Movies

Horror movies are as much a mainstay of Halloween as trick or treat − but why are they so bloody?

Published

2 months ago

October 31, 2024

The Conversation

horror movies are plentiful in 2024 and plenty bloody the

James Francis, Jr., Texas A&M University

Horror Movies on Halloween

Horror movies are plentiful in 2024, and plenty bloody. The year has seen the release of films awash in blood, such as “Immaculate,” “The First Omen” and “The Strangers.” With Halloween on the way, bloody offerings are streaming, in theaters and running in marathons on cable.

Watch them, and you’ll likely notice that as the decades pass, the directors, writers and studio executives of these films seem to produce more and more on-screen blood, violence and gore. But why?

As a professor of horror studies, I explore the depths of the genre with my students – and for us to understand the evolution of blood in horror cinema, we first consider how films reflect their times.

Alfred Hitchcock and Michael Powell created proto-slashers with “Psycho” and “Peeping Tom,” respectively. Both films were released in 1960 about four months apart, both feature serial killers, and both operate on a “tell, don’t show” visual aesthetic. Rather than show the blood to the audience, the films provide narrative cues to only suggest the blood.

Janet Leigh in the shower scene from 'Psycho.' — Janet Leigh’s shower scene in ‘Psycho’ is one of the most memorable moments in movie history. Bettmann via Getty Images

Guts, gore and so much more

In “Psycho,” Marion Crane, played by Janet Leigh, is stabbed to death in the famous shower scene. But the quick-cut editing gives only the illusion of her nude body being slashed as a small amount of blood washes down the drain in black-and-white tones. By not shooting “Psycho” in color, and avoiding the image of bright red blood in the bathtub – Hitchcock’s choice – the film doesn’t seem as violent.

By the late 1960s, the restrictive Hays Code, which prohibited overt on-screen violence and the use of fake blood, was replaced by the less stringent Motion Picture Association of America film ratings system. Filmmakers could latch onto new freedoms to express fear, anxiety and dread in more visceral depictions. One way to do that – more blood.

In “Night of the Living Dead,” George A. Romero’s 1968 seminal zombie flick, the walking dead consume the flesh of the living. Even though the movie is in black and white, the monochromatic presentation does not dull the display of the undead gobbling guts and licking up blood.

The film’s release came six months after the assassination of Martin Luther King Jr., and a clear connection between Romero’s film and the Civil Rights Movement then taking place is apparent. The movie’s heightened gore correlates to the movement’s all-too-bloody violent struggle, as Ben, played by Duane Jones, the sole person of color among the living, hides from the ghouls in an abandoned farmhouse with a group of six white people.

Ben works to keep the group safe but faces ongoing pushback from the white male characters. At the end of the film, a group of vigilantes, believing Ben is a zombie, guns him down before tossing his body into a fire.

The symbolism as a reflection of the times is hard to miss. Romero and John Russo, who co-wrote the screenplay, didn’t initially intend to make a statement on civil rights; but later, during postproduction, Romero realized the assassination of King turned his movie into a “Black film.”

Bloody metaphors

Then came the 1970s, when blood was sprayed all over the screen. But Tobe Hooper’s “The Texas Chain Saw Massacre” (1974), William Friedkin’s “The Exorcist” (1974) and Ridley Scott’s “Alien” (1979) have something else in common: They feature women protagonists who survive the unthinkable.

Once again, blood is a common denominator. Sally’s body is covered in it after escaping Leatherface; Regan’s body, along with the blood, spews green vomit; and Ripley sees an alien burst out of a crew member’s chest. But the films weren’t just gory – they were metaphors for the uphill battle for women’s rights in the 1970s.

The original “Halloween” (1978) also fits here, but with a twist. The character of Laurie Strode, perhaps an early prototype of women protagonists in horror films, connects back to a “tell, don’t show” sensibility while simultaneously embracing changing times. While the first kill shows Michael Myers stabbing his older sister, the audience views the death from the partially veiled perspective of Myers behind his Halloween mask. You see little until her body hits the floor to reveal the blood.

