I'm so happy (Kurt Cobain)
Wie schlimm sind Spoiler wirklich? Kann man Spoiler überhaupt kategorisieren und unterscheiden? Sollte es einen Spoiler-Knigge geben, der uns zeigt, wie man sich im Internet am besten verhält? Und wenn ja, was steht drin? Nach der letzten Podcastaufnahme ließen René und Sascha die Mikros einfach laufen und unterhielten sich lose über Spoiler. Ihr dürft gerne in den Kommentaren mitdiskutieren und einige Regeln mit uns aufstellen.
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Nachdem sie Savador Dalís Leiche wegen eines Vaterschaftsstreits ausbuddeln mussten, stellten man fest, dass der Schnurri vom Dalí noch 1a intakt ist und immer noch genauso steil geformt, wie damals zu Lebzeiten. Surreal Schnurri from beyond the grave.
Experts who exhumed the body of Salvador Dalí to collect samples for use in a paternity claim have revealed that the enigmatic artist’s trademark moustache still graces his face almost three decades after he died. Narcís Bardalet, the embalmer who tended Dalí’s body after his death in 1989 and helped with the exhumation on Thursday night, said he had been delighted to see the surrealist’s best-known feature once again.
“His moustache is still intact, [like clock hands at] 10 past 10, just as he liked it. It’s a miracle,” he told the Catalan radio station RAC1. […]
Bardalet described the moment he had laid eyes on Dalí. “His face was covered with a silk handkerchief – a magnificent handkerchief,” he told RAC1. “When it was removed, I was delighted to see his moustache was intact … I was quite moved. You could also see his hair.”
He said Dali’s body resembled “a mummy; it was like wood”, adding that it was so hard that experts had to use an electric saw rather than a scalpel to collect bone samples. Bardalet predicted Dalí’s body would last a good while longer. “The moustache is still there and will be for centuries,” he said.
Ich erinnere mich noch daran, dass Robert Kirkman mal gesagt hatte, er wolle die Walking Dead-Comics schreiben, bis er selbst ins Gras beisst. Nun, ganz soweit ist es noch nicht, aber der Mann hat grade auf der ComicCon nach 14 Jahren das Ende der Comic-Serie verkündet. TWD wird sicher noch ein Jahr oder gar zwei weiterlaufen, aber dann ist Schicht im Schacht, Ende einer Comic-Institution, des erfolgreichsten Indie-Comics aller Zeiten.
Ich bin zwar derzeit etwas raus bei Comics und auch The Walking Dead müsste ich dringend nachholen (die Serie ist jetzt bei Ausgabe 169, ich bin irgendwo bei 152), aber die Ankündigung hat mich jetzt doch ein bisschen getroffen. Aber nur ein bisschen.
The creator of The Walking Dead has said he is preparing to bring the comic book series to an end. […]
At a panel during San Diego’s Comic-Con, the author revealed his plans to conclude the book part of the franchise imminently. “I think about two or three years ago, I had a pretty good idea for a definitive ending,” he told those in attendance. “I have known that since then and been working towards that, so I know exactly where I’m going and what’s gonna happen when I get there.”
Kirkman said that the actual ending is top secret and he hasn’t written it down as a precaution. He also said the series could have ended a lot sooner. “There was an ending I had in mind that I was thinking, ‘Oh this would be kind of a cool ending.’ I got to a point where it should’ve happened and I was like, ‘I’m not done yet.’ And this was before the show.
“It got to a point where I would’ve had to start building to it and I was like, ‘Nah.’ So, I just threw that out and then I just kept going because I had all kinds of cool stuff I wanted to do.”
The story being sourced for most of the headlines comes from MoviePilot and its transcription of Kirkman’s comments from the Walking Dead panel:
“I think about two or three years ago, I had a pretty good idea for a definitive ending. I have known that since then and been working towards that, so I know exactly where I’m going and what’s gonna happen when I get there.
When I first started Walking Dead, I knew about the prison story line. So, I knew that they would eventually live in a prison, I knew they would eventually encounter the Governor, I knew there’d be some stuff that happens and I was working towards that. By the time I was at issue 6, I thought of stuff past that, so that’s kind of how it worked. I had this 50 or 60 issue chunk of story and every issue I wrote, it just kept moving, so I always had this big road map ahead of me.
There was an ending I had in mind that I was thinking, ‘Oh, this would be kind of a cool ending.’ I got to a point where it should’ve happened and I was like, ‘I’m not done yet.’ And this was before the show. It got to a point where I would’ve had to start building to it and I was like, ‘Nah.’ So, I just threw that out and then I just kept going because I had all kinds of cool stuff I wanted to do.”
So what can we really take from these statements? Robert Kirkman has an idea for a definitive ending for The Walking Dead. He’s had it for several years, and he’s working toward it. He’s also had a planned ending before, and decided to abandon it to continue to tell more stories.
