The Cultural Gutter

geek chic with mad technique

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

The Monster in Me

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I’ve been spending a portion of my wee small hours (normally spent standing under a solitary street lamp on a lonely street, staring in melancholy reverie at my cigarette) revisiting old horror films. As a budding cult film obsessive, I cut my teeth on the horror films of cinema’s early decades. In the days before […]

¡More Cinco de Mayo Celebration!

¡Comics Alliance celebrates Cinco de Mayo with el Santo comics and a roundtable discussion of Hellboy in Mexico–including at least one poster from an el Santo movie!

Let There Be Monsters

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An underground monster that can’t see, but senses your steps via vibrations. A giant ape that falls in love with a woman and fights lots of dinosaurs. And a hellish creature that fights on the side of humanity against mechanical armies and wayward elves. What do these have in common? I interrupt this critical essay […]

10 Comics I Liked in 2008

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Here they are, ten comics I liked in 2008 that I haven’t written about yet. All ready? Alright.

Hellboy and the Hobbit

Guillermo del Toro has a lot to say about Hellboy and hobbits at the L.A. Film Festival. (Really, it’s an hour interview).

Screw-On Head and Hellboy, Unfairly Compared

Two DVDs, one day.

Really, I am trying to be good, but I’m not sure I can help it. Last month, DVD’s for The Amazing Screw-On Head and Hellboy: Sword of Storms were released on the same day. That should have been the best day ever since they’re both based on Mike Mignola’s comics. Unfortunately, releasing both projects on […]

At The 23-Screen Stadium-Seating Nacho-Serving Cineplex Of Madness

Uzumaki is Lovecraftian cinema at its haircurling best.

Mysterious creatures. Bizarre science. A dark, snowbound fortress. The occult. Tentacled, crustacean-inspired monsters. Hellish apocalypse. Primordial evil. Madness. Hellboy, the well-received latest film from neo-post-schlock auteur Guillermo del Toro (Cronos, The Devil’s Backbone, Blade II), offers these and other delights, all of which are common motifs in the work of that impossibly influential champion of […]

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  • Of Note Elsewhere

    At Salon, Matt Ashby and Brendan Carroll write about irony and cynicism, sincerity and honesty in art: “At one time, irony served to challenge the establishment; now it is the establishment. The art of irony has turned into ironic art. Irony for irony’s sake. A smart aleck making bomb noises in front of a city in ruins. But irony without a purpose enables cynicism. It stops at disavowal and destruction, fearing strong conviction is a mark of simplicity and delusion.

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    Eastern Kicks has an interview–and a gallery of photos of–director Park Joon-hung.

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    Get ready for a new season of Mad Men with this collection of Absurdist Mad Men promotions, which the Cultural Gutter participates in and even encourages. Duck Phillips rules an undersea advertizing empire and “Pete feels slighted.”

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    Some interesting thoughts on South Korean cinema with “A Dish Best Served Bloody: Revenge In South Korean Cinema” and this Cannes program piece on Arirang (1926) and the history of Korean film.

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    Al-Jazeera America profiles John Pirozzi’s Don’t Think I’ve Forgotten, a documentary about Cambodian rock’n'roll and musicians who survived the Khmer Rouge. “Until 1975, music thrived in Phnom Penh, with clubs full night after night, crowds gathering in the streets around transistor radios to hear the latest releases, and the biggest stars being feted by the king. Enter the Khmer Rouge, communism and the war on intellectuals. Between 1975 and 1979, about 2 million Cambodians, roughly a third of the population, were rounded up and either were killed or died of starvation. Artists were particularly disliked by the Khmer Rouge, which saw creativity as decadence: Almost all of the biggest names perished during that era.”

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    Architecture Daily has an excerpt from City of Darkness detailing the development of Hong Kong’s Kowloon Walled City. “By the 1970s, the City had filled out to its maximised form, with buildings of up to 14 storeys in height, and virtually no ground level daylight penetration save at its centre. Its density was estimated to have reached a mere 7 square feet per person. The yamen area had somehow remained an exception to the vertical development, leased to a missionary society in 1949 for use as an almshouse and old people’s home. Eventually, it defined the sole substantial void within the Walled City, with visible sky above it.”

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