity, roleplaying, and obsession, the film stars Naomi Watts as innocent ingénue Betty Elms and Laura Elena Harring as Rita, a woman with a past hidden from herself. Mike talks to Patrick Fischler and Laura Harring about their roles in Mulholland Drive (and a lot more). Professor Erik Marshall and author Jedidiah Ayres help elucidate the mystery of Mulholland Drive."]

Bowen, Chuck. "Mulholland Drive." Slant (October 26, 2015)

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

Ebiri, Bilge. "Why David Lynch’s Mulholland Drive Is a Great Horror Film." (October 23, 2014)

Elsaesser, Thomas. "The Mind-Game Films." Puzzle Films: Complex Storytelling in Contemporary Cinema ed. Warren Buckland. Malden, MA: Blackwell, 2009: 13-41. [In BCTC Library]

Falzon, Christopher. "Philosophy Through Film." Internet Encyclopedia of Philosophy (August 12, 2013)

Koresky, Michael. "The Ache of Desire." Current (November 15, 2019)

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

---. "Performance Anxiety: Mulholland Drive." Reverse Shot (January 1, 2010)

Lim, Dennis. "David Lynch's Elusive Language." The New Yorker (October 28, 2015)

McGoff, Jessica. "My Mulholland: On Mulholland Drive." The Cine-Files #15 (Fall 2020) ["The second-most mentioned video essay in the Best Video Essays of 2020 Survey conducted by Sight & Sound Magazine" - it is a reflection on the impact David Lynch's 2001 movie Mulholland Drive had on the author at 13 and now.] 

"Memories of Mulholland." Current (October 19, 2015) ["Fourteen years ago today, David Lynch’s haunting masterpiece Mulholland Dr. opened in theaters across the United States. Take a look back at critics’ initial reactions to Lynch’s mystifying “love story in the city of dreams.”]

Rodley, Chris. "Lynch on Mulholland Dr." Current (October 30, 2015)

Rowin, Michael Joshua. "This Magic Moment: Mulhollad Dr.." Reverse Shot (July 27, 2006)

Theroux, Justin. "On the Magical Mysteries of David Lynch." The Current (October 29, 2015)

Toles, George. "Auditioning Betty in Mulholland Dr.." Film Quarterly (Fall 2004): Reprinted in Annual Editions: Film 07/08 191-198 [Available in BCTC Library PN1993 A6285]

Treadway, Dean. "Film #81: Mulholland Dr.." Filmicability (November 2, 2008)

Wyman, Bill, et al. "Everything You Were Afraid to Ask About Mulholland Dr.. Salon (October 23, 2010)














Wednesday, October 18, 2023

Hayao Miyazaki (Online Filmmaker Archive)

 Stephanie Abramowitz's introduction to Hayao Miyazaki and Studio Gihbli


"Creating animation means creating a fictional world. That world soothes the spirit of those that are disheartened and exhausted from dealing with the sharp edges of reality." - Hayao Miyazaki

Miyazaki is one of the world's most respected and popular filmmakers, he has a unique philosophy (or politics if you prefer) that I admire, and watching this excellent documentary I realized his films & ideas have had a profound affect on the way I think.

Pay attention to the way the authors introduce outside sources into their discussion of Miyazaki's films and themes that run throughout his body of work, notice how they use these outside sources to extend their thoughts and build credibility, its a brilliant example of writing about film (or any subject)



Lupin the Third: The Castle of Cagliostro (1979)

Nausicaä of the Valley of the Wind (1984)

Castle in the Sky (1986)

My Neighbor Totoro (1988) 

Kiki's Delivery Service (1989)

Porco Rosso (1992)

Princess Mononoke (1997)

Spirited Away (2001)

Howl's Moving Castle (2004)

Ponyo (2008)

The Wind Rises (2013)


Miyazaki's are only available on HBO Max if you have that service or you would have to buy the streaming film rights for 11.99. Miyazaki's films are some of the most incredible animated films and any of them are available to you for a response (even the ones without a linked resource archive), but I understand that some of you need to keep expenses down, so I will offer some alternative animated films on other services:

Akira (Japan: Katsuhiro Otomo, 1988)

April and Extraordinary World (France/Canada/Belgium: Franck Ekinci and Christian Desmares, 2015)

Flee (Denmark: Jonas Poher Rasmussen, 2021) 

The Garden of Words (Japan: Makoto Shinkai, 2013)

Ghost in the Shell (Japan: Mamoru Oshii, 1995)

Kubo and the Two Strings (USA/Japan: Travis Knight, 2016)

Millennium Actress (Japan: Satoshi Kon, 2001)

