Waves of Horror Festival this Halloween Weekend

Posted on October 27, 2015 by melodramaresearchgroup

Hi all,

A reminder that Kat’s fabulously scary Waves of Horror Festival will take place over this Halloween weekend on the University of Kent Canterbury campus.

Here’s a link to a search on Waves of Horror on the Gulbenkian Cinema’s website for those feeling brave enough! : http://www.thegulbenkian.co.uk/search/?q=waves+of+horror

Also see their facebook page: https://www.facebook.com/Waves-of-Horror-Film-Festival-736601073018188/

And the twitter account: https://twitter.com/WavesofHorror?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

Summary of Discussion on Dead Ringers

Posted on March 26, 2015 by melodramaresearchgroup

Kat has very kindly provided the following excellent summary of our discussion on Dead Ringers (1988):

Never before has there been such a hushed silence post screening! Jeremy Irons knows how to wow an audience…..

The initial discussion focused not on the Mantle twins, but rather on the representation of women in the film, which was not wholly positive. The twins, but most often Eliot, were quite dismissive of women, despite the fact they are celebrated gynaecologists. They wonder at the spectacle of Claire’s “trifurcated cervix”, which in essence is a mutation of the cervix and by the end of the film Beverly only sees “mutant” women who require normalising. Women are represented as functional objects in the film; they are either portals of pleasure for the twins, or child bearers (once successfully treated by the Mantle twins). Even Claire Niveau is not constructed as a sympathetic character – it is challenging to engage and feel empathy with her, even when she realises she has been deceived into sexual relationships with both twins, thinking it was just one, Beverly. Claire talks of how she wishes and needs to be humiliated in taking a role in a miniseries. A later scene where costumes are discussed for her character, Claire’s character is described in terms of being an “emotional hooker” . While in another scene, Claire is visited by Eliot whilst she is having her makeup applied for a scene in the mini-series. The audience is privileged to only one side of Claire’s face and when finally there is a full head shot, Claire’s make-up is to create the appearance of a woman beaten up – bruised and swollen eye and bruised lips and cheek. We discussed this as an externalisation of Claire’s emotions and how she feels she has been treated by Beverly and Eliot – as damaged as the supposedly “mutant” women, Beverly thinks he is treating.

Intertwined in the discussion surrounding the construction and representation of Claire, was an aside thread of the theme of art versus glamour (or art and glamour) in the film. There seemed to be a fine line between both. Beverly enjoyed watching “glamorous” shows on TV. However, there is a suggestion of gynaecology being a “work of art”, or at least a creative process that hints at the Mantle twins being perceived as “artists”. The theme is fully realised in the spectacle of the tools Beverly has made in order to treat “mutant” women that finish up displayed in the window of an art gallery.

This thread of the discussion on art/glamour developed into the role of colour, costume and the twins. We all agreed there was confusing representations of the twins in terms of when they undertook surgery. Beverly especially as it was normally he who undertook this work. As he was dressed in his scrubs, he would stand, arms out stretched, as if he was Christ like. However, their work in the process of the creation of life is more God-like, we thought. Nonetheless, very religious imagery stood out against the grey 1980s colouring in the rest of the film. The conclusion was that this was a confusing and muddled aspect of their representation. The costumed scrubs appeared a little excessive for the narrative. We pointed out that the film is explicit in placing the film in 1988. However, the costumes for the surgery pulls it “out of time”, another puzzling part of the film. However, we agreed this did add to the horror and overall general creepiness. The colour red stood out against the grey, even though we didn’t consider it practical for surgery! There was something priest like, or inquisitional regarding the costume and colour here.

In discussing the doubling trope of the twins, it was observed that even though we were privileged with knowing they were twins from the beginning, there were certain scenes in the film when it wasn’t made explicit which twin we were watching. So, the film succeeded in creating suspense in the twins’ identities by denying the audience knowledge of individual identity.

The final point of the discussion was on the idea of male hysteria. It was noted there are previous examples of the double in the relation to the female example in relation to the double. For example, Black Swan and The Yellow Wallpaper. There are references to female identity with Beverly and Eliot, their names for one. Here we pondered on the idea as to whether here is a feminised hysteria in the construction of the Mantle twins. Beverly appeared “weaker” than Eliot and we view him as the more feminised twin. Also, their job is to give life, as if “mother”, but from the beginning there is the notion of “no touching” of the revering of how fish procreate – underwater and again, with no touching. Are they the mutants for suffering from a feminised hysteria?

