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Film & TV

Fire Islanders: The Myth-Making Geography of ‘Boys in the Sand’

By Sam Moore

One of the first, most potent images in Wakefield Poole’s groundbreaking 1971 adult film Boys in the Sand is that of Casey Donovan emerging from the waves before making his way onto the beach. The image feels like a queering of a common cultural touchstone…

April 28, 2021 in Film & TV.

A Floating Black Feather: Ján Kadár’s ‘The Angel Levine’

By Noah Berlatsky

The Angel Levine was greeted with irritation, befuddlement, and a good amount of indifference upon its release in 1970. Organized and produced by Harry Belafonte, the movie is an allegorical discussion of Black-Jewish relationships using a mix of realism and fantasy…

April 14, 2021 in Film & TV.

The Greatest Shōwa on Earth: 1962’s ‘King Kong vs. Godzilla’

By Alex Adams

Ishiro Honda’s 1954 Godzilla is perhaps the most widely praised Kaiju film ever made. A special effects masterpiece at the time, the monochrome mother of all monster movies had bleak, fume-laden visuals, a gloomy, mournful tone, and an unambiguous anti-nuclear message…

March 25, 2021 in Film & TV.

Ghostly Messages: Australia’s Lost Horror Anthology, ‘The Evil Touch’

By Andrew Nette

In a June 2017 article in Fortean Times, the British magazine concerned with strange and paranormal phenomena, writer and broadcaster Bob Fischer discussed how the sensation of not being exactly sure what you were watching on television was a common experience in relation to consuming visual culture in the 1960s and 1970s…

February 17, 2021 in Film & TV.

Shooting Straight: ‘Blade Runner’ and Queer Notions of Selfhood

By Annie Parnell

The irony of the Voight-Kampff test, an analysis that Rick Deckard (Harrison Ford) performs to identify “replicant” androids in 1982’s Blade Runner, is that it does not actually prove that his subjects are replicants…

February 3, 2021 in Film & TV.

“It Ain’t No Man”: The Colonial Iconography of ‘Predator’

By Alex Adams

For as well as being a tremendously enjoyable sci-fi horror romp, Predator is also a novel engagement with the iconography, aesthetics, and politics associated with Cold War-era military interventions in Latin America, Southeast Asia, and elsewhere…

December 3, 2020 in Film & TV.

American Fetish Meets Pop Art: Russ Meyer’s ‘Faster, Pussycat! Kill! Kill!’

By Sam Moore

It’s easy to spot an exploitation film by the cover of the poster or DVD. Maybe more so than any other type of art, you can judge it by its cover: a woman, often barely dressed, holding some kind of weapon. Think Pam Grier on the cover of Coffy or Foxy Brown…

November 19, 2020 in Film & TV.

The Thrill Is Worth the Pain: Hell and Survival in Dio’s ‘The Last in Line’

By Mike Apichella

The first music videos to air on MTV and broadcast television were chaotic blurts of arty nonsense defined by pastel colors, cheesy dance party theatrics, and avant-garde visual effects…

November 17, 2020 in Film & TV, Music & Sound.

Hell Is for Children: The Revolutionary Politics of ‘The Omen’

By Noah Berlatsky

The Omen is generally considered a bleak film because the devil wins. But it’s even bleaker as a picture of who the devil is supposed to be, and what kind of measures are needed to defeat him…

October 30, 2020 in Film & TV.

Tubular Terrors: ‘Invitation to Hell’

By Michael Grasso

Invitation to Hell definitely follows on well-trod thematic ground, examining the American nuclear family’s impulse to conform and keep up with the Joneses in suburbia. But it’s on the execution, in the casting, and in a few of the left-field plot developments that the film really shines…

October 29, 2020 in Film & TV.

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