Cubes.io: Conways Game of Life als 3D-Spielzeug mit Cubes und Spheres und Schnickschnack als Evolution-Nullpunkt, von wo aus die ganzen Automata im dreidimensionalen Raum mutieren. (via @reaktorplayer)
This tool explores what are called three dimensional (3D) "totalistic" cellular automata. The state of a cell going forward depends on its present state and that of its six neighbor cells: north, south, east, west, above, and below. The set of "rules of evolution" specify which configurations turn a cell on and which turn it off. The initial state of the lattice greatly impacts its future evolution.
Experiment with starting with a hollow cube or a solid sphere to see how a rule of evolution reacts. This app can simulate over a trillion trillion trillion different rulesets across tens of thousands of cubic cells.
Noch für ein paar Tage auf Arte: Michael Winterbottoms 24 Hour Party People, eine Mockumentary über Tony Wilson, die Haçienda und Factory-Records, wo nicht weniger als der Grundstein für das gelegt wurde, was man heute mit Pop und Party verbindet. Dort verbanden sie die Party-Kultur des Chicago House mit Rock und eroberten dann als Raver die Welt. (via Mediasteak)
1976 bis 1992 in Manchester: Der Musikliebhaber Tony Wilson sieht in den jungen Bands seiner Stadt großes Potenzial und wird zum leidenschaftlichen Musikmanager. Ein filmischer Exzess zwischen Drogen, Gewalt, Sex und großartiger britischer Musik.
Der Lokalreporter Tony Wilson versucht sich in einer Art Gleitschirmfliegen ohne eine einzige Übungsstunde. Er segelt wie Ikarus euphorisch durch die Luft und landet mit dem avantgardistischen Projekt, dem er sich verschrieben hat, oft unsanft: der Musikszene Manchesters zu einem Höhenflug zu verhelfen. So beginnt es damals mit einem mickrigen Publikum von 42 Zuschauern. Auf einer kleinen Bühne spielen zum ersten Mal die Sex Pistols, die aus ihrem überschaubaren Kosmos in Manchester heraus die Welt erobern werden. Tony sieht in der neuen Musik großes Potenzial – von Punk und Rock über Brit Pop bis zur elektronischen Tanzmusik. Erst präsentiert er die neuen britischen Bands nur in seiner Sendung, irgendwann begleitet er sie auf ihren Reisen im Tourbus, bei Sex- und Drogenexzessen. So kommt es, dass er Manager wird und den ganzen Wahnsinn der jungen Musiker mitfinanziert. Er sieht sein Label Factory Records als menschliches Experiment an, nicht als Goldgrube, und lässt den Musikern ihre künstlerische Freiheit. Genie und Wahnsinn liegen nah beieinander in diesen Zeiten. So wie Ikarus zu nah an die Sonne flog, war auch Manchesters Musikszene im Höhenrausch. Eine spannende Dokumentation mit alten Originalaufnahmen und teilweise fiktiven Elementen aus der Sicht des 2007 verstorbenen Tony Wilson, herrlich gespielt von Steve Coogan.
Die Porc-Epic Höhle und 40 Kilo Ocker-Pigment hat man in Äthiopien bereits 1929 gefunden, nun haben Daniela Eugenia Rosso, Francesco d’Errico und Alain Queffelec allerdings festgestellt, dass das Ocker dort nicht nur so rumlag, sondern dass die gesamte Bude anscheinend eine Pigment-Fabrik darstellte, wo man 4500 Jahre lang Farben für die neue menschliche Superkraft „Abstract Thoughts“ herstellte: The World’s Oldest Art Studio Was Just Discovered in This Ethiopian Cave. Fascinating stuff.
When the prehistoric peoples of Ethiopia wanted to make a new cave painting, it appears they knew just where to go: Porc-Epic is a cave that, for 4,500 years, was used to produce ochre, a brownish-yellow pigment often used in prehistoric artwork. The Porc-Epic cave was discovered by Pierre Teilhard de Chardin and Henry de Monfreid in 1929 and thought to date to about 43,000 to 42,000 years ago, during the Middle Stone Age. At the site, archaeologists found a stash of 4213 pieces, or nearly 90 pounds, of ochre, the largest such collection ever discovered at a prehistoric site in East Africa.
On May 24, researchers Daniela Eugenia Rosso of the University of Barcelona and Francesco d’Errico and Alain Queffelec of the University of Bordeaux in France published a paper, “Patterns of change and continuity in ochre use during the late Middle Stone Age of the Horn of Africa: The Porc-Epic Cave record,” in the PLOS ONE journal.
They found that ancient visitors to the site processed the iron-rich ochre stones there by flaking and grinding the raw materials “to produce a fine-grained and bright red powder.” The ochre stones can be used to produce powders of varying coarsenesses, in shades of yellow, orange, red, brown, and gray. (A similar find was discovered in a 100,000-year-old cave in South Africa in 2011.) While the paper allows that ochre powder could be used medicinally or for other purposes, its production is “most consistent with symbolic activities, such as body painting, the production of patterns on different media, or for signalling.”
