LOG IN. Cinema Journal. Means Coleman review Harry M. In lieu of an abstract, here is a brief excerpt of the content: Reviewed by:. The clinical, detached atmosphere is still front and center, but the black-and-white oblivion the film centers visually is too chaotic and damaged to be as sedate and calm as a typical Bergman film.
He has a field-day with anxious imagery and elliptical thoughts rendered pentrating by the filmic Agrat - Black Horror. His substantive Bergman bite is the same as always, but this time the stylistic bark of horror leading up to it is a little bit louder and more piercing on its own. But thanks for including Bride, one of the greatest of all time. Jekyll and Mr. Both unnerving and excellent films.
This site uses Akismet to reduce spam. Learn how your comment data is processed. The Tingler The Tingler opens with a perfect statement of intent — director William Castle introducing himself and essentially telling us to be prepared for a jolly good fright and nothing more.
Carnival of Souls Carnival of Souls truly should not work — it is a profound mess of a film, a collection of poorly scripted and uneasily acted scenes that plays more like a middle-school stage production than a proper film.
Dead of Night One of the first anthology films, Dead of Night marries a stately British manor story with plenty of chilly, deadened spooks, some particularly stunning shadow-work aimed at capturing primal fear and psychoanalytic tension, and a small helping of light, cheery comedy, for a total that exceeds the sum of its considerable parts.
Pages: 1 2 3. Andrew lowry says: Reply October 20, at am. Ted Wolf says: Reply October 20, at am. Veronica Clarke says: Reply October 23, at pm. Jim Grant says: Reply October 24, at pm. Klaus Dannick says: Reply March 14, at pm. Coleman's Horror Noire offers a fascinating exploration of race in American culture through an examination of the roles Blacks played in front of and behind the camera in horror films from the s through the late s.
Coleman, who's a professor in both the department of Communication Studies and Afroamerican and African Studies at University of Michigan Ann Arbor, spends time upfront drawing the distinction between Black horror films and Blacks in horror films the former having a narrative focus that calls attention to racial identity, the latter being just what it sounds likethen does a brief overview of Agrat - Black Horror pres before launching into a more thorough and thematic decade-by-decade examination.
Her writing as she offers a mix of history, biography, filmography, and analysis is straightforward and lucid, avoiding the worse of academese except in quotes she's pulled from other works. The only issue I really had with Horror Noire was the author's very broad definition of what constituted "horror.
Other than that, my only other disappointment was that Coleman Agrat - Black Horror make use of what seemed like the world's most obvious jumping-off point, the opening scenes of Scream 2 where Jada Pinkett Smith and Omar Epps amid other deconstructions debate the role of blacks in horror movies.
But then, maybe it was too obvious? Aside from those minor quibbles, Horror Noire is an educational and entertaining look at an under-examined genre through a cultural lens we should use more often. But fair warning - expect it to treble your Brinkman - I Wish queue.
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