Wednesday, January 3, 2018

Conversation about Richard Brody and the passing of Tobe Hooper and George A. Romero, at the NewYorker Movie Facebook Club




Kai Mihm
In 2017 two great and highly influential american genre directors passed away: Tobe Hooper and George A. Romero. Richard Brody didn't write a single sentence about them. Why do think he didn't care to honor them? (And how do you feel about their work?)
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David Troia Filmmakers who specialize in Horror are almost always disrespected by critics. Sad but True.


Kai Mihm Not over here in Europe... (In Germany Romero's death was in every paper and even featured in the TV-news...)






rien Rourke
Brien Rourke He might have doubted that Romero was really dead.
en Eisner
Ken Eisner Perhaps it was only temporary.
rien Rourke
Brien Rourke "Everything is temporary!"


ark Schaffer
ichard Schilling
Richard Schilling You may want to use Google before you post, since he wrote even more than "a single sentence" about George A Romero in July 2017. I remembered reading it.
ai Mihm
Kai Mihm Could you post link? Because I am unable to find the article you talk about. Thanks a lot!
atrick McEvoy-Halston
Patrick McEvoy-Halston Expanded and transformed the genre of horror: https://www.newyorker.com/.../movies-to-stream-this...

So here, just one sentence, but with that commentary, not quite a slight.Manage


“The Love Witch” transforms a wide range…
NEWYORKER.COM
ai Mihm
Kai Mihm Yes, I saw that. Pretty meager, I think.
ai Mihm
Kai Mihm But that cannot be what Richard Schilling meant.
atrick McEvoy-Halston
Patrick McEvoy-Halston Kai Mihm But it is, I believe -- he references July 2017. To me, what is there really isn't sufficient to justify telling you to try googling first before... but, nevertheless, the fact that it is Romero's passing away and a remembrance of his significant virtues which prompts Brody's discussion of other directors, could certainly make for it sticking in the mind later on as a whole article collected all around Romero.

yan Spencer
Ryan Spencer Forty-plus years ago, one of cinema’s most anxiety-inducing spectacles was unleashed. It was a time of cynicism, violence, paranoia and the collapse of a working class that was being outsourced and made obsolete by technology. Casual, everyday sexism undermined women’s equality by systematic objectification and enabling of abusers. Industrialized slaughter of animals was destroying the environment. So, not all that different from today. Texas Chainsaw Massacre beautifully intertwines horror and politics. I recommend everyone here watch (or rewatch) it immediately.
atrick McEvoy-Halston
Patrick McEvoy-Halston Neat post, but elides the virtues of the rise of the professional class, who have the mental temperature to actually do something about all these things.

atrick McEvoy-Halston
Patrick McEvoy-Halston Kai Mihm Inspired by exceptional critics of his acquaintance, Richard Brody finds out what he's missing: https://www.newyorker.com/.../the-deep-emptiness-of...Manage


The modern history of the cinema (actually, the…
NEWYORKER.COM
yan Spencer
Ryan Spencer I have a certain respect for the Resident Evil series, however I think the point of this article is to try to elucidate the idea that this particular film is made without irony or critique. I wouldn't agree with that, nor would I argue that to be the case with Hooper's Texas Chainsaw Massacre which is maybe your reason for posting it here? TCM is specifically about those well beneath the "professional class," but that doesn't mean it is explicitly for them or exclusive of others.
atrick McEvoy-Halston
Patrick McEvoy-Halston Ryan Spencer The reason is actually that I find the horror genre is becoming big amongst literate twenty-something year olds -- the men especially. Horror, sci-fi, fantasy, comics -- but all done with a literary edge. Someone like Brody, who doesn't seem to have any fear of keeping a distance from a genre to keep himself seeming professional, would seem a natural critic for some of these bright young minds to engage with. But there's a difference, in that the way you typify our culture seems a match to that characterized by Brody as Paul W.S. Anderson's, and which may be a match for those twenty-somethings making genre the seed from which all varieties of culture might bloom and which perhaps best reflects the base of the world we live in (horror?) more than "fiction" does, rather than an adjunct. 

Your, "Forty-plus years ago, one of cinema’s most anxiety-inducing spectacles was unleashed. It was a time of cynicism, violence, paranoia and the collapse of a working class that was being outsourced and made obsolete by technology. Casual, everyday sexism undermined women’s equality by systematic objectification and enabling of abusers. Industrialized slaughter of animals was destroying the environment. So, not all that different from today."

does not match up well with Brody's "At the same time, “Resident Evil” is a relentless reflection of the tawdriness of strip malls, of the dun grimness of heavy industry, of the sense of decisions being made by abstract higher-ups that make for a plant closing or a store being shuttered, of the daily threat of violence and the need to stay vigilant and look tough, of the sense of embattlement in a harrowingly desolate landscape, and of the escape into simulation and the vicarious as the only, and fleeting, feeling of heroism that the daily struggle—or the daily round of boredom—offers. The absurd fantasy that Anderson offers up plays like a documentary of an extreme state of mind—and turns it into a stereotype which, in being represented with such efficacy, propagates itself."

One's "reality," the other's an "extreme state of mind." I would guess he'd fear you might be "propagating itself," and so the reason why critics like Brody stay away from "Texas Chainsaw"? Whatever it's actual qualities, qualities they recognize and are drawn to want to salute, they recognize they're being drawn to embrace a source of film culture out of which has mostly come an attitude they're averse to and recognize as a threat.

Ryan Spencer I think I agree; you are correct, I do not share Brody's view as expressed in his piece on Resident Evil. I would also say that most horror is extreme in it's depiction; Romero's Night of The Living Dead is about post-war isolationism and fear of "the other" - same with It Comes at Night which was a very underrated film of 2017. I suppose a lot of young viewers and upcoming twenty-something story-tellers (from which I am 20ish years removed, so) have a much more democratic view of genre. However, I think it's women in horror who are doing the most interesting things in the past couple of years; Karyn Kusama's The Invitation, Julia Ducournau's Raw, Jennifer Kent’s The Babadook... (Ducournau cites TCM as a huge influence).
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