// Trailerfest: The Shape of Water, The Snowman, Charismata, Kickboxer 2, The Disaster Artist, The Dark Tower, Wind River, Union Furnace, Alpha, American Satan, Only the Brave
From master story teller, Guillermo del Toro, comes THE SHAPE OF WATER - an other-worldly fairy tale, set against the backdrop of Cold War era America circa 1963. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of silence and isolation. Elisa’s life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment. Rounding out the cast are Michael Shannon, Richard Jenkins, Michael Stuhlbarg and Doug Jones.
Ansonsten Teaser und Clips zum Thriller The Snowman, zum Horror-Thriller Charismata, zu Kickboxer 2: Retaliation mit Jean-Claude Van Damme, Mike Tyson und Christopher Lambert, zum Whatever-Film The Disaster Artist über die Dreharbeiten zu The Room (den ich nie gesehen habe), zum Crime-Thriller Wind River, zum Horrorschlock Union Furnace, zum Urzeit-Wolf-Schlock Alpha, zum Mainstream-Rock-Horror American Satan, zum Katastrophen-Drama Only the Brave mit Kurt Russel, zur Buddy-Comedy The Hitmans Bodyguard, sowie ein Magnum Opus-Featurette mit Stephen King zu The Dark Tower und ein neuer Trailer zum CGI-Crap Starship Troopers: Traitor of Mars, den ich mir wahrscheinlich trotzdem anschauen werde.
Michael Fassbender (X-Men series), Rebecca Ferguson (Mission: Impossible—Rogue Nation), Charlotte Gainsbourg (Independence Day: Resurgence), Val Kilmer (Heat) and Academy Award® winner J.K. Simmons (Whiplash) star in The Snowman, a terrifying thriller from director Tomas Alfredson (Let the Right One In, Tinker Tailor Soldier Spy), based on Jo Nesbø’s global bestseller.
When an elite crime squad’s lead detective (Fassbender) investigates the disappearance of a victim on the first snow of winter, he fears an elusive serial killer may be active again. With the help of a brilliant recruit (Ferguson), the cop must connect decades-old cold cases to the brutal new one if he hopes to outwit this unthinkable evil before the next snowfall.
The Snowman is produced by Working Title’s Tim Bevan and Eric Fellner (The Theory of Everything, Les Misérables), as well as Piodor Gustafsson (The Girl with the Dragon Tattoo) and Robyn Slovo (Tinker Tailor Soldier Spy).
A Working Title Production—in association with Another Park Film—the thriller is executive produced by Nesbø, Niclas Salomonsson, Martin Scorsese, Alfredson, Liza Chasin and Amelia Granger.
The film was shot entirely on location in Norway in the cities of Oslo and Bergen and the area of Rjukan.
- Yay? 'Catfish' Helmers in Talks to Direct 'Mega Man' Movie: „Video game Mega Man is heading to the big-screen with Henry Joost and Ariel Schulman, the filmmakers behind the documentary Catfish, in final negotiations to write and direct. Chernin Entertainment is producing the project with Heroes actor Masi Oka. Twentieth Century Fox worked for two years to acquire the rights for over two years, finally closing a deal earlier this year. The video game, first released in 1987 by Capcom, centers on a robotic lab assistant created by a scientist named Dr. Light. Light is betrayed by a colleague, the disgruntled Dr. Wily, who reprograms a line of robots in order to take over the world. The lab assistant, nicknamed Rock, then upgrades himself into combat mode in order to save mankind.“
- Cool ‘Nico 1988’, Biopic About Velvet Underground Singer, To Open Venice Horizons
Set in Paris, Prague, Nuremberg, Manchester, the Polish countryside and the Roman seaside, Nico 1988 is a road-movie dedicated to the last years of Nico. One of Andy Warhol’s muses, the singer of the Velvet Underground and a woman of legendary beauty, Nico lived a second life after the story known to all when she began her career as a solo artist. Her music is noted as some of the most original to come out of the 1970s and 1980s.
“This is the story of Nico after Nico,” said Nicchiarelli, who directed Cosmonauta, which debuted in Venice in 2009. “People usually talk about her only in relation to men when she was young: Brian Jones, Jim Morrison, Bob Dylan, Alain Delon, Iggy Pop. I once read an interview that “at the age 34 Nico was finished.” That’s not true…I wanted to tell the story of her journey from a different point of view.
- ‘Venom’ Will Draw on the Work of John Carpenter and David Cronenberg!
For Venom, Sony has tapped director Zombieland‘s Ruben Fleischer to bring the menacing arachnoid to the masses. In the comic books and the film, Venom is hatched after reporter Eddie Brock (Tom Hardy) bonds with an alien symbiote — a union that gives him deadly powers. “I’ve always been drawn to the more anti-hero superheroes,” Fleischer told Variety. “There’s a dark element to [Venom] and a wit that has always appealed to me.”