A movie poster from the movie 'Halloween' depicting a hand holding a big kitchen knife. — ‘Halloween’ was a huge hit and has thus far spawned six direct sequels, one offshoot, a two-part remake and one reboot trilogy over 46 years. Universal History Archive via Getty Images

Nightmares and reality

In the 1980s, the slasher subgenre dominated horror – and the bloodier, the better: These movies focus on the number of kills and the creative ways the victims are dispatched.

Each sequel in these horror franchises needed to up the kills, if for no other reason than to outdo its predecessors and competitors. Audiences began rooting for villains like Myers, Jason Voorhees and Freddy Krueger, all of whom had their own theme music, and in Freddy’s case, trademark one-liners. Many of the villains had more character development than their victims, who seemed interchangeable and little more than fodder for the slasher machine.

The 1990s had bigger-budgeted, more innovative films, such as Wes Craven’s “New Nightmare” (1994) and “Scream” (1996). Here the attacks are more personal; the stabbings are close-up. CGI, or computer-generated imagery, used in abundance in the “Nightmare” series, allowed for more creative and bloody kills.

Scarier times mean bloodier movies

Since 9/11, horror films have existed in a place where there’s no apparent motive other than violence and bloodshed. In “The Strangers” (2008), the villains tie up, torment and savagely maim their victims. In the 2009 remake of “The Last House on the Left,” it’s the villains who meet a bloody end. Contemporary horror understands how senseless killings on screen are effective, because the removal of emotion from the violence parallels real-world incidents.

A fan wearing a 'Ghostface' mask, complete with hollowed-out eyes, nose and mouth, and stark white skin. — ‘Ghostface’ is the villain in the popular ‘Scream’ series. James Gourley/Getty Images Entertainment via Getty Images

By the late 2010s, horror films link to the #MeToo and Time’s Up movements, most notably in the “Halloween” reboot trilogy, as Laurie Strode once again confronts Michael Myers and the trauma he inflicted 40 years prior.

The kills in the new “Halloween” trilogy are extremely bloody and violent. They also mirror the sexual and societal exploitation of women and their bodies. Ultimately, the series allows the protagonist, and the traumatized town of Haddonfield, to acknowledge the evil, confront it and try to finally put an end to it, once and for all.

The evolution in the horror genre’s presentation of blood and gore doesn’t necessarily make for scarier movies, but they often point to the scarier times in which we live. Earlier horror films, comparatively tamer and with less blood, were often box-office successes. But today’s audiences probably appreciate them more for their artistic merits than the fear they induce.

The preferences of horror audiences change over time, much like the ebb and flow of the blood depicted in these movies. The original “Halloween” has hardly a drop; the recent reboots are over the top – but still nowhere close to the mayhem depicted in the just-released “Terrifier 3.”

What the future holds is anyone’s guess. But check out the world around you, and you’ll certainly get a bloody good hint of what’s to come.

James Francis, Jr., Instructional Associate Professor, Texas A&M University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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The sex scene isn’t disappearing – it’s simply shifting from clichéd fantasy to messy reality

Published

2 days ago

December 23, 2024

The Conversation

Today’s sex scenes are, first and foremost, fun. Lids Bierenday

Maria San Filippo, Emerson College

Writing during what seems – in retrospect – to have been the wildly carefree summer of 2019, Washington Post film critic Ann Hornaday lamented that “sex is disappearing from the big screen.”

Fast forward two years, and, improbably enough, it’s conservative New York Times columnist Ross Douthat who’s pleading for “sex and romance [to] make a comeback at the movies.”

Both commentators blame this sexual stagnation on what they see as an abstinence-only policy in Hollywood, fueled by the Weinstein effect on one hand and family-friendly franchise fever on the other, where libidinal energy has been sublimated into buff-yet-sexless superheroes. To Hornaday and Douthat, sexual prudence seems to be tipping into prudery.

Hornaday and Douthat are correct that the traditional sex scene – a tasteful “pas de deux” between glossy stars, typically straight and vanilla, presented as a spectacle for our visual pleasure – has become increasingly rare.