Thanks for a great summary, Kat. Your final question is certainly one to ponder!

Do, as ever, log in to comment or email me on sp458@kent.ac.uk

Summary of Discussion on The Double

Posted on March 12, 2015 by melodramaresearchgroup

Frances has very kindly provided the following excellent summary of our discussion on The Double.

The Double: Screening and Discussion notes

The post-film discussion began with the observation that the film taps into ideas of horror and the surreal, and how the relationship between these two themes is becoming more common in recent films like The Double. However depictions of horror and the surreal are by no means a new invention as it was noted that the dark humour of the film was quite Lynchian and particularly reminiscent of Twin Peaks. The Double also touches on the tone and themes we shall explore with our next screening, Dead Ringers.

Our discussion also touched upon the nature of the doppelganger figure represented in the films shown as part of our season. The Double shares an affinity with The Dark Mirror shown a few weeks ago because both films depict the double character as inevitably evil. In The Dark Mirror, this portrayal hinges on the ‘scientific’ notions that twinned siblings have fraught, competitive and dysfunctional relationships where one sibling will eventually turn to crime: the idea of the ‘evil twin’. Although the doppelganger which appears in The Double is not an identical twin, the same logic is applied to the duplicated appearance but mental incongruence between Simon James and James Simon. Where Simon is unpopular but kind, thoughtful and loyal, James is successful but manipulative, selfish and cruel.

This opens up the question: what purpose does this doubling of characters serve in these films, and what does the figure of the doppelganger signify? It was noted in our discussion that the doppelganger functions as the ultimate fracturing of identity and thus appears to engage with ideas about modernity. This is supported by the film’s mise en scene. The spaces in The Double seem quite modern as, for example, the office Simon works in uses computer technology to process data. However this same technology is also strangely archaic: the computers look outdated and the machines are cumbersome and slow. Our sense of time and space is ruptured as the film seems to suggest that the events depicted in The Double could be everywhere but nowhere.

As such, the doubling of Simon functions in part to illuminate the horror of modernity: machines control the characters in the film, as well as giving them a sense of purpose, but the outdated technology also hinders the ability for these people to relate meaningfully to other human beings. The humour of the film derives from the horror of this situation. James’s intrusion into Simon’s life proves how nothing matters in this reality – that a callous attitude can succeed over a humble one – but this life is not a nightmare as such: the film states this is just ‘reality’. It is for these reasons that the film adopts a deadened tone despite the larger melodramatic themes and scenes which take place.

Finally, we also briefly discussed how James is introduced into the story and how this compares with other films featuring a double. In The Double, James first appears in very brief shots, when he quickly passes by Simon on his way home. The fast editing offers just glimpses of James before his formal introduction at Simon’s work place the next day. This entrance is similar to the double’s introduction in Black Swan, where noises on the soundtrack indicate the doppelganger’s arrival. Both instances also take place in tight, claustrophobic spaces where sound and image are difficult to discern. These images also contribute to the double’s status as a harbinger of evil which will threaten the wellbeing of the main protagonist.

Thanks Frances! Do, as ever, log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.

The Orphanage showing at The Gulbenkian Cinema on the 4th of March

Posted on March 1, 2014 by melodramaresearchgroup

Posted by Sarah

The fifth film in the Gulbenkian Cinema’s Gothic Season – J.A. Bayona’s The Orphanage (2007) – screens on Tuesday 4th of March at 9.30pm. It will be preceded by a panel discussion which will include contributions from the Melodrama Research Group’s Dr Tamar Jeffers McDonald, as well as Dr Cecilia Sayad and Professor Nuria Triana-Toribio.

The Gulbenkian Cinema’s description of the film:

J. A. Bayona | Spain | 2007 | 106mins | Belén Rueda, Fernando Cayo, Roger Príncep

This terrific Spanish horror film, the debut of J. A. Bayona and produced by Guillermo del Toro, director of Pan’s Labyrinth, received great acclaim on its release in 2007.

After thirty years, Laura returns to orphanage where she grew up, accompanied by her husband Carlos and their 7-year-old son Simón, with a dream of restoring and reopening the long-abandoned mansion as a home for disabled children. The place awakens Simón’s imagination, and he soon begins playing not-so-innocent games.