In first ever real story details, Fleischer says the film will deal with Venom’s origins and with the Jekyll and Hyde relationship Brock has with the alien symbiote. “They become almost a third being, which is what Venom is,” Fleischer says. “There’s a famous quote: ‘You’re Eddie Brock. I’m the symbiote. Together we are Venom.’”
While that’s exciting and all, Columbia Pictures’ president Sanford Panitch made eyebrows raise when he said that Venom will draw on the work of John Carpenter or David Cronenberg while promising “more pop and fun.”
It’s still uncertain if Spider-Man will appear in the film, however, does tease: “If we get lucky enough to make more than one [Venom film] and continue the franchise, there are lots of opportunities.”
Venom is scheduled to be released October 5, 2018, making it a Halloween affair.
Valar Morghulis, liebe Hörer. Sascha (@reeft, Facebook) und René reden in der neuen Werewolves on Wheels Ausgabe über die größte Serie links des Mondes: Game of Thrones. Bevor wir jedoch zur neuen Folge "Dragonstone" Stellung nehmen, sprechen wir in neuen Segmenten über Hörerfeedback und Neugikeiten im Themenfeld des Podcasts.
Ein Plädoyer für faire Filmkritik
Ein Pläydoer für unfaire Filmkritik
Ist Filmkritik subjektiv? Ein Filmanalyse-Spezial
Der 13. Doctor
Solidarity at an All-Female Screening of ‘Wonder Woman’
The true meaning behind Ed Sheeran’s “new” song on ‘Game of Thrones’
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Fascinating (and awesome and gory) Movie-Mashup from Filmscalpel: „In 1816, Mary Wollstonecraft Shelley began writing what was to become her first novel, Frankenstein; or: The Modern Prometheus. She was housebound in a Swiss holiday villa, when the idea for the horrific character came to her in a dream. In 1965, Ingmar Bergman began writing what was to become his twenty-seventh film, Persona. He was bedridden in a Swedish hospital, when the images for the opening montage came to him in a feverish dream.“
The opening sequence of Persona, a ‘poem in images’, is a moody montage of startling footage. Intensely personal, these images spell out Bergman’s artistic obsessions: cinema, life and death, religion and sexuality. The sequence is surprisingly horrifying: its imagery is very much akin to what one would expect of, well, a Frankenstein movie.
Surely this is a coincidence. It’s a coincidence that Persona‘s opening sequence is riddled with images of lifeless bodies under white sheets – resembling Frankenstein’s monster before his reanimation. It’s a coincidence that Bergman shows us how life is breathed into still images by a movie projector, just like lightning breathes life into the Creature. It’s a coincidence that Persona uses the same horror iconography (skeletons, spiders, bloody entrails) that is to be found in Frankenstein films. It’s a coincidence that the religious references in Bergman’s visual poem echo the blasphemous hubris of Victor Frankenstein.
But these sure are a lot of coincidences. So many that one could even, say, recreate the opening scene of Persona using only footage from Frankenstein films.
Perhaps Ingmar Bergman was channeling the Victor Frankenstein that is in every filmmaker. Like Frankenstein’s patchwork brute, a movie is pieced together from disjointed shots, and then animated by light. What else is film than resurrecting dead matter: creating motion out of still images?
I know this is a running gag here but seriously tho, you really gotta ❤️ McSweeneys: MODERN LOVECRAFTIAN ELDER GODS.
The beast of infinite faces, this malevolent cosmic force thrives on pestering and vexing the hapless. Mh’eme’s cultists spread its ever-changing visage across the far corners of the virtual dimension, sometimes taking the form of a small yellow Minion, sometimes as a cartoon frog, and yet other times as a grumpy looking feline. Often Mh’eme assumes the guise of a politician and works hand in hand with Faek-Newsgurath in order to sow confusion and chaos.
This force of unreality occupies the .nets and .orgs of the virtual dimension, thriving in blogspots and artificial beings known as twitter bots. Faek-Newsgurath whispers its nonsense into the fragile minds of men causing its victims to repeat and spread its madness. Its offspring, including Foxx-Newsgurath and Al’exxjones, serve their master’s dark design to drive men insane with conspiracies and nonsense.
The Bro of the Woods with a Thousand Young delights in polluting the impressionable minds of boys with desires of physical and sexual conquest. The cultists of Shub-Mra, who call themselves MRAs after their god, symbolically ingest “red pills” in a twisted ritual to warp their reality. Shub-Mra will not rest until all women are expelled from the virtual dimension, and all that is left is its followers repeating “well actually” to one another in an endless echoing cacophony.
Donald J. Trump
An evil, bloated entity that exploits his concubine Faek-Newsgurath and attracts the followers of Shub-Mra to terrorize those in the virtual and corporeal dimensions. Donald J. Trump also empowers Yog-Fomo as people have become addicted to the endless and ever-faster news cycles Donald J. Trump inspires. Donald J. Trump’s only true desire is to become larger and more bloated through self promotion and aggrandizement, until everything in the world bears its name.
