Posts from 2nd February 2009

Feb 09

Sonic Cathedrals Of Three Dimensional Gore

Do You See2 comments • 190 views

What was most impressive was the feeling that you could reach out and touch Kevin Shields nose as you were being deafened…

My Bloody Valentine 3D impressed me. Not the 3D. I only have two dimensional vision in real life so, so its unlikely cure my lack of depth perception in the cinema and give me a good shaking. So despite its main selling point and more visual fourth wall breaking than normal (cameras probably got busted by those pickaxes) I still liked My Bloody Valentine 3D. I went to see if the 3D unbalanced the cinematic tensions inherent in a horror movie. I came out having enjoyed a film which feels like a fresh take on the slasher genre.

In itself, a fresh take on a pretty reviled genre seems to be promising diminishing returns. But if you consider the current horror trend in torture exploitation movies, it is refreshing to see a film where the psychotic bad guy in an iconic mask (gas mask) is just out to kill. And in the first ten minutes he kills a lot of people. Its not a film that wants to tip-toe in slowly, it attacks the audience from the outset. And then it is ten years later and it all starts over again. It reminded me as a good counterpoint to Aliens vs Predator 2, similar small town set up but proper characterisation (no matter how crude) and a sense that it liked and was interested in its flawed blue collar town.


Squee! Squaa! Honk! Jazz Not Just For Kids Anymore

FT3 comments • 319 views

In “Comics as Culture”, M. Thomas Inge posited that comics and jazz were the two art forms that “perhaps represent America’s major indigenous contribution to world culture.” A throwaway line; as you can tell by the title he didn’t write much more about Jazz, but one picked up by this article by Brad Mackey Batman As Jazz. In it the writer takes the metaphor that one stage further and considers the act of creating certain kinds of licensed comics as Jazz itself (namely the reinventing and riffing on a familiar motif to create something new). Its an argument that works best with Batman and less well with most other monolithic US comic characters, and allows the following excellent quote: Batman has been riffed on so many times that he’s become the “‘Round Midnight” of the superhero set.

This idea of the malleability of Batman is one that DC Comics had thrust upon them about the time of Frank Miller’s The Dark Knight Returns and was a well they drained next to dry in the nineties with endless “Elseworld” tales of a slightly different Batmen.