The Mangler (1995) Directed by Tobe Hooper

Total Page:16

File Type:pdf, Size:1020Kb

The Mangler (1995) Directed by Tobe Hooper Doin’ the Laundry By Fearless Young Orphan The Mangler (1995) Directed by Tobe Hooper “The Mangler” is a short story by King, from the collection called Night Shift, about an industrial laundry machine that becomes possessed by a demon. Now, if you read that idea and your interest is not tweaked, then you are not the target audience for such a story, obviously, and most of what I write from here to the end is going to seem unconvincing. The thing is, if you’ve never read the story and have only seen this hilariously terrible film, you have no idea what a genuinely scary little horror tale it is. I liked this short story. Within its own universe, there is a plausible explanation as to how an industrial machine could be possessed and what might happen as a result. And the ending gave me the willies. We all know how suggestible I am, how easily I get freaked out, so perhaps I’m one of the few people who actually can get a bit nervous at the idea of a gigantic crushing monster machine on a rampage (not like Transformers, though) but I like to think that I’m the one for whom such stories are written. Yes, it’s all about me! I reread the enjoyable little tale for the purposes of writing this review, and found it just as entertaining as before. A cop called Hunton is called to the scene of an industrial accident at a professional laundry. There, despite all safety regulations and physical evidence that such a thing should never have happened, a woman has somehow been pulled through the Hadley Watson Model 6 Speed Ironer and Folder, meaning that she has just been rolled through 16 pressurized, steam-superheated rollers meant to press sheets nice and flat. Cause of death? Death by misadventure. No one can figure it out. A week later, three women are burned by the pressurized steam. After that, a man loses his arm when the machine grabs him and cannot be shut off. Strange things have been happening around that thing lately, say witnesses. Hunton, with the aid of his friend Mark who is a conveniently knowledgeable college professor, entertains a hunch that the machine may be haunted, possibly possessed. Another detective relays a story to him, an old case of a junked icebox that seemed to lure victims in to suffocate. The only fault I found in “The Mangler” is that the men in question accept the idea of demonic possession rather too easily, instead of first investigating sabotage or manslaughter, but otherwise, it all makes sense enough for what it is: a scary short story. We travel with Hunton to find plausible ways through which such a thing could happen, and we join him and Mark as they attempt an exorcism, badly, because they do not have a valuable piece of information that we, the audience, do, thanks to our narrator and the wisp of a ghost. The story ends on cliffhanger: here is a gigantic demonic machine on the loose. Now what are we going to do? Now, on to the filmed interpretation. What we’ve got here is a movie so very bad that it leaps into a sphere of comedy; I laughed harder at this than at the last few Matthew McConaughay movies I’ve seen. Of course, one of those was A Time to Kill, which was somewhat less than hilarious. With schlock this lousy, I feel like the creators were saying, “We know this is going to be awful. Let’s make it a monument to being awful! Get Freddy Kruger!” This is the sort of movie that isn’t good enough to be on my Chunks of Awfulness list. Movies over there require some stab at quality or some misuse of talent, but there was no such thing happening here. Did you notice the director is Tobe Hooper? Tobe Hooper has joked with me before in his movies; he is a known jokester, and I have always felt he measured entertainment with a different yardstick than the mainstream. I have to admit that The Mangler is often quite entertaining, though you’d never want to swear to it in court, or around someone you’d like to impress. Our biggest problem is that this is a short story and has enough material for, oh, say, a 25- minute episode of The Twilight Zone. Yet someone tried to stretch it into 90 minutes of movie, and to do that, one must fill in another 65 minutes of plot. But the story is about a possessed speed-ironer-and-folder. How much plot can you fill in, exactly? This would be a good test for creative writing skills. Give the wannabe writers this plot and say “Make it three times longer,” and see what happens. The would-be writer who would fail this test would be the one who wrote, “Rip off Shirley Jackson’s story The Lottery. Have the Mangler be a machine from the turn of the 20th century, which requires the sacrifice of a 16-year-old virgin every so often, so that the surrounding town will enjoy peace and prosperity.” Do you know why that would-be writer would fail? Because what he just did was eliminate the need to “possess” the machine at all, implying that this evil beast has actually been a conduit for demonocity for a century. Yet, though this may be the case, the events which prompt the possession still happen in the film, which I suppose must mean that the machine is even “more” possessed than before. Oh, and this business about virgin sacrifices is a lot of hooey because whatever wonderful shit is happening in the town that