When I’m killing these people I’m getting a fricking erection.’ And he goes, ‘Oh, I forgot to tell you. “So, when I started killing in this movie,” offered Courtney, “I called the psychiatrist up and I said, ‘Doc, there’s something going on here, and I have to talk to you about it. And they taught me how I’d create dominance in the ward, and what the pathos was.” But I got to interview some of the guys who had murdered (people) twenty years (before), and who had had time to process it and (who) had gone through therapy. But these guys were all doing the ‘Thorazine Shuffle.’ They couldn’t catch a fly if they wanted to, they were so drugged up. And I actually spent nights there, sleeping in a ward with paranoid schizophrenics. “(In preparation for it),” Courtney recalled, “I went and stayed in a psyche ward in central California for a weekend, and I had a psychiatrist with me and several orderlies. I learned that in the very first film I did.” As an actor, if you are really in touch with murder, it’s very sexual. It’s a very, very deep place, to be honest. Said Courtney when asked how he felt when he did the murder scenes in Halloween, “Killing is so much fun. Moderated by Fangoria’s editor emeritus Tony Timpone, panelists included Halloween 2018’s makeup effects designer Christopher Nelson, actress Rhian Rees (the film’s “Dana Haines”) and The Shape himself, actor and stuntman James Jude Courtney, who during the Q&A volunteered his – excitement – in performing cinematic acts of murder, both as Myers, and as the antagonist in 1989’s The Freeway Maniac. Dimension Films.Monsterpalooza, the world’s longest running celebration of the art of monsters and movie magic, hosted this past Saturday in Pasadena, CA a panel on 2018’s Halloween, and we were there to live stream it. Shock Value: How a Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood, and Invented Modern Horror. Pricing the Priceless Child: The Changing Social Value of Children. Dreadful Pleasures: An Anatomy of Modern Horror. Why Horror?: The Peculiar Pleasures of a Popular Genre. Evil Children in the Popular Imagination. New York: State University of New York Press. Bad Seeds and Holy Terrors: The Child Villains of Horror Film. All Fun and Games: Children’s Culture in the Horror Film, from Deep Red (1975) to Child’s Play (1988). John Hill and Pamela Church Gibson, 9–21. In Film Studies: Critical Approaches, ed. Constructing and Reconstructing Childhood: Contemporary Issues in the 20th Century Studios.įriedkin, William, dir. Canadian Film Development Corporation.ĭenham, Christopher, dir. Taylor & Francis e-Library.Ĭohen, Larry, dir. Why Horror? In Horror, the Film Reader, ed. The Journal of Aesthetics and Art Criticism 46 (1): 51–59.Ĭarroll, Noël. Compass International.Ĭarpenter, John, dir. New York: Routledge.Ĭarpenter, John, dir. Hollywood and the Spectacle of Terrorism. Universal Productions.īoggs, Carl, and Tom Pollard. Amsterdam: Amsterdam University Press.īender, Jack, dir. The Uncanny Child in Transnational Cinema: Ghost of Futurity at the Turn of the Twenty-First Century. “Global Crises of Childhood: Rights, Justice and the Unchildlike Child.” Area, vol. It is argued that popular anxieties surrounding genetics, adoption, delinquency, psychopathy, proper parenting and family dysfunction, and xenophobia make possible the contemporary ‘terrible child’.Īitken, Stuart C. This chapter traces the representation of childhood in horror films, primarily Hollywood, with respect to the changing cultural attitudes of audiences towards childhood. The generic motifs of contemporary horror texts include the polarity between appearance and reality, good and evil, adult and child, the paranoid mistrust of the traditionally good and virtuous, and the abuse of childish privilege. With the changing climate of childhood discourse, the very allusion to childhood and its associations (toys, dolls, portraits, children’s paintings, giggles, and chuckles) have become capable of triggering a sense of dread and anxiety. The universality of the horrific abject makes the pan-cultural, historical efficacy of horror texts possible, yet there are culturally and historically relative differences among horror objects and their representations. The horror genre allows the modification of real but unconscious fears into something fathomable. Earlier, children had a limited repertoire of roles as the juvenile victim, orphan, or martyr, but towards the mid-twentieth century, they have ubiquitously become capable of metamorphosing into the incurable delinquent, villain, and murderer. The presence of the child has become a staple ingredient of the horror genre since the Romantic Gothic tradition.
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