The Cultural Gutter

taking trash seriously

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

“Where Have All The Midnight Movies Gone?”

Midnight Madness Programmer and Gutter Friend, Colin Geddes, is interviewed (along with many others) about the history of midnight movies from El Topo and Eraserhead till now. Like this:Like Loading…

To Kill A Mockingbird and Horror

“Even if we were to discount the element of Southern small town prejudice and the ugly courtroom trial that occupies the film’s center, this adaptation of the Pulitzer Prize winning novel by Harper Lee is just plain spooky… and it is my feeling that it has bestowed upon us a legacy of horror that we […]

RIP, Bill Hinzman

Bill Hinzman has died. Hinzman played the first modern zombie, who staggered across the graveyard in George Romero’s Night of the Living Dead. Like this:Like Loading…

What Do Zombies Mean to Americans?

Meanwhile, Annalee Newitz presents, “A Brief History of Zombies in America.” Like this:Like Loading…

Grr, Argh, Trailer Round-up

Grr, argh! Here’s a little undead creatures trailer round-up from the Toronto International Film Festival’s Midnight Madness program:  Daybreakers,  Survival of the Dead and [Rec]2.  Grr, argh! Like this:Like Loading…

John Wayne Can’t Save You

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This month we’re mixing it up at the Gutter with each editor writing about something outside their usual domain. This week Carol Borden writes about movies. She can normally be found here. Blood Red Earth has been on FEARnet for weeks now. A horror movie set in the Old West with a Native American cast? […]

ROUND THE DECAY OF THAT COLOSSAL WRECK

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In the run-up to, and wake of, the release of Watchmen, it has become common currency to say that adapting Zach Snyder, et al undertook a massive challenge in adapting Alan Moore and Dave Gibbons’ complex, sprawling medium- and genre-defining work for the screen. But I’m going to suggest that they actually undertook an even […]

DANGEROUS BECAUSE IT HAS A PHILOSOPHY

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In Videodrome, shortly before the arrival of the least sexy waiter in the history of cinema (no link for this, you’ll just have to go rent the movie), Max Renn (James Woods, no hyperlink needed) and Masha (Lynne Gorman, IMDb listing not interesting enough to link to) share the following exchange on the nature of […]

THE SHOCK OF THE STIFF

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After breaking my own vow never to do a list article last month, I felt like I should come back with something a little more rigorous to make up. So here it is: a postmodern examination of the zombie, and a chance for me to use up all my five-dollar words. And yes, I will […]

Knitted Zombie Doom

Behold the power of a knitted Dawn of the Dead, Tom Savini from Dawn of the Dead, Day of the Dead (see the flickr slideshow if you’d prefer) and the knitted Shaun of the Dead all created by cakeyvoice. cakeyvoice sells them, too. (All props to jiang tou at spiltpopcorn for the catch) Like this:Like […]

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  • Of Note Elsewhere

    NPR interviews Hank Willis Thomas on his exhibition showcasing images of white women in advertizing. It’s a follow up to his 2008 exhibition, “Unbranded: Reflections in Black by Corporate America.” “I think what happens with ads — when we put text and logos on them, we do all the heavy lifting of making them make sense to us. But when you see the image naked, or unbranded, you start to really ask questions.”

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    Our friends at Pornokitsch share a 1898 Philadelphia Press article on ghosts of the Capitol in Washington, D.C.

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    The Journal of Popular Romance Studies interviewed author Joanna Russ in 2007 about slash fiction: “Her 1985 essay, ‘Pornography By Women For Women, With Love’ helped to set the terms of the discussion for feminist scholars who followed, and it is widely cited in fan studies. Russ argues that fantasy has to be read in more complex ways than simply seeing it as an effort at one-dimensional wish fulfillment. She posits fantasy as something rich and metaphorical. She reads slash as a genre that tells us new things about women’s sexuality and sexual desire, things that—in 1985—weren’t being talked about except in the very divided feminist ‘sex wars,’ where ‘pro-sex’ and ‘anti-porn’ feminists created ever more polarized stances.”

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    At Hyperallergic, Jeremy Polacek writes about the history of Afrofuturism and the Brooklyn Academy of Music’s exhibit, “Space Is The Place: AfroFuturism On Film”:  “Afrofuturism is an empowering rubric, an approach and aesthetic that clarifies and connects history and the hope, creativity, and pain there within. Afrofuturism is wry, wise, and leveling — it believes that a brighter, more equal, funkier future is within the realm of possibility. You can be different; this world can be different — self-invention commingles with worldly reinvention; Africa is both glorious past and technocratic future.

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    Sweet Jane shares a 1967 fashion editorial shoot mixing mod fashion and the work of illustrator Aubrey Beardsley. (via arabellesicardi.com)

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    BBC Radio 4 is presenting an adaptation of Ursula Le Guin’s The Left Hand Of Darkness. You can listen to the first episode here. There are also other features, including an interview with Le Guin. (via Pornokitsch)

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