justifies the old money worshipping a speed-ironer-and- folder is never shown to us. What I saw was very little of an ordinary town, in which most people seem to have to work at a miserable industrial laundry. Robert “Freddy Kruger” Englund plays the badly mutilated, scary-lookin’, horrific, disgusting old geezer who owns the laundry and shouts at everybody; he’s the Sith Lord of the laundry, who likes to sacrifice members of his family to the Mangler. He sexually harasses his female employees, too. Breathes out of a hole in his neck. Nice character there. He gets folded in the end, so that’s interesting. Our, ahem, “hero” is the serial killer from The Silence of the Lambs. You know, the guy who has such a firm belief in rubbing lotion on the skin, or else we get the hose again? It’s not fair of me to typecast this actor, but screw that. So here he is, playing the worst detective I have ever seen in any movie, ever, ever, ever. He’s so bad at his job that I think he was kidding about it. He does most of his “detecting” while eating over at his new-age hippie brother-in-law’s house. His wife died a few years ago, and now he and his new-age hippie brother-in-law are best pals (i.e., “life partners”). I liked Serial Killer’s Life Partner. He’s the best character in the movie . maybe he’s the only character in the movie. Let’s see, we’ve got a girl who screams and cries incessantly, that’s Sherry . we’ve got the Serial Killer playing awful detective . we’ve got the nine- fingered slut . we’ve got Robert Englund breathing through a hole in his neck . we’ve got a completely unexplained, weirdly clairvoyant photographer with lung cancer who looks as if he died several weeks ago and it just being moved about via wire . yes, Serial Killer’s Life Partner is our best character. He’s a hippie, so he’s got a lot of crystals, chimes, and books on how to perform exorcisms on industrial machinery, because that’s what hippies are in to. Serial Killer has a problem with a fridge, too. Rather than having the nasty junked icebox be just an analogy from another character to demonstrate precedent, it now must somehow figure into the plot of this movie as being directly related. See, there’s this fridge that got too close to the Mangler, and then the fridge gets possessed and eats a kid. Strange looking fridge, this is. It’s very old, really heavy. I bet you never thought you could see a movie in which the Serial Killer from The Silence of the Lambs dismantles a fridge with a sledgehammer while screaming at it, as it tries to eat the arm off his Life Partner. Well I’m here to tell you that you can see such a thing, in this movie right here! The fridge part was so very funny. Eventually the fridge explodes in a towering blue flame of demonocity and I was really, really hoping Serial Killer would find Indiana Jones hiding inside. Alas, no. “But wait,” you say. “Fearless, wasn’t this movie about a possessed industrial speed- ironer-and-folder?” Try to keep up, people! I can’t be sitting here all day explaining the ins and outs of demonocity and fridges and speed ironers and pills. Oh, yeah, there’s this bottle of pills that are important. No, stay with me, this is totally a scream. See, the first woman that was eaten by the Mangler after it got “more” possessed was a woman who was always popping antacids. Some of her antacids fell into the Mangler, as we saw.
Recommended publications
  • Common Horror Elements 2.Pages
    Common Horror Elements 1) “Elements of Aversion” by Elizabeth Barrette - All horror has motifs in common - Elements of absence = Takes away certitudes (constant things in our lives) - The Unknown = primal fear, anything can happen, limitless potential, endless power - The Unexpected = reversal of expectation, confuses what we expect from reality - The Unbelievable = places beyond belief, boundaries of everyday reality - The Unseen = something new and strange, only become visible when something goes seriously wrong - The Unconscious = we fear ourselves, we can neither control nor escape it - The Unstoppable = we can not avoid or control it, confront the inevitable - Elements of Presence = Puts in certitudes, adds an intrusion to our comfort - Helplessness = lack of control, relate to the feeling - Urgency = the feeling that something has to be done, variables that place pressure on it - Pressure = build up of tension adding to urgency, slow build of tension, we connect to it in terms of the pressure in our own life, but is different then reality as it always reaches a resolution - Intensity = heightened awareness and senses, enhances all emotions, drowns out common sense, so all consuming, everything else becomes heightened, drowns out rational thinking of brain. - Rhythm = rise and fall of tension, pattern of action or lack of, comforting or disruptive, playing on our innate desire for the world to make sense - Release = comes to a conclusion, uncertainty keeps us waiting, redemption or disaster offer completion, balance restored or altered, its over, allows us to let the story go - What you get out of it largely depends on how you go into it - Your own fears will sustain you even as they threaten to drive you mad - Come out more powerful then when you went in 2) “The Evolution of American Horror Film” - Major Hollywood Figures in the Horror Genre - Larry Cohen: sophisticated, physiological.