But after devoting hours to watching sex scenes as research for my book “Provocauteurs and Provocations: Selling Sex in 21st Century Media,” I can reassure the randy and romantic among us that sex onscreen isn’t disappearing. Far from it.

Instead, over the last decade, it’s simply changed – and mostly for the better.

What’s hot: honesty and humor

Today’s sex scenes are first and foremost fun – as ideally sex itself should be – and emphasize the truthful over the tasteful.

In some cases, you’ll see likable, relatable characters revealing perverse predilections, such as the all-consuming hots that Phoebe Waller-Bridge’s protagonist in the TV series “Fleabag” has for a clergyman she dubs “Hot Priest.” Or when Kathryn Hahn’s character in Joey Soloway’s directorial debut “Afternoon Delight” drunkenly confesses to her gal pals that she’s “masturbated to that scene for two decades.” The scene she’s describing? The gang rape from “The Accused.” What’s more, her friends agree it’s hot.

Other moments make for embarrassing yet endearing waypoints en route to real intimacy. In Desiree Akhavan’s “The Bisexual,” a bout of postcoital queefing cracks up a couple and dispels the awkwardness of their morning after. And in a carnal scene from Michaela Coel’s “I May Destroy You,” neither sanitary products nor a blood clot manages to kill the moment. It’s the latest woman-created show – joining “Girls”, “GLOW” and “I Love Dick” – to shatter the taboo against mentioning, much less showing, menstruation during sex.

Other filmmakers bulldoze the boundaries of which bodies the culture industry deems fit to depict. For this we have “Girls” creator Lena Dunham largely to thank; the actress famously insisted on baring all in the face of brutal fat shaming and portraying her show’s privileged protagonists’ sexual escapades in all their cringe-inducing candor.

Alongside defying the opposition and outrage meted out to artworks or artists deemed obscene or unattractive, some filmmakers have sought to redefine the sex scene altogether.

In my view, some of the most arousing sex scenes put to celluloid are ones where clothing stays put and verbal foreplay takes center stage. In “Laurel Canyon” and “Take This Waltz” – again, works created by women – would-be philanderers engage in dirty talk as a means to sublimate their desire, but in such smoldering terms as to arouse the viewer. https://www.youtube.com/embed/C_8fbYOtG90?wmode=transparent&start=0 Sexually charged dialogue permeates ‘Take This Waltz.’

Romcom’s morning after

While not clinching my case that the sex scene is flourishing, these films repudiate Douthat’s assertion that there’s “a cultural void where romance used to be.”

It’s all part of redefining what romance looks like on screen.

And I don’t mean merely making the couplings and casting more inclusive: “Crazy Rich Asians” relies on the same Cinderella-style premise as “Pretty Woman.” I’m talking about the sunsets-and-soulmates wish fulfillment fantasies that, for decades, served as the template for most romantic comedies: boy meets girl, boy loses girl, boy gets girl.

As my new edited collection “After ‘Happily Ever After’: Romantic Comedy in the Post-Romantic Age” points out, recent films like “Appropriate Behavior,” “Before Midnight,” “Medicine for Melancholy” and the Netflix series “Love” rejuvenate the romantic comedy genre by actually addressing the realities and complexities of intimacy.

In these works, issues of coming out, growing old, being Black and staying sober are what drive the plots – and true love doesn’t conquer all.

Queering the scene

Regrettably, outside of art cinema, queer male characters rarely get naked or have sex onscreen. But given that straight sex on screen got a huge head start on queer sex, it’s no surprise that same-sex couples aren’t getting it on with gusto at the multiplex.

Queer male intimacy more often finds mainstream success by inviting viewers to relish unrequited romance in films like “Weekend,” “Moonlight” and “God’s Own Country.” Even films focused on queer women are getting in on the swoon-worthiness of not getting off, a phenomenon mocked by Saturday Night Live’s recent parody “Lesbian Period Drama.”

