Next up on the horror docket are the sub-genres of psychological and surrealist horror. These are some of my personal favorites in horror, which made them inevitable for dissection this month. With that said, I had to choose a film that incorporated both of these two sub-genres to discuss them. So I searched through my memory and had an immediate revelation that Jacob’s Ladder (1990), directed by Adrian Lyne and starring Tim Robbins, was the film to display such genres. The reason was simple: I had a fond memory of this film and was stricken by its elements the moment I saw it. So this made me not only want to review it, but I wanted to understand the film. I wanted to understand why the film had such a powerful effect on me and the average viewer in general.
To define these genres briefly: psychological horror is a film that deals with the psyche of characters in order to horrify (ex. A person devolving into madness). Surrealism is a genre that relies more on imagery or experiences that are out of this world (ex. Creature being cared for as if an ordinary child).
”I’m saying I’m an insect who dreamt he was a man and loved it. But now the dream is over and the insect is awake.”
For the second review of horror month, I have decided to look upon a variation of the horror genre, exploring the sub-genre of “body horror.” Body horror deals with bodily change, being of transformation, destruction, etc. Body horror focuses more on the physical being of the character to create horror rather than, for example, the use of shadows.
Perhaps the most famous body horror director is David Cronenberg, who directed Naked Lunch, Scanners, and Videodrome, all of which are a part of the genre. He also directed The Fly (1986), which may very well be his quintessential work, with the incredible practical effects displaying a maturation of technique. The film does not play the body horror genre with extremity. Rather, it uses pacing and subtly to truly introduce its horrific events.
It’s finally October, which will allow me to focus on many genres of film, right? Well, maybe not.
For this month on Christian’s Cinematic Syntax, I will be exploring the horror film and its sub-genres to demonstrate their inner complexities — those of atmosphere, as well as the many different underlying factors that make a horror film truly horrific. In order to do so, it is necessary to establish my thoughts on horror films from different decades and review them. It is also important to say, I will have no pattern to the films I choose. It will be heavily influenced by memory, and films that I am reminded of for spontaneous reasons. And since the Criterion Collection recently upgraded the film Vampyr to Blu-Ray on October 3, it was an obvious first choice.
Vampyr is a film directed by Carl Theodor Dreyer, and was originally released in 1932. At its release, it was barraged with backlash, so much so that it even caused the director to have a nervous breakdown. But as the film moved on through the ages, it emerged as a classic of the time period.
As I am entering Jet Fuel Review as a new film blogger, it felt like an obligation for me to serve as your “Stalker,” and guide you into an unfamiliar terrain. The terrain being the 1979 film, Stalker, directed by Andrei Tarkovsky. The reason for my choice of this film was not only because Andrei Tarkovsky is my favorite filmmaker, but it is that this film is most often considered to be a quintessential contribution to cinematic arts — and for good reason.
This film puts on a display of individual expression in art to its fullest and most fleshed out potential. This is done by using the already published book Roadside Picnic, by Russian authors Arkady and Boris Strugatsky, and through their contribution to Stalker‘s screenplay. Tarkovsky utilizes this book as a way of guidance rather than direct translation, which allows him to manipulate the story to follow his individualized beliefs.