Cinema Inferno: Celluloid Explosions from the Cultural Margins
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Cinema Inferno: Celluloid Explosions from the Cultural Margins addresses significant areas (and eras) of "transgressive" filmmaking, including many subgenres and styles that have not yet received much critical attention. This collection of essays covers both contemporary films and those produced in the last 50 years to provide a theoretical framework for looking at transgressive cinema and what that means.
This volume begins with a number of essays that examine the aesthetic of "realism," tracing it through the late Italian Neo-Realism of Pasolini, the early films of Melvin Van Peebles, and Canadian filmmaker Guy Maddin. Another section focuses on '70s Italian horror and thrillers, including a substantially different examination of filmmaker Dario Argento, as well as essays on critically underrepresented directors Lucio Fulci and Sergio Martino. A section on New York looks at both radical independents like Troma and Andy Milligan, as well as the social context from which a view of the metropolis-in-decay emerged. Sections also cover the experimental work of the Vienna Action Group and controversial filmmaker Michael Haneke, as well as films and genres too idiosyncratic and disturbing to fit anywhere else, including analyses of Nazi propaganda films, fundamentalist Christian "scare" movies, and postwar Japanese youth films. The final essays try to come to terms with a mainstream flirtation with "transgressive" film and Grindhouse aesthetics.
of an empowered female or matriarchal monster without her being the result of patriarchal distortion, revenge seeking (usually for sexual transgressions against her), or an anomaly. With abject mothers, heroines punished for active and threatening MENOPAUSAL MONSTERS AND SEXUAL TRANSGRESSION 59 looks, and final girls, who seem a likely site for female empowerment but are discounted for their masculine traits and phallic weapons (the same used by the “feminine” monster), the predominant
within the Church itself, in that after God and Christ, both gendered male, the Virgin Mary ranks higher in importance than Joseph, likely due to her status as the epitome of motherhood. As with many cultures, such seeming contradictions exist and are often explored within academic and artistic forums, such as film. An understanding of the mother’s role in Italian society is significant when considering the films of Argento, where the omnipotent mother figures so prominently. It is also important
panels, and to all the authors who have contributed to this book for their patience—“It’s been a long time coming.” Finally, thanks to all who have given me their friendship and support through the years. Special love and thanks to all my furry critters that are always there with a yahoo and a cuddle (special thanks to Poncho, Princess, and Zowie). John: First, I want to thank my parents, Gary and Linda Cline, and my siblings, Nicholas and Elizabeth. Without all of the support I’ve received from
Mandi Bierly, Jason Clark, Clark Collis, Steve Daly, Neil Drumming, Jeff Jensen, Paul Katz, et al. “The 25 Most Controversial Movies Ever,” Entertainment Weekly, 9 June 2006, http://www.ew.com/ew/article/0,,1202224_2,00.html (accessed 13 November 2007). 54. Nick Schager, Review of Cannibal Holocaust, Lessons of Darkness, 30 August 2005, http://www.nickschager.com/nsfp/2005/08/cannibal_holoca.html (accessed 10 September 2007). 55. Channel 4, Review of Cannibal Holocaust,
“western” genre of the films from this period; after all, the “western” as genre is one of the most persistent in American culture. However, as countless histories of film assert, the western genre underwent a crisis in the 1960s, with the films of Sam Peckinpah and Sergio Leone representing both the apotheosis and declension of the generic form. It should be clear, however, from a casual 150 JOHN CLINE perusal of the list of films released between 1969’s The Wild Bunch to Clint Eastwood’s