Vorher auf NC:
The Philosophy of the Weird and the Eerie
// Trailerfest: Ingrid goes West, Leatherface, A Wrinkle in Time, Bushwick, Birth of the Dragon, Narcos, The Incredible Jessica James, Verónica, Ghost House
Erster Teaser zum Kettensägen-Biopic Leatherface, ein Emoji-Trailer zu Ingrid goes West, zur SciFi-YA-Buchverfilmung A Wrinkle in Time (deren Vorlage ich nicht kenne und die für mich gleichzeitig interessant und langweilig aussieht: Interessant weil interessante Figure, langweilig weil langweilige same story as always), zum Actioner Bushwick, zum Bruce-Lee-Biopic Birth of the Dragon, zu den Horrorschlocks Verónica und Ghost House, sowie zur dritten Staffel von Netflix' Narcos-Serie und zu ihrer Comedy-Serie The Incredible Jessica James.
In Leatherface, Jessica Madsen plays one of four inmates (Sam Coleman, Sam Strike, James Bloor) who escapes from a mental hospital. One of them becomes the title character and iconic slasher. The quartet kidnaps a young nurse (played by Vanessa Grasse) and takes her on a road trip from hell. Along the way, they are pursued by an equally deranged lawman (Stephen Dorff) out for revenge. The Conjuring‘s Lili Taylor is Verna Sawyer.
Leatherface was directed by Julien Maury and Alexandre Bustillo, the duo behind the slasher masterpiece Inside (À l’intérieur), as well as Livide and Among the Living.
- ‘Ready Player One’ First Look Teases Steven Spielberg’s Return to Sci-Fi Adventure
- The ‘Nightbreed’ Cabal Cut is Finally Coming to Blu-ray!: „Clive Barker Cast reports today that the Nightbreed Cabal Cut will soon be available on limited edition Blu-ray, rebuilt by Seraphim using the best quality footage available! 'Remember the graininess and the terrible muddy quality of the VHS workprints? That’s been cleared out a LOT, although for some segments they still used it; but there’s no other choice for those segments that weren’t found in the warehouse boxes for the Shout! Factory edition,' notes the site.“
- It's quite a thing: The first poster for THE PUNISHER Netflix series has been officially released
- Martin Scorsese May Be Filming KILLERS OF THE FLOWER MOON Next Year: „Killers Of The Flower Moon tells the story of the FBI's first major case: a series of racially-charged murders tied to the discovery of oil on land owned by the Osage Indian nation. DiCaprio and De Niro are not yet confirmed for the roles, but come on: you know they're gonna be in it.“
- That was fast: 'The Dark Tower' TV Series Will Be Origin Story With Idris Elba: „King fans will be happy to hear that the TV series is still part of the plan. Speaking with Deadline, co-writer/producer Akiva Goldsman revealed that the scripting process has already begun, and that Idris Elba will most definitely be part of the series. 'The first episode of a show has been written, and we hope to retain Ron Howard’s original idea to mix platforms, something that seemed revolutionary 10 years ago but now is something that others have done,' Goldsman said. 'Idris for sure is part of this, and if the movie is Roland Deschain the gunslinger, the show is his origin story, based on the fourth novel in the series, Wizard and Glass.'“
Right now I'm reading more books at once than should be healthy for me. Two of them are Mark Fishers posthumously published The Weird and the Eerie and the first Volume of Eugene Thackers In the Dust of This Planet (Horror of Philosophy) – not only because I'm interested in the Horror-Genre for as long as I can think – literally: One of my first remembrances as a child is a Nightmare about a Witch. You're welcome to play Therapist. –, but also because I sense that while we are exploring the vast Digital Spaces which provide any thinkable human expression of any kind, we are also more and more exploring vast Digital Spaces which provide unthinkable human expression of any kind („Can't be unseen“) or in other words: The unknown Unknowns.
I'm very aware that it's, let's say, „unconventional“ to think Horror and Digital Theory together, yet here we are: Here's Eugene Thacker reviewing Mark Fishers The Weird and the Eerie.
You can see while reading this review, where these themes of uncanniness and weirdness and Horror align with new ways of thinking about Digital Realms. Take for example this quote from the book: „a weird entity or object is so strange that it makes us feel that it should not exist, or at least that it should not exist here. Yet if the entity or object is here, then the categories which we have up until now used to the make sense of the world cannot be valid. The weird thing is not wrong, after all: it is our conceptions that must be inadequate.“ This is exactly what happened, when Trump was elected and this is, on a microscale, exactly what happens, when a Troll shows up in your timeline with a weird, aggressive comment out of nowhere. The Horror of the Digital is the unexpected yet inevitable disturbance by „the other“.