In some cases, queer filmmakers have stretched the boundaries of the sex scene by exchanging explicit sex acts for erotic insinuation, as with the suggestive shots of one woman’s hand penetrating the other’s armpit in Céline Sciamma’s “Portrait of a Lady on Fire,” or the infamous scene of Armie Hammer’s character slurping cum from a hollowed-out peach in “Call Me by Your Name.”

Fingers press against a peach. — If there were an award for sexiest fruit of all time, the peach from ‘Call Me By Your Name’ might win it. Sony Pictures Classics

Safer is … sexier?

An outgrowth of the #MeToo era is the on-set intimacy coordinator – a professional trained to ensure that safe practices are in place when shooting sex scenes. In many ways, their presence is long overdue in an on-set environment where nudity quotas were, for a time, the norm.

Rather than delivering a cold shower for spectators, these more ethically and safely executed scenes are arguably sexier – perhaps in part because the performers feel safer and less inhibited, and perhaps because viewers might feel less morally compromised while watching them.

As in real life, consent is what makes scenes of sexual degradation and endangerment hot. A film like Jane Campion’s “In the Cut,” in which Meg Ryan’s character is clearly heard consenting to having rough sex with Mark Ruffalo’s character, is exemplary in this regard. So, too, are the intimacy-coordinated sex scenes in last year’s “Normal People,” along with those in “Duck Butter,” which even gave the performers the opportunity to co-script the scenes themselves.

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Though I find that Hornaday’s and Douthat’s laments leave out a lot, I share their view that preaching abstinence takes a blinkered approach to art, as to life. The repercussions of rendering sex invisible – unseen and unacknowledged – aren’t just aesthetic. In times of political division and social unrest, sexual freedoms and sexual minorities are more strictly regulated and persecuted.

This threat of silencing makes it all the more important that filmmakers continue screening and – as radical sex theorist Gayle Rubin titled her landmark 1984 essay – “thinking sex.”

So far, filmmakers are meeting the challenge.

Maria San Filippo, Associate Professor of Visual and Media Arts, Emerson College

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Blurry, morphing and surreal – a new AI aesthetic is emerging in film

Emerging from generative AI’s quirky landscape, artists are creatively experimenting with new cinematic storytelling, blending surrealism and nostalgia, while transforming challenges into vibrant, imaginative experiences for all to enjoy.

Published

3 days ago

December 23, 2024

The Conversation

file 20241111 17 efdnjm — A still from Theo Lindquist’s short film ‘Electronic Dance Experiment #3.’ Theo Lindquist

Holly Willis, University of Southern California

Type text into AI image and video generators, and you’ll often see outputs of unusual, sometimes creepy, pictures.

In a way, this is a feature, not a bug, of generative AI. And artists are wielding this aesthetic to create a new storytelling art form.

The tools, such as Midjourney to generate images, Runway and Sora to produce videos, and Luma AI to create 3D objects, are relatively cheap or free to use. They allow filmmakers without access to major studio budgets or soundstages to make imaginative short films for the price of a monthly subscription.

I’ve studied these new works as the co-director of the AI for Media & Storytelling studio at the University of Southern California.

Surveying the increasingly captivating output of artists from around the world, I partnered with curators Jonathan Wells and Meg Grey Wells to produce the Flux Festival, a four-day showcase of experiments in AI filmmaking, in November 2024.

While this work remains dizzyingly eclectic in its stylistic diversity, I would argue that it offers traces of insight into our contemporary world. I’m reminded that in both literary and film studies, scholars believe that as cultures shift, so do the way we tell stories.

With this cultural connection in mind, I see five visual trends emerging in film.

1. Morphing, blurring imagery

In her “NanoFictions” series, the French artist Karoline Georges creates portraits of transformation. In one short, “The Beast,” a burly man mutates from a two-legged human into a hunched, skeletal cat, before morphing into a snarling wolf.

The metaphor – man is a monster – is clear. But what’s more compelling is the thrilling fluidity of transformation. There’s a giddy pleasure in seeing the figure’s seamless evolution that speaks to a very contemporary sensibility of shapeshifting across our many digital selves. https://www.youtube.com/embed/on1K_xXcjW0?wmode=transparent&start=0 Karoline Georges’ short film ‘The Beast.’