As events take a sinister turn, Laura slowly becomes convinced that something long-hidden and terrible is lurking in the old house, something waiting to emerge and inflict appalling damage on her family, in this cleverly made, utterly terrifying film.

“A shiver of fear runs right through Juan Antonio Bayona’s pungent and scary film” Peter Bradshaw, The Guardian, 4 stars

“A good old-fashioned horror in the best possible way, this is a beautifully told, terrifying ghost story that lingers with you long after the shivers have stopped” Olly Richards, Empire Magazine

Spanish w/Eng ST

For more information and to book your ticket please go to: http://www.thegulbenkian.co.uk/events/cinema/2014/March/2014-03-the-orphanage.html

Summary of Discussion on The Awakening

Posted on March 1, 2014 by melodramaresearchgroup

Posted by Sarah

Frances has very kindly provided the following summary of our discussion on The Awakening (2011):

Warning! The following discussion contains spoilers for those who have not seen the film yet…

On Wednesday 19^th February we watched and discussed The Awakening. I did not want to say too much about the film in my opening remarks and so most of the group present were experiencing the film for the first time and without much previous knowledge. This was an important component for our discussion after the film as quite a lot of time was spent discussing the film’s ending and its twist (or twists). We agreed that the film remained ambiguous about whether Florence is alive or not at the end. We mentioned that, logically, it is probably likely that she survived (the manner in which she interacts with other characters and is about to leave the house points to this) but it is interesting that the film still works to evoke the question of her mortality and does not complete resolve the ambiguity. Costume and performance are important parts to this uncertainty. Florence’s costume has changed and so this suggests she has survived. However we noted how the white coat she wears could make Florence seem ghostly and this is an interpretation reinforced by the way her presence is ignored by the school’s headmaster. In either case, we felt the possibility for different interpretations was a fitting ending to a ghost story where frequently our expectations are continually subverted.

The group commented how, in many ways, The Awakening is a conventional story of a haunted house where the spirits interact with the living in order to resolve unfinished business. The music contributes considerably in establishing this uneasy mood and the film contains some good, unexpected scares. A comparison was made between The Awakening and Turn of the Screw and the relationship between the ghost story in cinema and that in literature. But that is not to say that the film does not contain some very striking moments which we agreed worked especially well. We talked about how the uncanny is evoked by the film, especially in the scene where Florence keeps returning to the same room depicting her mother’s death, despite her attempts to run away. The rabbit toy is also particularly uncanny and signals a rare instance of the use of vivid colour in the film. We discussed how it is possible to extend the Freudian reading of the film further, as the dollhouse functions as another double: it is the double of the house but also metaphorically represents Florence’s mind (it is her ‘mind palace’). Florence’s interaction with the dollhouse – which moves from confusion to trepidation and fear – parallels our protagonist’s increasing understanding of the haunting. The dollhouse allows Florence to observe the whole house, at once, and yet she is still unable to ‘see’ the larger picture for the majority of the film. This radically changes of course when Florence remembers her traumatic childhood and the memories of those disturbing events are ‘re-lived’ before her eyes.

In this respect the film can be interpreted as a representation of the psychoanalytical process, as a kind of ‘talking cure’. Florence’s experience of the haunted house in the film functions to provide a series of shocks for the heroine so that she may remember the traumatic truth of her childhood. Tom’s presence in the film represents a form of the return of the repressed. The rabbit toy also functions as an important marker and another double. The song which the toy sings remarks that all the children ‘are gone except one’. This creates another double because at first the viewer believes this to be the ghost child (revealed later to be Tom) but this ‘child’ is also Florence herself, as she survived her father’s brutal attack. Only by remembering – or rediscovering – her true ‘self’ can Florence come to terms with this true identity. We discussed how it is interesting that this journey of self-discovery is framed by Florence’s movement from spiritual sceptic to dedicated believer in ghosts. This somewhat undermines Florence’s characterisation at the beginning of the film as an independent, successful author and career woman in the early 20^th Century, and so the ultimate ‘message’ of the film is obtuse.