The piece is interesting throughout (tho I don't like Thackers Nihilism tbh), especially if you are familiar with the Genre and Lovecraft --> Boundary2: Eugene Thacker – Weird, Eerie, and Monstrous: A Review of “The Weird and the Eerie” by Mark Fisher (via John Coulthart)
Fisher’s interest in Lovecraft stems from this shift in perspective from the human-centric to the nonhuman-oriented – not simply a psychology of “fear,” but the unnerving, impersonal calm of the weird and eerie. As scholars of the horror genre frequently note, Lovecraft’s tales are distinct from genre fantasy, in that they rarely posit an other world beyond, beneath, or parallel to this one. And yet, anomalous and strange events do take place within this world. Furthermore, they seem to take place according to some logic that remains utterly alien to the human world of moral codes, natural law, and cosmic order. If such anomalies could simply be dismissed as anomalies, as errors or aberrations in nature, then the natural order of the world would remain intact. But they cannot be so easily dismissed, and neither can they simply be incorporated into the existing order without undermining it entirely.
This dilemma (which literary critic Tzvetan Todorov called “the fantastic”) is presented in unique ways by authors of the weird tale and cosmic horror. Such authors refuse to identify the weird with the supernatural, and often refuse the distinction between the natural and supernatural entirely. They do so not via mythology or religion, but via science – or at least a peculiar take on science. In cosmic horror, the strange reality described by science is often far more unreal than any vampire, werewolf, or zombie. Fisher highlights this: “In many ways, a natural phenomenon such as a black hole is more weird than a vampire.” Why? Because the existence of the vampire, anomalous and transgressive as it may seem, actually reinforces the boundary between the natural order “in here” and a transcendent, supernatural order “out there.” “Compare this to a black hole,” Fisher continues, “the bizarre ways in which it bends space and time are completely outside our common experience, and yet a black hole belongs to the natural-material cosmos – a cosmos which must therefore be much stranger than our ordinary experience can comprehend.” Science, for all its explanatory power, inadvertently reveals the hubris of the explanatory impulse of all human knowledge, not just science.
Authors such as Lovecraft were well aware of this shift in their approach to the horror genre. An oft-cited passage from one of Lovecraft’s letters reads: “…all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.” To write the truly weird tale, Lovecraft notes, “one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all.” So much for humanism, then. But Fisher is also right to note that Lovecraft’s tales are not simply horror tales. As Lovecraft himself repeatedly noted, the affects of fear, terror, and horror are merely consequences of human being confronting an impersonal and indifferent non-human world – what Lovecraft once called “indifferentism” (which, as he jibes, wonders “whether the cosmos gives a damn one way or the other”). There is an allure to the unhuman that is, at the same time, opaque and obscure. As Fisher writes, “it is not horror but fascination – albeit a fascination usually mixed with a certain trepidation – that is integral to Lovecraft’s rendition of the weird…the weird cannot only repel, it must also compel our attention.” […]
This reaches a pitch in Fisher’s writing on author Nigel Kneale and his series of Quatermass films and TV shows. The Quatermass and the Pit series, for instance, opens with the shocking discovery of an alien spaceship buried within the bowels of a London tube station (which station I will not say). The strange, quasi-insect remains inside the ship point to another, very different form of life than that of terrestrial life. But the science tells them that the alien spaceship is actually a relic from the distant past. It seems that not only geology and cosmology, but human history will have to be rethought. Gradually, the scientists learn that the alien relics are millions of years old, and in fact a distant, early progenitor of human beings. We, in turns, out, are they – or vice-versa. The Quatermass series not only demonstrates the efficacy of scientific inquiry, it puts forth a further proposition: that science works too well. “Kneale shows that an enquiry into the nature of what the world is like is also inevitably an unraveling of what human beings had taken themselves to be…if human beings fully belong to the so-called natural world, then on what grounds can a special case be made for them?” Reality turns out to be weirder and more eerie than any fantastical world or alien civilization. This is what Fisher calls “Radical Enlightenment,” a kind of physics that goes all the way, a materialism to the nth degree, even at the cost of disassembling the self-aware and self-privileging human brain that conceives of it. Reversals and inversions abound. What if humanity itself is not the cause of world history but the effect of material and physical laws that we can only dimly intuit?
George A Romero ist nach kurzer Lungenkrebserkrankung im Alter von 77 Jahren im Schlaf verstorben.
LA Times: „Romero died Sunday in his sleep after a 'brief but aggressive battle with lung cancer', according to a statement to The Times provided by his longtime producing partner, Peter Grunwald. Romero died while listening to the score of one his favorite films, 1952’s 'The Quiet Man', with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side, the family said.“
Night of the Living Dead, a micro-budget zombie film combining horror and social satire, which Romero co-wrote with John Russo, was released in 1968 and became a cult classic. It spawned a series: Dawn of the Dead (1978), Day of the Dead (1985), Land of the Dead (2005), Diary of the Dead (2007) and Survival of the Dead. The last was released in 2009. […]
In a 2014 interview with NPR, Romero said he “never expected” his career to be defined by zombies. “All I did was I took them out of ‘exotica’ and I made them the neighbors,” he said, pointing to the success of his uncanny and chilling films that used terrifying effects, makeup and cuts to satirise consumerism, racism and other social horrors. “I thought there’s nothing scarier than the neighbors!”