This sense of transformation continues in the use of blurry imagery that, in the hands of some artists, becomes an aesthetic feature rather than a vexing problem.

Theo Lindquist’s “Electronic Dance Experiment #3,” for example, begins as a series of rapid-fire shots showing flashes of nude bodies in a soft smear of pastel colors that pulse and throb. Gradually it becomes clear that this strange fluidity of flesh is a dance. But the abstraction in the blur offers its own unique pleasure; the image can be felt as much as it can be seen.

2. The surreal

Thousands of TikTok videos demonstrate how cringey AI images can get, but artists can wield that weirdness and craft it into something transformative. The Singaporean artist known as Niceaunties creates videos that feature older women and cats, riffing on the concept of the “auntie” from Southeast and East Asian cultures.

In one recent video, the aunties let loose clouds of powerful hairspray to hold up impossible towers of hair in a sequence that grows increasingly ridiculous. Even as they’re playful and poignant, the videos created by Niceaunties can pack a political punch. They comment on assumptions about gender and age, for example, while also tackling contemporary issues such as pollution.

On the darker side, in a music video titled “Forest Never Sleeps,” the artist known as Doopiidoo offers up hybrid octopus-women, guitar-playing rats, rooster-pigs and a wood-chopping ostrich-man. The visual chaos is a sweet match for the accompanying death metal music, with surrealism returning as a powerful form.

A group of 12 wailing women with long black hair and tentacles. — Doopiidoo’s uncanny music video ‘Forest Never Sleeps’ leverages artificial intelligence to create surreal visuals. Doopiidoo

3. Dark tales

The often-eerie vibe of so much AI-generated imagery works well for chronicling contemporary ills, a fact that several filmmakers use to unexpected effect.

In “La Fenêtre,” Lucas Ortiz Estefanell of the AI agency SpecialGuestX pairs diverse image sequences of people and places with a contemplative voice-over to ponder ideas of reality, privacy and the lives of artificially generated people. At the same time, he wonders about the strong desire to create these synthetic worlds. “When I first watched this video,” recalls the narrator, “the meaning of the image ceased to make sense.”

In the music video titled “Closer,” based on a song by Iceboy Violet and nueen, filmmaker Mau Morgó captures the world-weary exhaustion of Gen Z through dozens of youthful characters slumbering, often under the green glow of video screens. The snapshot of a generation that has come of age in the era of social media and now artificial intelligence, pictured here with phones clutched close to their bodies as they murmur in their sleep, feels quietly wrenching.

A pre-teen girl dozes while holding a video game controller, surrounded by bright screens. — The music video for ‘Closer’ spotlights a generation awash in screens. Mau Morgó

4. Nostalgia

Sometimes filmmakers turn to AI to capture the past.

Rome-based filmmaker Andrea Ciulu uses AI to reimagine 1980s East Coast hip-hop culture in “On These Streets,” which depicts the city’s expanse and energy through breakdancing as kids run through alleys and then spin magically up into the air.

Ciulu says that he wanted to capture New York’s urban milieu, all of which he experienced at a distance, from Italy, as a kid. The video thus evokes a sense of nostalgia for a mythic time and place to create a memory that is also hallucinatory. https://www.youtube.com/embed/FKTyGJar-dE?wmode=transparent&start=0 Andrea Ciulu’s short film ‘On These Streets.’

Similarly, David Slade’s “Shadow Rabbit” borrows black-and-white imagery reminiscent of the 1950s to show small children discovering miniature animals crawling about on their hands. In just a few seconds, Slade depicts the enchanting imagination of children and links it to generated imagery, underscoring AI’s capacities for creating fanciful worlds.

5. New times, new spaces

In his video for the song “The Hardest Part” by Washed Out, filmmaker Paul Trillo creates an infinite zoom that follows a group of characters down the seemingly endless aisle of a school bus, through the high school cafeteria and out onto the highway at night. The video perfectly captures the zoominess of time and the collapse of space for someone young and in love haplessly careening through the world.