    [Show full text]
  • Montclair Film Announces October 2017 Lineup at Cinema505
    ! For Immediate Release MONTCLAIR FILM ANNOUNCES CINEMA505 PROGRAM FOR OCTOBER 2017 SLASHERS! retrospective arrives for Halloween September 22, 2017, MONTCLAIR, NJ - Montclair Film today announced the complete October 2017 film lineup for Cinema505, the organization’s screening space located in the Investors Bank Film & Media Center at 505 Bloomfield in Montclair, NJ. October marks the continuation of the ongoing Montclair Film + Classics series, this time featur- ing SLASHERS!, a retrospective program of the horror genre’s touchstone films, all pre- sented on the big screen, including the 4K restoration of Tobe Hooper’s THE TEXAS CHAINSAW MASSACRE, the restored version of John Carpenter’s HALLOWEEN, and more. October also sees the continuation of The Mastery of Miyazaki series, which fea- tures the Japanese animation legend’s all ages classic PONYO, presented in English for the enjoyment of younger children. October will also see runs of the critically acclaimed new documentary releases THE FORCE, directed by Peter Nicks, EX LIBRIS: NEW YORK PUBLIC LIBRARY, a masterful portrait of the New York Public Library directed by documentary film legend Frederick Wiseman, Jeff Malmberg and Chris Shellen's Montclair Film Festival hit SPETTACOLO returns, THE PARIS OPERA, a wonderful documentary about the legendary Parisian the- ater directed by Jean-Stéphane Bron, and REVOLUTION ’67 directed by Jerome + Mary- lou Bongiorno features in Filmmakers Local 505 program, a look at the 1967 Revolution in Newark, NJ. The Films October 4-8, THE FORCE, directed by Peter Nicks October 6-8, EX LIBRIS: NEW YORK PUBLIC LIBRARY, directed by Frederick Wiseman October 7 & 8, SCREAM, directed by Wes Craven October 11-15, HALLOWEEN, directed by John Carpenter October 13-15, FRIDAY THE 13TH, directed by Sean S.
    [Show full text]
  • Film Reviews
    Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a scene­for­scene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a re­imagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of non­English language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its ever­growing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man.
    [Show full text]
  • A Cinema of Confrontation
    A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by COURT MONTGOMERY Dr. Nancy West, Thesis Supervisor DECEMBER 2015 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR presented by Court Montgomery, a candidate for the degree of master of English, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Professor Nancy West _________________________________ Professor Joanna Hearne _________________________________ Professor Roger F. Cook ii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to my committee chair, Dr. Nancy West, for her endless enthusiasm, continued encouragement, and excellent feedback throughout the drafting process and beyond. The final version of this thesis and my defense of it were made possible by Dr. West’s critique. I would like to thank my committee members, Dr. Joanna Hearne and Dr. Roger F. Cook, for their insights and thought-provoking questions and comments during my thesis defense. That experience renewed my appreciation for the ongoing conversations between scholars and how such conversations can lead to novel insights and new directions in research. In addition, I would like to thank Victoria Thorp, the Graduate Studies Secretary for the Department of English, for her invaluable assistance with navigating the administrative process of my thesis writing and defense, as well as Dr.
