> Therefore, the more plausible narrative would be that
> frightfilm functions to creates fear among the exploited of
> each other. The horror genre drips fascism from every pore.
>
> Comparing philosophies of Jodoworsky v. Godard reminds me
> of the story of the woman who went into a bar and bet any
> man that she could pee higher up the wall than he. [...]
>
> On the other hand, Godard is at least much clearer by
> intent. Godard par Godard is literally a text that tries to
> answer the major question, "What is cinema?" His
> work is to find what possible avenues film might take.
Iīm not claiming both approaches to filmmaking - Godardīs and Jodorowskyīs donīt have an equal right to exist or to be appreciated, but I doubt that the former could ever make a film thatīs more philosophical than he himself is. Youīve said so yourself, read about it here and there, and Godards says so himself, and it all makes sense if youīve bothered to read what the auteur personally said sometime.
One of horror films strengths is that it is both a very visual genre and one that never bothered about Hollywood aiming for taboos, so we owe them many of the most truthful images ever, because more than any other genre they donīt show (a pre-filmic) reality but create something that looks like what an aspect of reality might be like.
I doubt youīve actually seen very many horror films (or what Iīd call a horror film), because horror and Hollywood or even fascism donīt mix. By nature they donīt have names to sell a picture to an audience, they arenīt family-friendly, they donīt have stars that sell a life-style or an ideology but they show more lower class figures than Mike Leigh ... on a bad day.
I donīt know about a single horror film in Nazi Germany, the former GDR produced a single horror film, to the best of my knowledge.
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