We also discussed the film’s setting and agreed that the post-WWI era is particularly suited to this type of horror story. We said how the film thus taps into a British cultural memory in addition to performing as a conventional ghostly tale. It was commented that The Awakening also correlates to the wider tradition of British horror which emphasises the paganism and spiritualism of the countryside against the supposed rational and sceptical urban city. Additionally, the manor house setting in The Awakening brings in the question of class, particularly through the character of Maud, and how the haunting of the house is caused – in part – by the oppression of the aristocracy. We commented how this trait in horror extends beyond British films albeit in a slightly different guise: The Skeleton Key is a good comparison point with the manor house now replaced by a plantation house.

Many thanks to Frances for choosing the film, introducing it and providing the above excellent summary of our discussion.

Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your thoughts.

Alien (1979) Showing at the Gulbenkian Cinema on the 24th of Feb

Posted on February 15, 2014 by melodramaresearchgroup

Posted by Sarah

The fourth film in the Gulbenkian Cinema’s Gothic Season – Ridley Scott’s Alien (1979) – screens on Monday 24th of February at 9.15 pm. It will be introduced by Melodrama Research Group member Frances Kamm.

The Gulbenkian Cinema’s description of the film:

Ridley Scott | US | 1979 | 113mins | Sigourney Weaver, Tom Skerritt, Harry Dean Stanton, John Hurt, Veronica Cartwright, Ian Holm

“In space, no one can hear you scream.” Ridley Scott’s (Bladerunner) 1979 modern classic stars a never-better Sigourney Weaver (Gorillas in the Mist) as Ripley, one of several scientists on board the spaceship Nostromo, on the return leg of a routine mission when they detect a mysterious transmission from a nearby planet. Investigating the source, they find the remains of an alien creature and crew member Kane (John Hurt) is attacked by the creature in one of its eggs. Back on board, he has seemingly recovered when an uninvited guest arrives, in gloriously gory fashion, in one of sci-fi’s most memorable sequences.

The undisputed best of the Alien films, with a cerebral slant alongside the thrills and gore, and an iconic feminist heroine in Weaver’s preternaturally cool, tough Ripley, it’s a shocking, seamless ride.

“It remains a benchmark of extra-terrestrial horror, and gave us a bona fide A-list star in the shape of Sigourney Weaver” Film4.com

“One of the greatest sci-fi movies ever made” Jamie Russell, BBC

For more information and to book your ticket please go to: http://www.thegulbenkian.co.uk/events/cinema/2014/February/2014-02-alien.html

Melodrama Screening and Discussion, 19th of February, Keynes Seminar Room 6, 4-7pm

Posted on February 15, 2014 by melodramaresearchgroup

Posted by Sarah

All are welcome to attend the fourth of this term’s screening and discussion sessions which will take place on the 19th of February in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening The Awakening (2011, Nick Murphy, 107 mins).

Frances has very kindly provided the following introduction:

Following on from Kat’s screening of Black Christmas last week, this week’s film The Awakening is another example of the intersection between horror and melodrama in the
Gothic tradition. The Awakening picks up many of the Gothic tropes present in Black Christmas, such as the woman-in-peril and dark house motifs, but uses these elements for a very different effect.

The Awakening is a 2011 British horror film starring Rebecca Hall, Dominic West and Imelda Staunton and directed by Nick Murphy. In many ways the film contributes to the popularity of the haunted house and ghost story narratives which have been featured and revived in many recent horror films, such as the Paranormal Activity series (2009-present) and, in particular, The Woman in Black (2012 and another British horror film). The Awakening also shares many similarities with The Orphanage (2007), as it seeks to combine a classic chilling story of a house haunted by a supernatural presence with the aftermath of traumatic historic events: in The Awakening’s case, Britain in 1921 after World War One. The Awakening tells the story of writer Florence Cathcart who has made her name as a paranormal sceptic and now helps the police in exposing and arresting charlatans who host spiritualism meetings and séances which promise to reunite paying customers with family members and the soldiers who did not return from the war. A war veteran and teacher, Robert Mallory, meets Florence and requests she return with him to his boarding school in the countryside, where he believes a real ghost of a former schoolboy is haunting the premises. Although initially reluctant at first, Florence agrees to return with Robert and prove the ghost a fraud, and thereby restore order to the school and the boys who believe the recent death of their school friend to be caused by a malicious spirit. With the help of her scientific equipment, Florence quickly believes the mystery to be solved and the ‘ghost’ exposed as a childish prank, until further paranormal occurrences begin to take place and Florence is forced to question her beliefs…

