by Hilary Finley-Simonds
Seen from our planet, light begins in the East and ends in the West.
We see the light again after we make a revolution. Has anything changed on Earth?
In The East (2013), writer and star Brit Marling plays an American undercover intelligence operative who infiltrates The East, a suspected anarchist collective. Its members violently retaliate against colossal pharmaceutical corporations because each has personally suffered from horrific side effects of prescribed Western medicine. As she listens to the human stories of the so-called terrorists she is working to apprehend, she begins to question the motivation of characters on both sides of the corporate culture. Is the revenge of the injured justified? Is it acceptable for those in power to silence public opinion because they will not face the harmful consequences of what their organization has done?
by Melanie Reed
The theme of love gone wrong is one of the most popular themes in both film and literature, whether tragic or comic. Love bends our spirits in a new direction from which it may not be possible to return. Sometimes this happens literally, as in Romeo & Juliet. But what about the psychic damage of lost love? This takes a different kind of toll, and sometimes its sufferers are unable to return to themselves. The most vulnerable victims of this syndrome are those who have perceived the loved one as worthy of receiving the deepest, most personal parts of themselves. The loved one’s departure then renders these parts worthless, leaving the giver with a profound sense of the kind of emptiness, self-hatred, and despair that sometimes leads to madness. These stories are psychological portraits. In many, the ambition is merely to create a realistic and sympathetic character trajectory, with psychological elements only hinted at. But it’s worth examining these elements further, both generally and, by using extrapolation, specifically.
by Evan J Peterson
Tuesday will be our second-to-last night of SHRIEK: A Women of Horror Film and Discussion Class, located in the Scarecrow Video screening room. This week, we’ll watch The Fly, David Cronenberg’s radical body horror remake that established a rare female viewpoint in the horror genre.
by Greg Carlson
When the publishing industry and the movie/home entertainment business simultaneously had their business models shaken up by the ascension of mobile/streaming/online pirating culture that continues to grow to this very minute, there was one lovechild of the two mediums that literally disappeared from the bookshelves: the official novelizations of movies. These promotional tie-ins, generally in paperback form, were created to whet the appetites of young movie-goers growing up during the Reagan Administration (like yours truly) who longed to experience a movie a few more times after it left theaters, but couldn’t wait for the then-typical six to nine month window for the video release and didn’t have the $50-$100 to fork over for a VHS tape.
by Evan J Peterson
Tuesday will be our fifth night of SHRIEK: A Women of Horror Film and Discussion Class, located in the Scarecrow Video screening room. Last week, we filled nearly all seats for Alien. This week, we’ll watch Candyman, a gothic ghost story that moves the terror from a haunted castle to the place audiences dare not go: Cabrini Green, part of Chicago’s primarily black housing projects.