    [Show full text]
  • 26-30 October 2017 Ifi Horrorthon
    IFI HORRORTHON IFI HORRORTHON 26-30 OCTOBER 2017 WELCOME TO THE DARK HALF (15.10) IFI HORRORTHON 2017! Romero’s adaptation of Stephen King’s novel receives its first theatrical screening Horrorthon, Ireland’s biggest and best genre festival, returns in Ireland with Timothy Hutton as a novelist to the IFI this month for another packed programme. We’re whose violent alter ego comes to life and proud to present this year’s line-up, which features new films threatens his family. from directors whose previous work will be familiar to regular Dir: George A. Romero v 122 mins attendees, as well as films from Japan, Australia, Spain, Brazil, Italy, and Vietnam, proving the global reach and popularity of TOP KNOT DETECTIVE (17.25) horror. We hope you enjoy this year’s festival. This hilarious Australian mockumentary revolves around an obscure Japanese THURSDAY OCTOBER 26TH television show that survives only on VHS, OPENING FILM: and behind the scenes of which were TRAGEDY GIRLS (19.00) stories of rivalry and murder. From the director of Patchwork comes Dir: Aaron McCann, Dominic Pearse v 87 mins one of the freshest and funniest horror- comedies of the year, in which two HABIT (19.10) teenage girls turn to serial killing in order After Michael witnesses a brutal murder in to increase their social media following. the massage parlour for which he works Director Tyler MacIntyre will take part in a post-screening Q&A. as doorman, he is drawn deeper into the Dir: Tyler MacIntyre v 90 mins club’s secrets in this gritty British horror.
    [Show full text]
  • Between Static and Slime in Poltergeist
    Page 3 The Fall of the House of Meaning: Between Static and Slime in Poltergeist Murray Leeder A good portion of the writing on Poltergeist (1982) has been devoted to trying to untangle the issues of its authorship. Though the film bears a directorial credit from Tobe Hooper, there has been a persistent claim that Steven Spielberg (credited as writer and producer) informally dismissed Hooper early in the process and directed the film himself. Dennis Giles says plainly, “Tobe Hooper is the director of record, but Poltergeist is clearly controlled by Steven Spielberg,” (1) though his only evidence is the motif of white light. The most concerted analysis of the film’s authorship has been by Warren Buckland, who does a staggeringly precise formal analysis of the film against two other Spielberg films and two other Hooper films, ultimately concluding that the official story bears out: Hooper directed the film, and Spielberg took over in post­production. (2) Andrew M. Gordon, however, argues that Poltergeist deserves a place within Spielberg’s canon because so many of his trademarks are present, and because Spielberg himself has talked about it as a complementary piece for E .T.: The Extra­Terrestrial (1982). (3) A similar argument can be made on behalf of Hooper, however, with respect to certain narrative devices and even visual motifs like the perverse clown from The Funhouse (1981). Other scholars have envisioned the film as more of a contested space, caught between different authorial impulses. Tony Williams, for examples, speaks of Spielberg “oppressing any of the differences Tobe Hooper intended,” (4) which is pure speculation, though perhaps one could be forgiven to expect a different view of family life from the director of The Texas Chain Saw Massacre (1974) than that of E.T.
    [Show full text]
  • The Cea Forum 2021
    Winter/Spring THE CEA FORUM 2021 Editor’s Note Jamie L. McDaniel Radford University Welcome to this issue of The CEA Forum! To write that the last year has been challenging for most people would be the understatement of the century. Because the journal is a two-person operation and because everyone—editors, authors, and reviewers—had so much going on, I made the decision to hit pause on publication. In addition to learning the ins and outs of Zoom and hyflex teaching, friends and colleagues have spent time caring for children or other loved ones, learning how to bake bread, or, if you’re like me, revisiting some of your favorite movies. One of my favorite memories in this otherwise intense past year is going to a drive-in for the first time and seeing Tobe Hooper’s 1982 horror film Poltergeist, which inspired the cover design for this issue. This “down time” also allowed us to work on an exciting development: our revamped website. As with any large digital project, this process had its ups and downs. However, the staff of Texas Digital Libraries, who hosts The CEA Forum, worked diligently with me to solve any problems. The new interface is more attractive, more user friendly, and more flexible for readers, authors, and editors. Alongside the website, we also have a new, more modern logo. After taking a year off, we are excited to return with a slate of wonderful articles and columns. This issue includes articles on using paratext to teach a Roald Dahl work about food, addressing reading and writing issues for Navajo students, teaching literary pornography, using 1 www.cea-web.org Winter/Spring THE CEA FORUM 2021 emojis to teach the work of William Blake, cultivating tolerance through text selection, and instituting innovative methods for promoting student research as well as columns on young adult literature, the status of adjuncts in English Studies, and compassion in composition classrooms.