Romero hatte 1968 mit Night of the Living Dead einen der Grundpfeiler des modernen Horror (und auch des damals um sich greifenden New Hollywood) aufgestellt und die ehemaligen Voodoo-Zombies mit gesellschaftlicher Kritik aufgeladen.
Er ersetzte den romantisierten, individualisiserten Untoten der Vergangenheit (Dracula, Frankensteins Monster) mit der Masse der verstümmelten Leiber einer ganzen Gesellschaft (in der ab und zu die Gesichter unserer toten Familienangehörige, Freunde und Nachbarn auftauchen) und erschuf so einen neuen Archetypus: Das Monster als ausdruckslose Dichotomie zum Leben, die Menschenmasse und die Gesellschaft selbst ist das Monster, eine alles verschlingende, herumschlurfende, untote Masse; dieses Motiv wurde dann auch großartig aufgegriffen in einem der Schlüsselmomente des erfolgreichsten Indie-Comics aller Zeiten und dem bislang wahrscheinlich prominentesten Vertreter von Romeros Vermächtnis: „We are the Walking Dead.“ (Dessen Serien-Verfilmung er übrigens nicht besonders mochte: „Basically it’s just a soap opera with a zombie occasionally“.)
Romero brach so mit den Konventionen des Genres, das bis dahin noch im viktorianischen Horror von etwa den Hammer Studios vor sich hin gruselte, und schuf den Zombie als ultimative Metapher, die sich für gesellschaftliche Kritik aller Art eignete und je nach Figurenkonstellation, Prämisse und Plot mit Subtexten ausgestattet werden konnte. Zombie is a canvas. Und selbst als hohle Figur ohne Subtext taugt der moderne Zombie immer noch zum Party-Splatter in den tausenden Trash-Horrorschlocks, die nach Night of the living Dead entstanden und in Perlen wie etwa dem letztjährigen Meilenstein Attack of the Lederhosen-Zombies mündeten.
So stilprägend und revolutionär George A Romeros Night of the living Dead auch war und so sehr sich seine Zombies als politische Metapher auf Vietnam-Krieg, Consumerism und Überbevölkerung lesen lassen, so diffus und unbefriedigend empfand ich seine Fortschreibung des Zombie-Mythos.
Romero erzählte in Day of the Dead bereits in einem Nebenplot die Geschichte eines intelligenten Zombies – Bub –, der als singulärer „Haus“-Zombie des Militärs noch funktionieren mochte. In späteren Ausformungen (vor allem in Land of the Dead) empfand ich die Intelligenz seiner Zombies allerdings vor allem als unnötigen Ballast, der die inhärente „Leere“ des Zombie-Archetypus nicht mit Subtext füllte, sondern mit einem banalen Plot Device.
Dennoch: Romeros Lebenswerk (neben vielen Non-Zombiefilmen wie Martin, Creepshow oder The Crazies) ist nicht weniger als die Begründung eines neuen, möglicherweise sogar des einzig bleibenden Horror-Archetyps des 20. Jahrhunderts. Alleine dafür ist ihm der Platz im Olymp der Film-Legenden sicher.
Außerdem werde ich seine völlig unwahrscheinliche Brille vermissen.
Danke für die Zombies, George. (And thanks for never giving in on the stupidity of running zombies.)
[update] Nachruf von Edgar Wright:
It’s fair to say that without George A. Romero, I would not have the career I have now. A lot of people owe George a huge debt of gratitude for the inspiration. I am just one of many.
Without George, at the very least, my career would have started very differently. My future in film really started when I became firm friends with Simon Pegg while we were making ‘SPACED’ and we realised that we were both obsessed with ‘Dawn Of The Dead’ and George’s work.
I had been infatuated about George’s work before I saw it, scouring through horror and fantasy magazine for stills, posters and articles way before I was old enough to see his movies. When I finally did watch, on VHS or late night TV, the likes of ‘Night Of The Living Dead’, ‘Martin’, ‘Dawn Of The Dead’, ‘Creepshow’, ‘Day Of The Dead’ and others, I was a true devotee to all things Romero.
Later, after making ‘Spaced’, myself and Pegg had this wild notion of making a film that took place in George’s universe, but with a distinctly deadpan North London response to his Pittsburgh zombie epics. The resulting film ‘Shaun Of The Dead’, would obviously not exist without the master himself and when we completed the movie, we decided that we should try and contact George and screen the film for him. To us, his was the only opinion that mattered.
