"Revolution is not for the faint of heart. It is for monsters. You have to lose who you are to discover what you can become." -Hardt and Negri

Monday, July 21, 2014

Chainsaw Exorcism With Susan McNally Author Of The Morrow Secrets Trilogy

Tell me about yourself and your writing?

I live in North London with my husband who is a composer so our house is a creative hub! I am originally from the north of England where the dramatic scenery has influenced the rugged landscapes and adventures in my books.

I didn’t intend to write a Gothic fantasy, the book just wrote itself. Once I had decided on the setting and some of the characters the story just tumbled out, it was a very odd experience looking back.

I watched a Stephen King “You Tube” interview recently and he said virtually the same. That is what is odd about this process – do writers all have this inexplicable experience where they leave their present world and enter another one? The only way I can describe it is that there is a real joy in engaging in this creative process – I sit down at my desk, read over the last chapter and bingo more of the story pours out… the characters take over - it is a bit like magic.

As a writer I rarely plot story lines, I let them evolve through the characters and their motivations, good or otherwise.

Philosophizing The Walking Dead S3E4 Killer With In, Metaphoric Babies, And Lori's Irrational Political Agenda

Welcome to our journey into the guts of The Walking Dead. What kind of journey? A philosophical, psychoanalytical and political kinda. What I would like to do over the next couple months is dig thought the Walking Dead episode by episode to see what it cant teach us. Thank you for following me on this journey. I look forward to reading your comments. Be forewarned: There are spoilers everywhere.

Lori is a tougher sell in the TV series of The Walking dead over the comic book. For me this comes down to an addition to the TV show that was not in the comic. In Secrets S3E6 Lori sends Glenn out to town in order to gather morning after pills. Lori is pregnant with what is in all likelihood Shane’s offspring. So, what is the purpose of this scene? Up to this point Lori was portrayed as intelligent yet morality irrational.

Sunday, July 20, 2014

Chainsaw Exorcism With A. Giacomi Author Of Eve Brenner: Zombie Girl

Tell me about yourself and your writing?

I’m writer, educator, artist, and all around fangirl of everything and anything creative. I love film, literature, comics, performance art, I could go on and on all day, but the bottom line is if it’s based in the arts then it has my attention. On a personal note I’m a wife, as well as a mother.

I’ve been a storyteller from the start, as soon as I could write storytelling became my obsession, whether it be a journal entry, short story, poem., etc. I was also an avid reader from an early age, my writing is pretty much a product of what I read, I absorb and then I create.

All Cheerleaders Die (2013), Underbelly Of Sexual Egalitarianism and Communities Of Difference

All Cheerleaders Die exploits and guts the mythical war between the sexes by destabilizing heteronormative discourse. After Maddy's childhood friend dies she is begins her revenge. Under the surface of what appears to be a superficial motivation for revenge turns out to be a serious desire to ruin Terry for raping her. The heart of this weaving narrative spins around the brutal binary that separates the football plays and cheer leaders along their sex. They self-articulate their inter and intra group identities as Bitches and Dogs. The derogatory identification guts to the bad boy and bad girl persona as the two sides rise to greater levels of violence in order to seek some idealized imbalance where bitches or dogs are rendered a superior status. By playing on the boarders of heteronormative dynamic, All Cheerleaders Die, open's up a space to articulate a disruption inherent in the kernel of the binary. In what follows I plan to explore the disruption in order to identify if All Cheerleaders Die successfully challenges the ground in which the war between the bitches and dogs articulates itself.

Friday, July 18, 2014

Chainsaw Exorcism With Victoria Snaith Artistic Director Of Father Dagon: A Theatrical Experience Inspired By H.P. Lovecraft

Could you tell me about yourself and Father Dragon: A Theatrical Experience Inspired By HP Lovecraft?

My name is Victoria Snaith and I am the artistic director for Dread Falls Theatre.

My drama career started when I was 11 and I joined an after school drama club, I enjoyed it and continued my drama education through school and college. When I was 18 I left home for university and studied drama at Kingston University in South West London.

After university I didn’t think it was viable for me to have a career in drama or theatre. It had never occurred to me that I could become a successful performer. So instead I went into teaching, but I never lost sight of my love of theatre and visited the theatre regularly.

Philosophizing The Walking Dead S3E3 Walk With Me And Idealized Post-Racial Sentiments Only Serve To Colorblind Reality

Welcome to our journey into the guts of The Walking Dead. What kind of journey? A philosophical, psychoanalytical and political kinda. What I would like to do over the next couple months is dig thought the Walking Dead episode by episode to see what it cant teach us. Thank you for following me on this journey. I look forward to reading your comments. Be forewarned: There are spoilers everywhere.

