Terrror! Blood! Torture! Insect sex zombie apocalypse! In Hollywood films the guy gets the girl and the monster is defeated, which is boring and unsatisfying, since who wants Tom Cruise to win, anyway? But in exploitation films, the monster gets the girl, the guy gets torn limb from limb, and the whole project is really more satisfying for everyone. This 49K collection of Terrror! Blood! Torture! Insect sex zombie apocalypse! In Hollywood films the guy gets the girl and the monster is defeated, which is boring and unsatisfying, since who wants Tom Cruise to win, anyway? But in exploitation films, the monster gets the girl, the guy gets torn limb from limb, and the whole project is really more satisfying for everyone. This 49K collection of essays covers horror films, slashers, rape/revenge, women-in-prison and other mean, twisted, exploitation atrocities which chew up your humanity and your gender and spit it out as a staggering chitinous abomination. Freud, feminism, the male gaze, and a hideous ichor from beyond the stars engage in a struggle to the death as the world dissolves in filth and abasement. Among the films discussed are The Thing, Cronenberg's Shivers, Invasion of the Body Snatchers, Under the Skin, I Spit on Your Grave, The Stendahl Syndrome, The Last House on the Left, Martyrs, Hostel, Halloween, Friday the 13th, Caged, The Big Doll House, Death Proof, and Switchblade Sisters.
Fecund Horror: Slashers, Rape/Revenge, Women in Prison, Zombies and Other Exploitation Dreck
Terrror! Blood! Torture! Insect sex zombie apocalypse! In Hollywood films the guy gets the girl and the monster is defeated, which is boring and unsatisfying, since who wants Tom Cruise to win, anyway? But in exploitation films, the monster gets the girl, the guy gets torn limb from limb, and the whole project is really more satisfying for everyone. This 49K collection of Terrror! Blood! Torture! Insect sex zombie apocalypse! In Hollywood films the guy gets the girl and the monster is defeated, which is boring and unsatisfying, since who wants Tom Cruise to win, anyway? But in exploitation films, the monster gets the girl, the guy gets torn limb from limb, and the whole project is really more satisfying for everyone. This 49K collection of essays covers horror films, slashers, rape/revenge, women-in-prison and other mean, twisted, exploitation atrocities which chew up your humanity and your gender and spit it out as a staggering chitinous abomination. Freud, feminism, the male gaze, and a hideous ichor from beyond the stars engage in a struggle to the death as the world dissolves in filth and abasement. Among the films discussed are The Thing, Cronenberg's Shivers, Invasion of the Body Snatchers, Under the Skin, I Spit on Your Grave, The Stendahl Syndrome, The Last House on the Left, Martyrs, Hostel, Halloween, Friday the 13th, Caged, The Big Doll House, Death Proof, and Switchblade Sisters.
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Beastnessa –
A short collection nevertheless full of gems. I especially appreciated the opening and closing sections (respectively on the intersection of horror tropes with same-sex attraction and "gay utopia", and the freeingly subversive gender fuckery of certain exploitation films). The focus on the use and power of horror and exploitation tropes to question and confound gender stereotypes is one that is near and dear to my heart, and also covered at length in one of my favorite books about women in horro A short collection nevertheless full of gems. I especially appreciated the opening and closing sections (respectively on the intersection of horror tropes with same-sex attraction and "gay utopia", and the freeingly subversive gender fuckery of certain exploitation films). The focus on the use and power of horror and exploitation tropes to question and confound gender stereotypes is one that is near and dear to my heart, and also covered at length in one of my favorite books about women in horror, Kier-la Janisse's House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. Mostly, though, I just feel like Noah Berlatsky's approach to discussing movies is much clearer and more helpful than most academic or mainstream movie-critic approaches. He refuses to fall for structural tricks and gimmicks (see the essay on Gaspar Noe's Irreversible); he also interrogates his own personal reactions and taste in pulling apart the potential appeal of women-in-prison exploitation flicks to straight dudes and feminists alike. A must-read for anyone who enjoys horror and b-movies, but in the end maybe I'm just a sucker for anyone who loves Death Proof as much as I do.
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