Nachruf von Simon Pegg:
In the wake of losing someone you respect, it’s hard to pay tribute without making it about you. What they meant to you, how they changed you, what you owe them, how sad you are. The key subject in all those sentiments is never the lost, it is always the loser. So instead of any personal reminiscence or reaction to the death of George Romero, I offer my love and sympathy to George’s wife, Suzanne and his family. To everyone else, a simple reminder. George A. Romero invented the modern zombie. Not the comedy variants that moan for, “Braaaains” or the squealing raptor like super zombies of later years, both of which are descendants of George’s original dead baby. George gave us patient zero. Before Night of the Living Dead (1968), zombies were specifically tied to Haitian voodoo mythology and generally used as metaphors for slavery and subjugation. It was George’s idea to combine elements of voodoo legend with a voguish fascination for cannibalism and the mythic communicability of lycanthropy and vampirism. It is from George’s epoch defining mash up, that everything else derives. Whether fast or slow, brain preferring of whole body inclined, ruining Shaun’s day or seven years of Rick Grimes’ life, everything that came after Night of the Living Dead owes a debt of gratitude to George. I don’t think it is said enough or acknowledged by those who have adopted his ideas. The remakes, the rip offs, the pastiches and the tributes all stand on the shoulders of this giant. Remember that, remember George A. Romero.
“I first saw ‘Night of the Living Dead’ when it came out in 1968,” Carpenter said. “It gave hope to those of us in film school that it was possible to make a low-budget movie and get it on the big screen.”
The seminal zombie film was “the beginning of modern horror,” Carpenter said. “It was a little influenced by Vietnam, and it had a black hero. That was totally new; it just wasn’t done then. Now it doesn’t seem so shocking.”
The level of explicit gore was also pretty high for the time, the director said.
Carpenter also loved the sequel, “Dawn of the Dead,” which Romero co-wrote with Italian horror auteur Dario Argento.
A few years later, after Carpenter’s “The Thing” was released, the two filmmakers finally met up. “He was extremely gracious,” Carpenter said, and they became friends, talking on the phone and running into each other at genre conventions.
“Each of his ‘Dead’ movies was about more than just horror. There was always something under the surface. He was always trying to deal with certain themes and deepen them. His characters were really edgy,” Carpenter said.
“I cannot tell you the profound impact that movie had. Not just on me but on everyone.”
Behind the Scenes-Video mit jeder Menge neuer Creatures und Spaceships und Carrie Fisher:
Auf IMP-Awards gibt's alle neuen Character-Poster und dann hat Disney während der D23 auch noch StarWars-Hotels für Disneyland angekündigt: Disney is opening an immersive Star Wars Hotel where each guest gets a storyline.
Here’s what we know so far:
- All of the employees (or ‘cast members’, in Disney Park lingo) will be in costume and in character
- Each guest will get a storyline, which Disney specifically says will “touch every single minute of your day”
- It’s meant to take place on a space ship; ‘windows’ will only show space.
Einer meiner Alpträume geht so: Aus irgendeinem Grund trage ich Kontaktlinsen und wenn ich blinzle, schiebe ich die Teile unter das Auge genau zwischen Muskel und Augenhöhle, womit ich mir dann das Auge oder den Augenmuskel oder das Gewebe darunter durchtrenne und man kann sich vorstellen, wie dieser Alptraum dann weitergeht – es ist nicht schön.
Alleine aufgrund dieser Vorstellung habe ich noch nie und werde auch niemals Kontaktlinsen tragen, es ist meine eigene kleine Irrationalie, die ich sehr mag: Ich bin, wie man weiß, ein Connaisseur des Augen-anatomisch exakten Horrors, selbst wenn es meine eigenen sind. Wobei ich kein allgemeines Problem mit Augenrumfuchtel habe: Ich kann meine Augen an der Seite oder unten anfassen und damit rumwubbeln, wenn ich will. Das habe ich mir von Ace Ventura abgeschaut. Also, ich mache das nicht regelmäßig, es is' nicht mein Hobby, ich fasse mir nicht regelmäßig ins Auge um mit denen rumzuwubbeln. Aber es geht, man fühlt an der Stelle nichts und was man fühlt, ist nur Druck und Bewegung, das kann man trainieren, das macht gar nix. Kontaktlinsen werde ich dennoch nicht tragen. Never, ever.
Enter a UK-Surgeon and the blueish mass of „17 contact lenses has been discovered in the eye of a patient who was scheduled for cataract surgery“: UK SURGEON FINDS 27 MISSING CONTACT LENSES IN WOMAN’S EYE (via BoingBoing)
The 67-year-old patient was unaware that the contact lenses were missing, and later told surgeons that she thought her discomfort was due to dry eye and old age. Specialist trainee ophthalmologist, Rupal Morjaria, told OT that another 10 individual contact lenses were discovered in the woman’s eye following further examination at Solihull Hospital. The operating team, which included an ophthalmologist with more than 20 years of experience, were startled by the discovery, Ms Morjaria explained. “None of us have ever seen this before,” she added.
“It was such a large mass. All the 17 contact lenses were stuck together. We were really surprised that the patient didn’t notice it because it would cause quite a lot of irritation while it was sitting there,” Ms Morjaria elaborated. […] The patient had been wearing monthly disposable contact lenses for the past 35 years but did not attend regular optometrist appointments. Ms Morjaria said the patient did not report any symptoms linked to the missing lenses in her pre-operative assessment.