In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article.

/pdf/what-ever-happened-to-my-peace-of-mind-hag-horror-as-12cbzpdom7.pdf

What Ever Happened to My Peace of Mind? Hag Horror as Narrative of Trauma

Este texto pretende contribuir a la visibilización de las estrategias de producción de un cine de alta rentabilidad comercial, en la década de los sesenta en México, a través del análisis de Los novios de mis hijas (1964), El día de las madres (1969), Los problemas de mamá (1970) y El juicio de los hijos (1971). En ellos, la participación de su guionista Josefina Vicens es clave para comprender la inclusión de giros originales sobre la maternidad, el rol de las mujeres en las relaciones amorosas y la puesta en marcha de estrategias para incluir a las actrices de edad madura en las tramas, en el contexto de un cine juvenil. 

Josefina Vicens: Maternidades, melodrama y cine popular en México

Over the past few decades, mainstream and independent films have increasingly represented kinky sexual behaviors of their characters, in ways that are frequently inaccurate, inappropriately titillating, and intentionally extreme. This chapter examines the representation of kinky sex lives in two groundbreaking (although extremely violent) offerings of exploitation cinema: director William Friedkin's 1980 film, Cruising, one of the first feature-length Hollywood movies to portray the sex lives of gay men in New York City's leather bars and sex clubs; and director Brett Leonard's 2005 film, Feed, one of the first feature-length independent offerings to explicitly explore the phenomena of fat fetishism and feederism. Both works are noteworthy for openly depicting nonnormative sexual activities and ways of being targeted primarily to mainstream audiences, at historical moments when doing so was quite rare. At the same time, this analysis demonstrates how both films, because of their exploitative approaches to their subject matter, ultimately communicate that the individuals and sexual activities they represent are “deviant” ones that must be contained or even eradicated in a civilized society.

Kinky Sex Lives and Groundbreaking (Exploitation) Cinema

Under authoritarian rule, Indonesia and the Philippines developed
 production systems to facilitate the export of films to the global exploitation
 and B-grade markets. Framed by the colonial relationship with
 the United States, independent Filipino producers in the 1950s began
 working with mostly American partners on diverse low-cost titles. By the
 1970s, the Philippines had become the choice location for many foreign
 co-productions. In Indonesia in the early 1980s, a group of local producers
 similarly pursued exploitation production for global export as a means to
 generate income. Production in both countries is framed by the Manila
 International Film Festivals (1982-1983), which marked Imelda Marcos’s
 attempt to formalize the co-production industry and make Southeast
 Asia a new hub for co-production and export.

Transnational Exploitation Cinema in Southeast Asia

As far as Greek cinema is concerned, the last few decades have seen both a rise in genre –including horror- films and the emergence of the so-called (Greek) Weird Wave, a term that refers not to a specific genre as such but rather to an aesthetic (mostly with regard to the stylistic approach but frequently with regard to the subject matter too). Boasting (relatively) big production value and wide media exposure, a lot of films from both these types tend to touch on the concept of the monstrous: the former mostly in a literal sense (zombies, vampires, etc.), the latter in a more metaphorical one (ghastly behaviors of actual humans). Using a semiotic/aesthetic analysis, the proposed paper explores how this shift towards the depiction of the monstrous can be traced in two examples of horror movies (Evil and Evil: In the Time of Heroes) plus in two of the most characteristic pieces of Greek Weird Wave filmmaking (Dogtooth and Miss Violence). Furthermore, the proposed paper explores how these outbursts of monstrosity are generated in the aforementioned films. Lastly, it examines how the monstrous and its representations are finding their way into more mainstream productions and audiences, and how such audiences have become more accustomed to the depiction of the grotesque in contemporary films, genre, “weird” or otherwise.

/pdf/flesh-and-blood-generic-monstrosities-in-contemporary-greek-1ohim4nm.pdf

Flesh and Blood: Generic Monstrosities in Contemporary Greek Film

What is exploitation cinema? Exploitation cinema is not a genre; it is an industry with a specific mode of production. Exploitation films are made cheap for easy profit. “Easy” because they are almost always genre films relying on time-tried formulas (horror, thillers, biker movies, surfer movies, women-in-prison films, martial arts, subgenres like gore, rape-revenge, slashers, nazisploitation, etc.). “Easy” because they offer audiences what they can’t get elsewhere: sex, violence and taboo t...

/pdf/exploiting-exploitation-cinema-an-introduction-2ak1if5ibj.pdf

Exploiting Exploitation Cinema: an Introduction

Indefinite Visions, as Martine Beugnet’s introduction makes clear, proposes to explore the presence and persistence of the indefinite in a medium that was invented to reproduce reality visually and study it. The book’s project thus ties in with Vilem Flusser’s (2004) view of the history of cinema as both a quest for legibility and an exploration of the obscure (9), evinced in Etienne-Jules Marey’s 1891 study of a wave, La Vague. The collected volume comprises an introduction, nineteen chapter...

/pdf/martine-beugnet-allan-cameron-and-arild-fetveit-eds-5bfdz3dqui.pdf

Martine Beugnet, Allan Cameron and Arild Fetveit, eds., Indefinite Visions: Cinema and the Attractions of Uncertainty

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Exploiting Exploitation Cinema: an Introduction

Martine Beugnet, Allan Cameron and Arild Fetveit, eds., Indefinite Visions: Cinema and the Attractions of Uncertainty