Killing for Culture: Death Film from Mondo to Snuff (Creation Cinema Collection)
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Definitive investigation into that controversial and inflammatory of all urban myths: the "snuff" movie. Including: Feature film, Mondo film, Death film, and a comprehensive filmography and index.
Illustrated by rare and stunning photographs from cinema, documentary and real life, Killing for Culture is a necessary book which examines and questions the human obsession with images of violence, dismemberment and death, and the way our society is coping with an increased profusion of these disturbing yet compelling images from all quarters.
slowly, one-by-one, into the light. Only Ken stops for a moment. The end credits roll as a voice-over informs that Terry, Ken, Bill, Kathy and Pat "were all later apprehended and are now serving a 999 year sentence in the State Penitentiary. " Crime don't pay. H If someone said here, make a movie - as wild a movie as you possibly can but stay inside the law, would it be anywhere quite as lurid as this? Director Victor Janos looks to have been approached with that exact same question and come up
Carl Denham the ruthless filmmaker in King Kong [1 933), who manages to capture the giant ape and take it to New York - the necessity to document and the struggle for that Great Shot are synonymous with ambition: Denham isn't going to die for anybody let alone his art, but he wants that picture. I n Noel Black's Cover Me Babe [1 970). Robert Forster plays a cameraman obsessed with filming the "act of life" and will do anything, set u p any situation, in order to capture it. He films a mother in
the first i n itiate crosses cautiously. Wading through the water, stock footage of crocodiles plunging into a river are edited in. Safely across, the first neophyte awaits the second. Again, as the next boy enters the river, stock footage is inserted, but this time a model crocod ile is also utilised. The artificial creature and native clash, writhing in the bloodied water until a severed hand floats to the surface. Then a ruptured knee-joint. Then a chewed and detached head i n the jaws of the
depict key torture moments that have gone before. The eye bulges, gathers more blood before the tip of the needle finally emerges through the cornea. The woman makes no sound. Unabridged Agony concludes. There are no end titles. The screen wipes to another story (Mutant Of Notre Dame?). A woman walking in a subway sees a box with a note attached. She lifts the lid of the box to expose what appears to be a living stomach. The thing then leaps free and begins to pursue the screaming woman.
where she's taking a shower) and forces himself upon her. Sodomising her to footage of bound and hooded Vietnamese suspects, Joe asks, "Is it startin' to bleed a little in there, lady?" With her moans and sobs, Joe deduces, "You don't know what bleeding is." His orgasm is interspersed with a barrage of quickfire imagery, of dead women and children, and bombs going off. (The whole film might or might not be a "homage" to Resnais' arthouse Hiroshima Mon Amour [1 959), in which scenes of a couple