Paprika (Japan: Satoshi Kon, 2006) 

Perfect Blue (Japan: Satoshi Kon, 1997)

Persepolis (France/USA: Vincent Paronnaud and Marjane Satrapi, 2007)

The Secret of Kells (Ireland: Tomm Moore, 2009)

Song of the Sea (Ireland: Tomm Moore, 2014)

Tekkonkinkreet (Japan: Michael Arias, 2006)

Tokyo Godfathers (Japan: Satoshi Kon, 2003)

Waking Life (USA: Richard Linklater, 2001)

Waltz with Bashir (Israel: Ari Forman, 2008)

Weathering With You (Japan: Makoto Shinkai, 2019)

Wolfwalkers (Ireland: Tomm Moore and Ross Stewart, 2020)

Your Name (Japan: Makoto Shinkai, 2017)

Tuesday, October 17, 2023

ENG 281 Week #10: Mind/Body Classic


Carrie (USA: Brian De Palma, 1976)
MB - adapted from Stephen King's first novel, it would catapult him into being the most popular, and one of the most important writers, of the late 20th Century. De Palma's adaptation ranks with Kubrick's The Shining (1980) as the best adaptation of King's work.
Film Description: "Carrie White, a shy and troubled teenage girl who is tormented by her high school peers and her fanatically religious mother, begins to use her powers of telekinesis to exact revenge upon them."
Resources for after you watch the film:

Blyth, Michael and Mike Muncer. "Mind and Body Pt. 6: Carrie (1976)." The Evolution of Horror (2021)

D, Margo and Margo P. "Carrie." Book vs. Movie (December 28, 2014)


Videodrome (Canada: David Cronenberg, 1983)
MB: David Cronenberg has had a career long fascination with body/mind horror and this was an early masterpiece. Looking at how we as biological creatures are being changed and transformed by the screen media we consume in the TV/video age, it is an even more important film now for a culture completely dominated by screens in multiple formats.
Film Description: "When Max Renn goes looking for edgy new shows for his sleazy cable TV station, he stumbles across the pirate broadcast of a hyperviolent torture show called Videodrome. As he struggles to unearth the origins of the program, he embarks on a hallucinatory journey into a shadow world of right-wing conspiracies, sadomasochistic sex games, and bodily transformation. Starring James Woods and Deborah Harry in one of her first film roles, Videodrome is one of writer/director David Cronenberg’s most original and provocative works, fusing social commentary with shocking elements of sex and violence. With groundbreaking special effects makeup by Academy Award®-winner Rick Baker, Videodrome has come to be regarded as one of the most influential and mind-bending science fiction films of the 1980s". - The Criterion Collection
Resources for After You Watch the Film


The Matrix (USA: The Wachowski Sisters, 1999)
MB: I can remember the first time I watched this film, I was floored by the rich narrative full of philosophical ideas and religious symbolism. I ended up writing a 40+ page essay for one of my graduate classes on the film. It is more overtly a Science Fiction/adventure film if you watch it on the surface level, but, if you follow the journey-lesson of the protagonist Neo and look below the surface of basic reality, it becomes simultaneously a horrific possibility with an imaginative spiritual solution.
Film description: "Neo (Keanu Reeves) believes that Morpheus (Laurence Fishburne), an elusive figure considered to be the most dangerous man alive, can answer his question -- What is the Matrix? Neo is contacted by Trinity (Carrie-Anne Moss), a beautiful stranger who leads him into an underworld where he meets Morpheus. They fight a brutal battle for their lives against a cadre of viciously intelligent secret agents. It is a truth that could cost Neo something more precious than his life."
Resources for after you watch the film


Ginger Snaps (Canada: John Forest, 2000)
Film description: "The story of two outcast sisters, Ginger (Katharine Isabelle) and Brigitte (Emily Perkins), in the mindless suburban town of Bailey Downs. On the night of Ginger's first period, she is savagely attacked by a wild creature. Ginger's wounds miraculously heal but something is not quite right. Now Brigitte must save her sister and save herself."
Resource for after you watch the film:

Final Girl Studios. "Is Ginger Snaps the Original Jennifer’s Body? | The Male Gaze, Girlhood, Female Rage, & more." Youtube (September 2022) 






Videodrome (Canada: David Cronenberg, 1983)

 