Walk with me begins with Andrea and Michonne stumbling through the world with their two pet zombies. Along the way Andrea developed a hardcore cold and Michonne has been taking care of her. Until suddely their chickmance is rudely interrupted by a crashing helicopter. Curious, they go to check out the crash and run across the Governor and company. Andrea and Michonne are quickly discovered, blindfolded and taken hostage. When the blindfolds are taken off they find themselves in the town of Woodbury.

Saturday, July 12, 2014

Martyrs (2008), Transcending Doubt and Punching Nihilism In The Face

The history of philosophy is plagued with oppositional binaries; particular and universal, subjective and objective, good and bad. To be fair most of these binaries were what the stuff of thought was before they started writing. They didn't create the binaries, they used the binaries and language of the argument to push the truth of their claims. Descartes was born into universe which always-already had a set of notions about the body and the soul, and systems and structures of meaning that that gave the terms intelligibility. The body and soul binary is of clear religious import, and had become naturalized due to its widespread adoption into culture. When Descartes sat down at his table to think out existence he connected a set of dots by thematically inducing radical ignorance. From doubt he began his meditations on being. 

Descartes error here is that he did not doubt the substance of his doubt. Descartes’s broke existence into two realms; the subjective sensory perceptions of a thing, and its its otherness a thing that does not fully conform to our perception of a thing. He concluded that because there is this otherness, or rather a part of thing that inaccessible to our knowledge that a minimal of doubt is required. What does this doubt consist of? In Descartes case he fill's in doubt with universal glue that transcendentally connects the subject to the object; aka God. But if we are to be clear about our doubt how can we justify the introduction of introducing a God or a Devil into the argument, rather then a teapot? If we are to be serious about our doubt we must think outside the cultural and ideological imports of our current lived reality. So, what does Descartes's doubt consist of? Belief. Now, let me violently shift subjects.

Monday, July 7, 2014

The Orphan Killer (2011), Subverting The Slasher and Hockey Mask Hegemony

Most slasher films are missing one key factor; emotion. The masked dudes that stalks, slashes and bashes their way through slasher films are hollow characters. The masks they wear hide and subvert reciprocity with the viewer. There are a couple reasons for this. A masked slasher is easier to market because the mask brand and commodity the slasher. Hockey masks have been identified to such an extent with Friday the 13th and Jason Vorhee that I have a hard time watching Mighty Ducks or seeing a Hockey mask in the sporting goods section of K-Mart with out thinking about a machete. The political analogy to branding is hegemony. Brand hegemony when a commodity like a ski mask or mouse ears become over identified with a specific planted idea that separating the brand from the product (even if it isn't explicit produced by the brander) becomes near impossible. One way to think about this to say that Disney has a cultural and symbolic monopoly over talking mice. So even when you are confronted with some wholly different talking mouse it is always-already existing under the oppressive shadow of Mickey Mouse. The problem for slashers and their icons is that any deviation from the predefined roles and themes of a silent and emotionally dead killer slowly stalking some helpless hottie through a series of poorly lit sets freaks out those fans who cannot think outside mass production.

Sunday, July 6, 2014

Texas Chainsaw 3d (2013) or Final Girl to Final Woman To Radical Evil Beast Lady

There was a time when most slashers wouldn't dare to disrupt the status quo. They would pump out sequels like teenagers who didn't understand how birth control worked. Then Scream came along and deconstructed the 80's slasher for viewers. Horror folks might have already been in the know, but the general public had no clue. When the rules entered explicit public filmic discourse, the equilibrium of the slasher status quo became disrupted. For better and worse. I'd argue that this trend sawed to chunks the repetition of the slasher formula, and opened the door for difference for difference sake. Scream 4 made a good point when one of the characters made the point that in the post-modernist horror film all the rules are off. Implying that the key post-modernist horror moment is that moment in a film where the film makes it clear that it is playing by no rules other than it's own. But is this truly the case?

Saturday, July 5, 2014

Alien (1979) Wombs, Eggs and Cute Alien Babies!

During the 80's a slew of masculine women were thrown into the plots of action, horror, science fiction movies. Many conformed to the trend set in place by Ripley in Alien and it sequels. But what attributes force Ripley to stand out? Is she really presenting a version of femininity that provides a more authentic vision of what how a woman would be in similar situations?