House of Psychotic Women (Paperback): An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films

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I Like Batsis presented in 1080p from a 2K scan of the only 35mm print known to exist. And well, that might give you a hint as to how good of shape the print was in. There’s some pretty noticeable damage that shows up infrequently, but the encode handles it all capably without detracting from how just how beautiful the film does look in high definition. Shadow definition is a bit limited because of the damage, yet that’s not due to any digital tinkering. This still looks good for what could have essentially been a lost film without this print being scanned. Nicoletta Elmi: Italian Horror’s Imp Ascendant — Video Essay By Film Scholars Alexandra Heller-Nicholas And Craig Martin In 2017 Janisse and producer Andy Starke of Rook Films pitched a television series based on the book at the Frontieres International Film Market. Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart – ‘the eccentric’ – the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play.

Kier-La Janisse - Wikipedia Kier-La Janisse - Wikipedia

The last disc once again starts off with an introduction by Kier-La Janisse. This one runs for nine minutes and covers Jane Arden's career, how Janisse came to know of the film, the film's depictions of psychiatry, her thoughts on the movie after seeing it for the first time going in blind, the stage play that Arden worked on that inspired the movie, how the movie is the only British film on record to have been directed by a woman in the seventies, the collaborative nature and energy in the movie, the use of LSD on set and what she's learned about the movie since including it in her book. Kier-La Janisse has written a very singular overview of horror films, her subset being those with a focus on female neurosis, and combined it with a sort of autobiographical account of her life. Aside from some jarring transitions between the personal material and the cinematic analysis, this works remarkably well. Janisse is a Canadian film programmer and her lifelong devotion to horror is jaw-dropping in its comprehensiveness. Horror is probably my favorite genre but she has seen and absorbed hundreds I’ve barely heard of, or not at all. The odd structure of the book works because it’s not about some trite “and this is how I got interested in horror”, but rather uses various horror cinema as clues to her own dark family history and psychology. I don’t say ‘dark’ lightly. The scariest things in this book aren’t about movies.Light on narrative but rife with unsettling depictions of insanity, the movie introduces us to a woman referred to as Meg The Peg (Sheila Allen, who will be recognizable to some as Number Fourteen on The Prisoner!) who suffers from schizophrenia. After a breakdown and a suicide attempt, she's put in an asylum located near a remote, rural village for psychiatric treatment and therapy. From here, we witness Meg's interactions with other inmates and witness various incidents and episodes all relating to madness and the exploitation of women.

Blue Eyes of the Broken Doll - Wikipedia Blue Eyes of the Broken Doll - Wikipedia

Bolkan is excellent in the lead. She looks great in the part and plays her role with an appropriate sense of confusion. We have no trouble accepting her as Alice, she’s a very good fit for the character. Nicolette Elmi and Peter McEnery are also very good. It’s also worth mentioning that Klaus Kinski has a small role as the astronaut in the Footprints On The Moon footage and Evelyn Steward has a brief supporting role in the film as a mysterious woman named Mary. Nilsen, Lars (April 2020). Warped and Faded: Weird Wednesday and the Birth of the American Genre Film Archive. Mondo. ISBN 978-1-7333336-2-7. French film legends Alain Delon (PURPLE NOON, LE SAMOURAÏ) and Annie Girardot (ROCCO AND HIS BROTHERS, THE PIANO TEACHER) star in the 1972 thriller fr... HOUSE OF PSYCHOTIC WOMEN is for the horror aficionado as well as the horror curious. Janisse weaves her own life into an intensely personal exploration of the genre, challenging the reader to reconsider the films in all of their complexity. I devoured this compelling, surprising, and moving book.”– Molly Ringwald, actress, singer and authorShe divides that fear into its yin and yang: “My fear is either that I’m insane and I don’t know it, or that everybody else is going to decide that I’m insane.” One of the new titles added is Steven Soderbergh’s paranoid thriller “Unsane,” in which Sawyer (Claire Foy) is committed to a mental hospital after being driven to desperation by a stalker. Martoccio, Angie (2019-10-02). "Harry Nilsson's Animated Film 'The Point!' Gets 50th Anniversary Digital Release". Rolling Stone . Retrieved 2021-06-19. Weekend Box Office Results: Five Nights at Freddy’s Scores Monster Opening Link to Weekend Box Office Results: Five Nights at Freddy’s Scores Monster Opening

House of Psychotic Women (1974) - ALL HORROR House of Psychotic Women (1974) - ALL HORROR

women, alucarda, diabel, carrie, la novia ensangrentada, femina ridens, let’s scare jessica to death. all these films bring me a deep sense of belonging, my own scarred psyche share something with these women - paranoia, desperate anxiety, apocalyptic hysteria; films that focus on the experience of being a woman and not being shamed for having such destructive emotions. i remember reading a blog post called “horror movies are one of the few places women are told their fears are real”, which it resonates deeply with me and the internalization of anxiety and guilt i sometimes feel for being a “crazy bitch.” and that’s where my personal appeal for extreme cinema comes from. In 2020, she began the podcast A Song From the Heart Beats the Devil Every Time, expanded from a proposed book project about cult kids film and television from 1965-1985. The podcast’s name is derived from the 1978 Nelvana Halloween special The Devil and Daniel Mouse, which is the subject of its first episode. Marnie; Born Innocent; Christiane F.; Streetwise; A Lizard in a Woman's Skin; Footprints; Nabi: The Butterfly; La nuit des traquées; Love Me Deadly; Nekromantik The movie is devoid of blood and there isn’t even much in the way of fang-bearing. Don’t go into this one expecting much of a horror movie, despite a few eerie moments, as you won’t get one. That said, those who can appreciate different takes on the vampire cliché and can appreciate a slow burn should find this wholly unique picture quite rewarding. Trance; May; The Collector; Out of the Blue; Don't Deliver Us from Evil; Alucarda; Cutting Moments; In My SkinIt all started with Possession. Zulawski’s film, formally speaking, is perfection – its deep blue hues, its labyrinthine locations, the hypnotic cinematography of Bruno Nuytten. But that’s not what drew me to return to it again and again. There was something terrible in that film, a desperation I recognized in myself, in my inability to communicate effectively, and the frustration that would lead to despair, anger and hysteria.” It isn't long before Izabela starts to fall for Jung, who, along with his associates, is perplexed by Izabela's condition and x-ray results. In his column in Gorezone #32, Tim Lucas called it “A groundbreaking book,” continuing to say that: “This is a rare work within the field, one that takes an almost novelistic leap of imagination in determining and recording its subject and collating its parts. The personal chapters are fascinating and harrowing, showing gifts for autobiographic writing not commonly found among film critics. Janisse proves an equally adept critic; her selection of films reveals a remarkably thorough immersion in her subject. She also deserves points for confronting the question about the subtle scars that we may invite by turning to such films for entertainment.”