    [Show full text]
  • 1. Long Time Dead
    1. LONG TIME DEAD In 2002, the filmmaker Richard Stanley sounded the death knell of ‘the great British horror movie’. His ‘obituary’, which appeared in Steve Chibnall and Julian Petley’s edited volume British Horror Cinema, lamented the general absence of any real directorial talent at the turn of the millennium, noting that the horror film directors ‘who really knew what they were doing escaped to Hollywood a long time ago’ (Stanley 2002: 194). Stanley cited the direct-to- video occult horror The 13th Sign (Jonty Acton and Adam Mason, 2000) as offering a glimmer of hope, but concluded that it was ‘still a long way below the minimum standard of even the most vilified 1980s product’ (2002: 193). Stanley’s pessimism was not unfounded (even if his assessment of The 13th Sign was perhaps a bit unfair). Hammer Films – the once-prolific film studio responsible for the first full-colour horror film, The Curse of Frankenstein (Terence Fisher), in 1957, and a host of other classic British horrors over the next two decades – buckled under market pressure and ceased making feature films in 1979. The 1980s, therefore, saw the production of only a handful of British horror films, which, at any rate, were mostly thought of as American productions that had peripheral British involvement, such as Stanley Kubrick’s blockbuster The Shining (1980) and Clive Barker’s franchise- initiating Hellraiser (1987). Others from the decade were artsy one-offs, such as the Gothic fairy tale The Company of Wolves (Neil Jordan, 1984), or (as was most often the case) amateurish flops, such as the cheap and clumsy monster movie Rawhead Rex (George Pavlou, 1986).
    [Show full text]
  • Archetypal Characters Within the “Slasher” Film Sub-Genre
    ENGL 1101 Instructor: Ms. Julia Elliott (This essay analyzes articles from The Presence of Others.) Archetypal Characters Within the “Slasher” Film Sub-Genre by Jonathan King One of the most telling traits of a society is how it entertains itself. Although Americans of the late twentieth century have many choices for distraction, one medium has had a particularly significant impact upon the fabric of American culture: film. Through pandering to the ideas and beliefs of the audience, filmmakers parallel those ideas and beliefs in their creations. This correlation was demonstrated in the glut of so-called “slasher” films during the period 1974-1984. Although the films were diverse in form and execution, the basic plot of these movies involved some sort of deranged psychopath gleefully stalking and killing a number of unfortunate teenage victims. Within this sub-genre there can be found a number of basic character styles, or archetypes. These archetypes not only serve to bind certain movies into the slasher category, but also to provide a window into the culture that they cater to. In order to present a specific example of each archetype, I have chosen four films that are exemplary of the overall sub-genre. Tobe Hooper’s The Texas Chainsaw Massacre (1974) tells the story of a van full of traveling teenagers and their run-in with a family of backwoods cannibals. John Carpenter’s Halloween (1978) has killer Michael Myers strangling baby-sitters on the night of said movie title. Sean Cunningham’s Friday the 13th (1980) looses a hockey- masked psychopath upon a host of unsuspecting camp counselors.
