The zombie apocalypse presents many challenges – for both the prepared and unprepared. As if dodging an aggressive and cannibalistic undead horde constantly in pursuit of brains isn’t enough, you must also forage for food, find shelter, and brave the elements in a world growing more inhospitable by the minute. Technology is no longer reliable, the creature comforts that we take for granted are no longer guaranteed, and our sense of safety is completely compromised.
“With a camera you can go into the stomach of a kangaroo,” mused Swedish director Ingmar Bergman. “But to look at the human face, I think, is the most fascinating.” It is hard to contest Bergman’s claim that “the great gift of cinematography is the human face” – or at least that it is one such gift.
Even though Erich von Stroheim passed away 60 years ago, it is clear that his persona is still very much alive. His silhouette and his name are enough to evoke an emblematic figure that is at once Teutonic, aristocratic and military.
Werner Herzog turns 75 this September and remains as productive as ever. More than only a filmmaker, he directs operas, instructs online courses, and occasionally makes cameo appearances on television shows including Parks & Recreation and The Simpsons. He has been directing films for nearly six decades, and he released three feature-length films within months of each other in 2016.
Over the course of fourteen years, Jim and Tammy Faye Bakker built their local TV broadcast into an empire, making them two of the most recognizable televangelists in the United States. But their empire quickly fell when revelations of a sex scandal and massive financial mismanagement came to light. In the following excerpt John Wigger demonstrates the power of religion on American culture by tracing the fall of the PTL.
Like war stories, like disaster films, like any kind of narrative that revolts and scares yet also delights us, the Zombie Apocalypse offers a laboratory for observing human emotion and experience. Its excess opens up a multitude of responses that don’t get explored in the course of our everyday lives, although these same choices lurk underneath the surface of all our lives.
There are two adjectives we commonly use when discussing artists and artistic things that we feel deserve serious attention and appreciation: Shakespearean and Hitchcockian. These two terms actually have quite a bit in common, not only in how and why they are used but also in what they specifically refer to, and closely examining the ways in which Hitchcock is Shakespearean can be very revealing.
When George Romero, director of Night of the Living Dead, died on 16 July, the world was gearing up for the season opener of Game of Thrones. Game of Thrones owes its central storyline—the conflict between the Night’s Watch and the White Walkers—and a great measure of its success to Romero, as do other popular and critically-acclaimed versions of the story, whether television, film, fiction, or comics.
Picture The Godfather series in your mind and chances are, you’ll think of it as a “gangster” film. But what is it about this series, and other films like it, that makes it a part of the gangster film genre? Are these movies simply crime and action films that feature organized crime, or do urban settings and immigrant struggles play a larger role?
Conventional wisdom holds that many of the favorite silent movie actors who failed to survive the transition to sound films—or talkies—in the late-1920s/early-1930s were done in by voices in some way unsuited to the new medium. Talkies are thought to have ruined the career of John Gilbert, for instance, because his “squeaky” voice did not match his on-screen persona as a leading male sex symbol. Audiences reportedly laughed the first time they heard Gilbert’s voice on screen.
In Hollywood Aesthetic: Pleasure in American Cinema, film studies professor Todd Berliner explains how Hollywood delivers aesthetic pleasure to mass audiences. The following quiz is based on information found in chapter 8, “Crime Films during the Period of the Production Code Administration.”
This summer’s epic blockbuster, Wonder Woman, is a feast of visual delights, epic battles, and Amazons. The young Diana, “Wonder Woman,” is, we quickly learn, no ordinary Amazon. In fact, though she is raised by the Amazon queen Hippolyta and trained to be a formidable warrior by her aunt Antiope, both of whom are regularly featured Amazons in Greek myth, she turns out to be not an Amazon at all but a god, whom Zeus has given to the Amazons to raise.
Stanley Kubrick would be 89 this year. It’s quite possible were he still alive that he would have made more films. At his death in 1999, he left a legacy of just twelve works of extraordinary cinema, as well as a few interesting early short films.
But maybe the greatest horde of zombies these days is on television, from cult shows like iZombie and Santa Clarita Diet to two of the most popular shows on the planet, The Walking Dead and Game of Thrones. The Walking Dead has recently wrapped its seventh season, but Game of Thrones is getting ready to ramp up for its final two seasons, with the world premiere of its Season Seven coming tonight.
Watching Game of Thrones, and devouring the novels, made me a better medievalist. As fans of the show and novels know well, George R. R. Martin’s imaginary world offers a vibrant account of life and death, of royal power and magic, of political infighting, arranged marriages, sex, love, and despair. It is not an accurate depiction of medieval Europe, but why should it be?
In Hollywood Aesthetic: Pleasure in American Cinema, film studies professor Todd Berliner explains how Hollywood delivers aesthetic pleasure to mass audiences. The following quiz is based on information found in chapter 11, “Bursting into Song in the Hollywood Musical.”