The film incorporates many of the major themes and tropes of the Gothic, as established by the Gothic literature of the 18^th century and the Bluebeard tale, which in turn inspired the Gothic cycle of films in Hollywood in the 1940s beginning with Rebecca (1940). Florence is the Gothic heroine of the film who is compelled to investigate the mystery of an old, dark house: in this case, the boarding school. In unlocking the secrets of the house, Florence becomes the woman-in-jeopardy conventionally at the heart of these stories: Florence is imperilled by the supernatural presence in the house; by the threats posed by the shady groundskeeper Edward Judd; and by her own stubbornness to question her rationalist convictions. In keeping with the traditions of the Gothic, the film’s narrative hinges on the revelation of a hidden secret which comes to light through Florence’s investigation. In The Awakening this secret is not contained within a single secret, locked room (as conventionally seen in such Bluebeard-inspired tales) but rather the house itself is the mystery to Florence, which must be discovered and understood in order to reveal the building’s – and her own – troubled past. As such we explore the house and experience the supernatural sightings with Florence and this identification with the female protagonist shows the film’s correlation to the conventions of horror established by films like Black Christmas, as discussed last week. The film adheres to other horror generic conventions, particularly in respect to low key lighting and the threat conveyed through effective editing and camera movement, but The Awakening is not just concerned with shocks and jumps. In his 2011 review of the film, Guardian critic Peter Bradshaw describes the film as a ‘supernatural melodrama’ and this description becomes very apt. The film’s horror elements work to illuminate and frame the personal (and often private) melodramas which affect each character. The teachers of the school fail to conceal these tragedies as these secrets are also revealed within the course of Florence’s investigation. Central topics include shell-shock, child abuse and death.

The film extends the Gothic trope of the house revealing secrets to include Florence herself, as The Awakening ultimately performs an in-depth analysis of the heroine and her psyche as well. This commingling of the paranormal or the mysterious with scientific and rational reasoning is a reoccurring trend in the narrative and becomes key to unlocking the secret of Florence and her past. This is evident from the film’s very first frames, when we see a quotation from Florence’s popular book about the debunking of spirits informing us of the high death rate in Britain recently and concluding: ‘This is a time for ghosts’. This sentiment is supported by the opening scene which sees Florence attend a séance. Yet this first ghostly encounter is quickly revealed to be a fraud by Florence, who has the proponents of the meeting arrested. Florence maintains her sceptical, rationalist ideals through the use of advanced technological devices to prove the boarding school’s sightings of ghosts to be a hoax, only to have this same scientific equipment ‘prove’ the opposite is true. The narrative’s vacillation between incredulity and belief highlights the importance of the film’s setting in post-war Britain. The years following the First World War – a conflict which would radically re-define modern warfare and the devastating impact of technology – saw an increase in the popularity of spiritualism and belief in the paranormal. It is important to note that Freud’s essay on the uncanny was also published at this time, in 1919. The uncanny has a long history, which is interwoven with the Gothic tradition and literature of the 18^th century, but the fact that Freud should choose to publish his work on the uncanny at this time is significant. Just as the world was recovering from the shock and trauma of the ‘modern’ – in this case, modern warfare – Freud muses upon the affect a displacement from the world, like an experience of the uncanny, has upon the mind. Like Florence, Freud hopes to offer a scientific explanation for these occurrences although, by his own admission, he ultimately fails. It is therefore important to view the film in terms of the uncanny as well, because the concept helps contextualise the historical setting for the film and The Awakening effectively incorporates many of the motifs which Freud identifies as ripe for an uncanny experience. These include representations of the double; the slippage between what is known to be alive or dead; and the unheimlich or the unhomely nature of the house. In testament to Freud’s work, The Awakening reveals that the secret behind the melodrama, the cause of the horror and ‘the uncanny is that species of the frightening that goes back to what was once well known and has long been familiar.’

When watching the film we can think about:

– How The Awakening fits into this Gothic tradition

– Why the film has this historical setting

– Florence’s characterisation

– The ending: what does it all mean?

Do join us if you can for this chilling screening!