    [Show full text]
  • Fright—In All of Its Forms—Has Always Been an Essential Part of the Moviegoing Experience
    SCARY MOVIES Fright—in all of its forms—has always been an essential part of the moviegoing experience. No wonder directors have figured out so many ways to horrify an audience. FINAL TOUCHES: (opposite) Director Karl Freund and makeup artist Jack P. Pierce spent eight hours a day applying Boris Karloff’s makeup in The Mummy (1932). This was the first directing job for the noted German cinematographer Freund, who was hired two days before production started. (above) John Lafia scopes out Chucky, a doll possessed by the RES soul of a serial killer, in Child’s Play 2 (1990). Lafia made the 18-inch, half-pound plastic U ICT doll seem menacing rather than silly by the clever use of camera angles. P PHOTOS: UNIVERSAL UNIVERSAL PHOTOS: 54 dga quarterly dga quarterly 55 BLOOD BATH: Brian De Palma orchestrates the scene in Carrie (1976) in which UNDEAD: George A. Romero, surrounded by his cast of zombies on Dawn of the Carrie throws knives at her diabolical mother, played by Piper Laurie. De Palma Dead (1978), saved on production costs by having all the 35 mm film cast Laurie because he didn’t want the character to be “the usual dried-up old stock developed in 16 mm. He chose his takes, then had them developed crone at the top of the hill,” but beautiful and sexual. in 35. Romero convinced the distributor to release the film unrated. PHOTOFEST PHOTOFEST ) ) RIGHT BOTTOM VERETT; (boTTOM right) right) (boTTOM VERETT; E RTESY: RTESY: U O RES/DREAMWORKS; ( RES/DREAMWORKS; C U NT/ ICT U P NT NT U ARAMO P ARAMO P ) ) LEFT ; (boTTOM left) © © left) (boTTOM ; BOTTOM ; ( ; MGM EVERETT OLD SCHOOL: The Ring Two (2005), with Naomi Watts, was Hideo Nakata’s first CUt-rATE: Director Tobe Hooper got the idea for The Texas Chainsaw Massacre PIONEER: Mary Lambert, on the set of Pet Sematary (1989) with Stephen GOOD LOOKING: James Whale, directing Bride of Frankenstein (1935), originally American feature after directing the original two acclaimed Ring films in Japan.
    [Show full text]
  • Censorship and Subversion in German No-Budget Horror Film Kai-Uwe Werbeck
    The State vs. Buttgereit and Ittenbach: Censorship and Subversion in German No-Budget Horror Film Kai-Uwe Werbeck IN THE LATE 1980S AND EARLY 1990S, WEST GERMAN INDIE DIRECTORS released a comparatively high number of hyper-violent horror films, domestic no-budget productions often shot with camcorders. Screened at genre festivals and disseminated as grainy VHS or Betamax bootlegs, these films constitute anomalies in the history of German postwar cinema where horror films in general and splatter movies in particular have been rare, at least up until the 2000s.1 This article focuses on two of the most prominent exponents of these cheap German genre flicks: Jörg Buttgereit’s controversial and highly self- reflexive NekRomantik 2 (1991) and Olaf Ittenbach’s infamous gore-fest The Burning Moon (1992), both part of a huge but largely obscure underground culture of homebrew horror. I argue that both NekRomantik 2 and The Burning Moon—amateurish and raw as they may appear—successfully reflect the state of non-normative filmmaking in a country where, according to Germany’s Basic Law, “There shall be no censorship.”2 Yet, the nation’s strict media laws—tied, in particular, to the Jugendschutz (protection of minors)—have clearly limited the horror genre in terms of production, distribution, and reception. In this light, NekRomantik 2 and The Burning Moon become note- worthy case-studies that in various ways query Germany’s complex relation to the practice of media control after 1945. Not only do both films have an inter- esting history with regard to the idiosyncratic form of censorship practiced in postwar (West) Germany, they also openly engage with the topic by reacting to the challenges of transgressive art in an adverse cultural climate.
    [Show full text]
  • From Idea to Screen, the Making of Residiuum Christopher Fowler University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 From Idea to Screen, the Making of Residiuum Christopher Fowler University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Fowler, C.(2013). From Idea to Screen, the Making of Residiuum. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/ etd/1844 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. From Idea to Screen, the Making of Residuum by Chris Fowler Bachelor of Arts University of South Carolina, 2001 Bachelor of Arts University of South Carolina, 2004 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Arts in Theatre College of Arts and Sciences University of South Carolina 2013 Accepted by: Amy Lehman, Director of Thesis Richard Jennings, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Chris Fowler, 2013 All Rights Reserved. ii ABSTRACT This project is designed to give an inside look at taking an idea and turning it into a film. In this project I combine research with practical experience to give an in depth look at the process I undertook while making my film Residuum. Part one of this project lays out research, knowledge, and thought process behind my decision making. Part two of this project is a finished short film that shows the culmination, and combination of skills required to combine my artistic and scholarly side.
    [Show full text]