When Max Renn goes looking for edgy new shows for his sleazy cable TV station, he stumbles across the pirate broadcast of a hyperviolent torture show called Videodrome. As he struggles to unearth the origins of the program, he embarks on a hallucinatory journey into a shadow world of right-wing conspiracies, sadomasochistic sex games, and bodily transformation. Starring James Woods and Deborah Harry in one of her first film roles, Videodrome is one of writer/director David Cronenberg’s most original and provocative works, fusing social commentary with shocking elements of sex and violence. With groundbreaking special effects makeup by Academy Award®-winner Rick Baker, Videodrome has come to be regarded as one of the most influential and mind-bending science fiction films of the 1980s. - The Criterion Collection
Following the respectable box-office of the disreputable Scanners (1981), David Cronenberg secured $6 million for his next venture (almost double his previous budget), plus major studio backing and access to A-list stars. Lead by a typically skeezy James Woods, with support from an atypically dark-haired Debbie Harry, the body-horror pioneer’s eighth feature sees a cable TV station head stumble across a pirate transmission of an ultra-violent snuff show while hunting down new content for his X-rated channel. Bigger budgets often come with bigger expectations and thus bigger risks, but Cronenberg’s refusal to dilute his vision for mainstream palatability resulted in his most ambitious film yet. Further exploring the synergy between the physical, psychological and technological central to his 1970s work, while anticipating the eroticised technophilia of Crash (1996) and eXistenZ (1999), Videodrome is Cronenberg at his most deliciously Cronenbergian. – Michael Blyth





Videodrome (Canada: David Cronenberg, 1983: 87 mins)

Aldouby, Hava. "Virtual Reality Turns Biological: The Case of David Cronenberg’s eXistenZ." Making Reality Really Real. Ed. Roy Ascott, et al. Trondheim: 2010: 18-21.

Allinson, Ashley. "Great Directors: David Cronenberg." Senses of Cinema #22 (October 2002)

Bale, Miriam. "They Came From Within: Yonic symbolism in the films of David Cronenberg." Moving Image (January 20, 2012)

"David Cronenberg and Ron Sanders on Videodrome: Selected Bibliography." Higher Learning (September 24, 2010)

Flores, Steven. "The Auteurs: David Cronenberg (Part 1)." Cinema Axis (October 28, 2013)

---. "The Auteurs: David Cronenberg (Part 2)." Cinema Axis (October 30, 2013)

Ford, Phil and J.F. Martel. "Long Live the New Flesh: On David Cronenberg's 'Videodrome.'" Weird Studies #157 (November 8, 2023) [""Death to Videodrome! Long live the New Flesh!" It was perhaps inevitable that the modern Weird, driven as it is to swallow all things, would sooner or later veer into the realm of political sloganeering without losing any of its unknowable essence. David Cronenberg's 1983 film Videodrome is more than a masterwork of body horror: it is a study in technopolitics, a meditation on the complex weave of imagination and perception, and a prophecy of the now on-going coalescence of flesh and technology into a strange new alloy. In this episode, recorded live after a screening of the film at Indiana University Cinema in Bloomington, JF and Phil set out to interpret Cronenberg's vision... and come to dig the New Flesh."]

Glasby, Matt and Mike Muncer. "Mind and Body Pt. 10: Videodrome."  The Evolution of Horror (2021)

Indiana, Gary. "Videodrome: The Slithery Sense of Unreality." The Current (December 7, 2010)

Johnson, Annica. "Videodrome: 'I just can’t handle the freaky stuff.'" Letterboxd (September 25, 2023)

Lattimer, James. "Evolving Mantras and Restricted Vocabularies." The Notebook (February 23, 2015)

Lucas, Tim. "Medium Cruel: Reflections on Videodrome." The Current (December 7, 2010)

McCormack, Tim. "Laws of Desire: What did David Cronenberg's Videodrome get right about us?" Moving Image (January 26, 2012)

"The Movie Videodrome and the Horror of Mass Media." Vigilant Citizen (August 29, 2012)

Rickey, Carrie. "Videodrome: Make Mine Cronenberg." Current (December 7, 2010)

Sperb, Jason. "Scarring the New Flesh: Time Passing in the Simulacrum of Videodrome." InTheory #3 (February 2006)





In the final scene of Videodrome, the television set explodes and burns, but this is only part of a repetitive video loop in which Max is trapped. He shoots himself after seeing himself shoot himself on TV. The quasi-religious doctrine of ‘the new flesh’ pushes Max to a limit, but holds out no promises as to what he will encounter on the other side. The film ends with the sound of his gunshot—perhaps a finality, or perhaps a rewind to one more playback. — Steven Shaviro, The Cinematic Body (University of Minnesota Press, 1993: 142)





 The Post-Punk Cinema Manifesto - Side A from Scout Tafoya on Vimeo.


 The Post-Punk Cinema Manifesto - Side B from Scout Tafoya on Vimeo.