Summary of Discussion on Black Christmas

Posted on February 15, 2014 by melodramaresearchgroup

Posted by Sarah

Kat has very kindly provided the following summary of our discussion on Black Christmas (1974):

Discussion began with acknowledgement of how the film could be interpreted as the forerunner to the Slasher subgenre. The traits of lone stalker and aspects of cinematography are recognisable when one considers Halloween (1978), especially the opening of Halloween with the POV camera work associating the killer with the viewpoint. There was general agreement on how underrated Black Christmas appears to be, as it is a superior horror film. Focusing on the nihilistic ending, some of the group were surprised and disappointed in how little academic focus there is on this film. Considering writers such as Robin Wood who focus on the nihilistic aspects of 1970s horror, yet fail to mention or reference Black Christmas. Many wondered whether this was because the horror films that define the 1970s were directed by individuals that are now considered ‘horror auteurs’, unlike Bob Clark who went on to direct Porky’s and concentrated on TV work.

There was further discussion on the ending to Black Christmas. We were all slightly incredulous that Jess was left alone in the house (especially as Mr Harrison had only fainted and he was taken to hospital!). However, we were generally in favour of the nihilistic ending as it seemed quite fitting to the rest of the film.

Attention turned to the voice on the phone and consideration was given to whether it was more than one voice, or whether the stalker was meant to be schizophrenic. Sarah brought up two points. Firstly, whether Billy was related to the Sorority mother, as in the attic were photos of her and her sister. Secondly, whether there was a vaudeville connection (and related to the multiple voices) as the photos (as well as the comments made by Mrs Mac) indicated to a life on stage.

All commented on how well constructed the film was and some admired the linking between scenes – how sound and images were utilised to build continuity between scenes, build suspense and lay suspicion around the different characters, especially the male characters. Some of us mentioned how at different points in the film, our suspicions turned on different characters and this was due to the structure of the film. It was generally agreed that Black Christmas is a genuinely creepy film, especially the image of Clare suffocated in plastic, rocking in the rocking chair while the cat licks her face.

Many thanks to Kat for choosing the film, introducing it and providing the above excellent summary of our discussion.

Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your thoughts.

Melodrama Screening and Discussion, 12th of February, Keynes Seminar Room 6, 4-7pm

Posted on February 3, 2014 by melodramaresearchgroup

Posted by Sarah

All are welcome to attend the third of this term’s screening and discussion sessions which will take place on the 12th of February in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening Black Christmas (1974, Bob Clark, 98 mins).

Kat has very kindly provided the following introduction:

Black Christmas (also released under the titles Silent Night, Evil Night, and Stranger in the House) is a 1974 Canadian independent horror film directed by Bob Clark and written by Roy Moore. It stars Olivia Hussey, Keir Dullea, Margot Kidder, Andrea Martin, Marian Waldman and John Saxon.

The reason for choosing this film is that it bears the hallmarks of the ‘woman in peril’ Gothic melodrama, only in this film, it is somewhat multiplied to numerous women. There is also an uneasy ambiguity surrounding the men, most notably the character of Peter, as well as the house containing a ‘secret’ within its walls and history.

There has always been speculation as to what the film is based on, and there are two strands of thought. Firstly, that the narrative takes its cue from the urban legend of ‘The Babysitter and the Man Upstairs’, that dates back to the 1960s and involves a babysitter who begins to receive crank calls from a mysterious man who asks her to continually ‘check on the children’. The second strain of thought is that the source of the film is sorority murders that took place in Quebec around Christmas time in the years prior to the film. However, there is little evidence to establish this claim and Moore died without ever being interviewed on the subject. However, it is interesting to note that sorority killings occur in the second episode of American Horror Story: Murder House, and these took place within the 1960s and are meant to be based on actual events (although I am not suggesting a link between American Horror Story and Black Christmas).

The Story

Originally written by Roy Moore (and re-written by Clark himself), Black Christmas takes place just before Christmas break at a large college, where a group of sorority sisters are making plans for one last party before they all head off on holiday. Jessica (Olivia Hussey), the serious-minded beauty of the group, isn’t in such a celebratory mood. She’s just found out that she’s pregnant and she’s struggling with whether or not she wants to keep the baby while also dealing with near constant badgering from her temperamental boyfriend, Peter (Keir Dullea), who wants her to keep the baby and commit to marriage. As Jessica contemplates her future, her friends plan their party oblivious to her plight and to the fact that the night is about to take a very ugly turn. The house begins to get a rash of obscene phone calls, that at first seem like a harmless prank but quickly turn serious as the caller starts to delve into each girl’s personal life and one of the sorority sisters goes missing. When it becomes clear that Jessica is the caller’s primary target, the police place a wire tap in the house only to find out that the real culprit is closer than anyone ever imagined!

