The Miskatonic Institute of Horror Studies held its first class of the 2011-12 academic year last night. Instructor Charlie EllBé
led the class through a lecture on the origins of Universal Studios' first cycle of horror films (1931-1939), with screenings of clips from F. W. Murnau's Nosferatu and the Spanish version of Dracula, shot on the same sets (at night) as the more iconic film starring Bela Lugosi and directed by Tod Browning. EllBé also elaborated on the inspiration and production practicalities for the set design of the Universal horror films, pointing out shared elements between Browning's Dracula and the sets of films such as The Man Who Laughs (1928, d. Paul Leni). A screening and discussion of Browning's beautiful, poetic and dreamily-paced film followed. Highlights of the lecture and discussion included insights into Bela Lugosi's star-making performance, as well as regarding the film's careful, impressionistic use of sound and silence, and its parallel visual play with fullness and lack, particularly in the film's framing of its iconic monster, Lugosi. I look forward to three more weeks of Universal Horror studies!
The Cat and the Canary (1927) d. Paul Leni
That imminence of a revelation that is not yet produced is, perhaps, the aesthetic reality.
-- Jorge Luis Borges, "The Wall and the Books"
Thursday, September 29, 2011
Creeping Camera: Introductory Sequence to DARKROOM (1981-2)
A classic (and horrifying) example of "creeping camera," Dennis Giles' term for unmotivated camera movement in horror films that creates a sense of monstrous presence without manifesting a monstrous object. The sense of absence or lack courts a scopophilic response in the spectator of horror, a simultaneous desire to see the monstrous and to be protected from full revelation of the monstrous. This series, hosted by actor James Coburn, aired from 1981 to 1982. I adored it as a kid. Sadly, it is not available on DVD in North America.
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