The freewheeling camera also characterizes the work of Montreal-based duo Vallée Duhamel, whose music video “The Pulse Within” spins and twirls, careening up and around characters who are cut loose from the laws of gravity.

In both music videos, viewers experience time and space as a dazzling, topsy-turvy vortex where the rules of traditional time and space no longer apply.

A car in flames mid-air on a foggy night. — In Vallée Duhamel’s ‘The Pulse Within,’ the rules of physics no longer apply. Source

Right now, in a world where algorithms increasingly shape everyday life, many works of art are beginning to reflect how intertwined we’ve become with computational systems.

What if machines are suggesting new ways to see ourselves, as much as we’re teaching them to see like humans?

Holly Willis, Professor of Cinematic Arts, University of Southern California

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Unveiling the Journey of Self-Discovery: The Trailer Release of Exodos – A Short Film by Eleni Doucas

The short film “Exodos,” directed by Eleni Doucas, follows 17-year-old Haley as she confronts loyalty and identity, ultimately seeking a brighter future beyond her criminal upbringing. Self Discovery!

Published

3 weeks ago

December 3, 2024

Rod Washington

Exciting news from the world of indie filmmaking! Florida-based filmmaker Eleni Doucas has released the official trailer for her latest project, Exodos, a poignant short film that invites us into the inner turmoil of a young woman grappling with loyalty, identity, and the courage to change her life.

Self Discovery

In this compelling narrative, we meet Haley, portrayed brilliantly by the talented Gley Veira. Haley’s upbringing under the watchful eye of a notorious thief creates a complex backdrop for her story. As she reaches a pivotal moment at just 17 years old, she encounters a heart-wrenching dilemma: should she cling to the only family she’s ever known, which has offered her a sense of belonging, or dare to step into the unknown in pursuit of a brighter future?

Eleni Doucas beautifully captures the intricacies of human emotions in Exodos. With a heartfelt commitment to exploring themes such as betrayal, self-discovery, and the transformative power of kindness, the trailer hints at a deeply layered story. Doucas poignantly remarks, “Through Hayley’s story, I aim to explore how environments defined by violence and manipulation can be challenged by the resilience of the human spirit.” This narrative promises to resonate deeply with audiences who have ever faced a turning point in their own lives.

The official trailer offers a glimpse into the tension between Haley’s two worlds: the stark reality of her life and the hope that lies beyond her comfort zone. Central to her journey is not just the fear of what she might lose by leaving, but also the potential for gaining a life rich in possibilities. Doucas intends to highlight this complex dynamic through the contrasting presence of Ben, a character whose kindness serves as a beacon of hope and support.

Exodos is more than just a film about a young girl navigating difficult choices—it’s a reflection on the choices we all face when defining ourselves and seeking redemption. Doucas emphasizes that even in the darkest situations, the human spirit has an incredible capacity for change, a message that couldn’t be more timely or crucial in today’s world.

Watch the Trailer Now:

First Look at EXODOS – A crime short Film by Eleni Doucas (Trailer)

As we anticipate the film’s release, the trailer serves as a powerful invitation to dive deeper into Hayley’s story, one that underscores the importance of courage, compassion, and the relentless pursuit of a better future. Mark your calendars for the launch of Exodos and prepare to witness a beautifully crafted tale that may just inspire us all to reconsider the paths we choose.

Stay tuned for more updates on the film, and don’t forget to catch the trailer for Exodos! It’s bound to be a cinematic experience you won’t want to miss!

Eleni Doucas is a filmmaker known for her evocative storytelling and focus on profound character development.

About Eleni Doucas:

Eleni Doucas is a filmmaker known for her evocative storytelling and focus on profound character development. With a BFA from the New York Film Academy and an MBA from the University of Miami, Eleni combines artistic vision with business acumen. She is passionate about creating films that challenge societal norms and explore complex human experiences.

To know more about Eleni Doucas, please follow her:

https://www.imdb.com/name/nm8722567