The Significance

Over the years, the phrase ” the calls are coming from inside the house!” may have become somewhat of a punch line thanks to urban legends about babysitter stalkers and campy movies like When a Stranger Calls (1979), but back in 1974, Black Christmas established this now seemingly normal horror convention in a way that hasn’t been used quite as effectively since. There’s still some speculation about whether Roy Moore actually based the initial idea for the Black Christmas screenplay on those old babysitter stories, but what is clear is that whatever formula he used proved influential to many classic horror films that followed. Billy, the film’s main menacing force, roams through the sorority house at will and the audience sees everything through his point of view, a technique that hadn’t been used so effectively in mainstream cinema up to that point. On the Canadian DVD extras, it’s revealed that although the steadicam wasn’t introduced to filmmakers until 1976, camera operator Bert Dunk created the fluidly roaming “Billy” camera shots by designing a rig that attached to his head – this is especially impressive considering the shot where Billy climbs the trellis outside the house all the way up to the attic. That killer-POV shot went on to become standard in soon-to-be-classic slasher films that followed like John Carpenter’s Halloween (1978) and Friday the 13th (1980) . In fact, many of the elements present in Black Christmas – including its holiday-themed setting and feminist subtext – may seem like a cliché when viewed through a present day horror fan lens, but Black Christmas arguably influenced the slasher cycle that began with Halloween and dominated the horror genre in the 1980s and beyond.

Do join us, if you can (and dare!)

Melodrama Screening and Discussion, 11th of December, Keynes Seminar Room 6, 4-7 pm

Posted on December 5, 2013 by melodramaresearchgroup

Posted by Sarah

All are welcome to attend the seventh of this term’s screening and discussion sessions which will take place on the 11th of December in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening a joint choice: The Skin I Live In (2011, Pedro Almodovar, Spain, 120 mins).

Kat has very kindly provided the following introduction:

Released in 2011, Pedro Almodovar’s The Skin I Live In, is an exploration of the nature of human identity. It visits most of the preoccupations of Almodovar’s work over the past thirty years, from maternal devotion through sexual identity to obsessional activity.

The film is based on the French novel, Mygale (published in this country as Tarantula), in which an eminent French plastic surgeon has a practice at a public hospital in Paris, a private clinic in Boulogne, a secret operating theatre in the basement of his suburban mansion, a beautiful, submissive partner called Eve whom he keeps under lock and key, and a teenage daughter in an asylum. Almodovar has relocated the narrative to Toledo, a city south of Madrid and played with the relationships. In the film, Antonio Banderas plays the part of plastic surgeon, Robert Ledgard, who lives a stylish life with a devoted housekeeper to look after his beautiful mysterious prisoner, whose name has been changed from Eve (from the novel) to the more ambiguous Vera. Robert’s principal public project, inspired by his late wife’s destruction in a motor accident, is the development of a new form of skin that will be sensitive to the touch but resistant to fire. However, he’s also involved in secret activities of a more dangerous nature. They’re to do with revenge at a personal level and, on a cosmic plane, with challenging the very character of human identity.

The film is rich, complex, and is a skilful piece of storytelling that reorganises time and, in characteristic Almodovar fashion, challenges our preconceptions about everyday life and personal conduct. Beyond that, I do not wish to give away any more plot spoilers for those who have not seen it!

The reason why I thought this would make an apt screening for the melodrama group is in how the film plays with conventions and plot structures associated with the Gothic melodrama. Indeed, the film critic for The Observer, Philip French, described the film as ‘a combination of dark thriller, gothic horror story and poetic myth’. There is much that can be discussed regarding gender, identity, melodrama and the Gothic in relation to The Skin I Live In.

Below is a link to an article, in which Paul Smith, Professor in Hispanic and Luso-Brazilian Literatures and Languages at CUNY, discusses the film with the editor of Film Quarterly, Rob White. Although the article isn’t overly warm towards the film, it does touch upon some of the more interesting themes and concerns of The Skin I Live In.

http://www.filmquarterly.org/2011/10/escape-artistry-debating-the-skin-i-live-in/

Do Join us, if you can, for Keeley’s introduction on the day and, of course the film itself!