The Projector A Journal on Film Media and Culture

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Introduction,Mark Bernard, Eat Shit and Die Coprophagia and Fimetic Force in Tom Six s The Human. Centipede First Sequence and The Human Centipede II Full Sequence. Delores B Phillips,Taboo and Truth in Cannibal Holocaust. Jennifer Brown, You Are Who You Eat Cannibalism As A Symbol Of Family Breakdown In. The Horror Film,Peter Cullen,Forum on American Cinema. Kelly McAndrews,Ryan Featherston,Nick Puhala,Jake Savage.
Skye McCullough,Introduction,And the Food Was Terrible Food in the Horror Film. Mark Bernard,Introductions and Appetizers, It is my pleasure to welcome everyone to the fall 2013 edition of The Projector As with. our previous issue this edition of The Projector spotlights scholarship on food and film While. our previous issue featured articles on representations of food in films ranging from Blackmail. Hitchcock 1929 to Ratatouille Bird and Pinkava 2007 this edition is more focused looking. specifically at representations of food and eating in horror films. At first food films and horror films seem like an odd match However connections. between these two bodies of films become clearer when one notices how monsters in the horror. film often terrorize their victims by threatening to consume them in other words to turn human. beings into food and drink Cannibalistic ghouls ranging from inhuman flesh eating zombies. to all too human fiends like Leatherface and Hannibal Lector want to dine on their victims. flesh Dracula and his vampire kin are out to drink their victims blood Monstrous consumption. in horror film is sometimes less obvious For example Barbara Creed has written extensively. about how horror films often feature monstrous women whose all consuming insatiable. appetites not only make them horrifying but also make them a threat to civilization at large. Indeed questions about what it means to be civilized are often at issue in food films. and horror films which are preoccupied with both the maintenance and violation of taboos In. food films taboos encompass both the banal proper table manners appropriate meal times the. right choice of dining locations and partners etc and the bizarre the consumption of. disgusting improper food product such as feces and other human beings Similarly horror. films trade heavily in breaking taboos Ernest Mathijs and Jamie Sexton observe that critics and. horror fans bestow the label of cult upon horror films that focus on breaking taboos as a. central element 195 A reoccurring element in these boundary violating cult horror films is. cannibalism the ultimate food taboo For instance the infamous list of video nasties films that. were banned in the UK in the early 1980s is replete with titles in which cannibalism. predominates Deep River Savages Lenzi 1972 Cannibal Holocaust Deodato 1979 and. Cannibal Ferox Lenzi 1981 One of these titles Anthropophagus D Amato 1980 became. one of the most notorious of the nasties due to a scene in which a brutally insane and depraved. cannibal George Eastman rips a fetus from the stomach of a pregnant woman Serena Grandi. and ravenously consumes the tiny carcass Mathijs and Sexton 199 So powerful and repulsive. was the film s violation of taboo that some moral campaigners believed the scene was real and. accused Anthropophagus of being a snuff movie Slater 124. The Main Course, Mathijs and Sexton argue that the more radical a horror film s depictions of bodily harm. the more likely it is to attract a cultist audience and be labeled cult 195 but as the above. examples indicate the radical savagery to which the human body is subjected in these films often. relates directly to the notion of eating and consumption Such is the case with recent films. Human Centipede First Sequence Six 2009 and Human Centipede II Full Sequence Six. 2011 Six s films caused a popular culture sensation with their over the top and intentionally. gratuitous scenes of violence torture and mutilation Both films feature demented individuals. attempting to create human centipedes an organism made up of a chain of human beings sewn. together anus to mouth Amidst all the cutting slicing and stitching of human flesh what. perhaps causes audiences to become truly queasy has to do with consumption the man made. human centipede shares a digestive system so what is consumed by the first person in the. centipede is digested and shat into the mouth of the next human unit. Our first peer reviewed essay written by Delores B Phillips examines this revolting. element of the Human Centipede films Renaissance toxicologist Paracelsus is credited with the. axiom In the shit the gold While the attribution of this quotation may be up for debate what. is not debatable is that Phillips s reading of coprophagia that is the consumption of feces in. the Human Centipede films dives into the gore and shit of the films and resurfaces with an. illuminating reading connecting the films to larger cultural trends Her essay Eat Shit and Die. Coprophagia and Fimetic Force in Tom Six s Human Centipede First Sequence and Human. Centipede II Full Sequence explores how the human centipedes shit eating in these films is. metaphoric for how information travels from circuit to circuit and node to node via tweets and. memes in our digitally networked culture Thus the films outline the contours of a consumer. based excremental posthumanism Phillips s argument grows even more interesting when. considering the new media fueled reception contexts of the Human Centipede films which are. distributed by IFC Midnight the Independent Film Channel s genre distribution arm and. encounter a majority of their audiences via Video on Demand VOD release which is. simultaneous with their limited theatrical release. Consumption ranging from corporeal consumption like cannibalism to media. consumption and our culture s seemingly insatiable appetitive for violence and carnage is. explored in our second peer reviewed essay which examines an earlier taboo breaking film the. aforementioned video nasty Cannibal Holocaust Over the past several years Ruggero. Deodato s gruesome faux mondo shockumentary has gone from being relegated to the margins. of cinematic culture to occupying a central place in many academic examinations of how horror. films can question core cultural beliefs and values Many effective cult horror movies about. cannibalism demonstrate how uses and practices of the mode of consuming the human body can. be widened to include self consumption media consumption and capitalist consumption. Mathijs and Sexton 200 and Cannibal Holocaust epitomizes this approach In the film the. audience finds not only flesh hungry native people in the jungle waiting to consume white. Westerners but also denizens of the civilized world hungry for sensationalist footage produced. by a unit of ruthless American documentary crew who will do anything including rape torture. and murder to obtain tantalizing footage Ironically their quest to produce films for American. consumption leads to the crew being consumed by cannibals as their cameras capture the entire. grisly scene Jennifer Brown s essay Taboo and Truth in Cannibal Holocaust acknowledges. the radical potential of Deodato s film by exploring how Deodato uses cannibalism amidst a. plethora of shocking taboos to question the idea of Western greed By extension Brown finds. that the film also question s notions of public truth audience demands media credibility and. the objectification of the subject Not bad for a film that was once banned for being exploitative. Our third and final peer reviewed essay of this issue Peter Cullen s You Are Who You. Eat Cannibalism as a Symbol of Family Breakdown in the Horror Film offers an overview of. how cannibalism figures into a handful of better known more canonical horror films Blood. Feast Lewis 1963 Night of the Living Dead Romero 1968 The Texas Chain Saw Massacre. Hooper 1974 and The Hills Have Eyes Craven 1977 Cullen focuses on the different. variations of the family meal that appear in these films and how these filmmakers make family. meals uncanny by inserting cannibalism into the proceedings According to Cullen tracing how. cannibalism is thematically employed in these films allows one to see how these films document. the disintegration of the image of the traditional family unit a trajectory that had already begun. in the 1950s and early 1960s but was accelerated by the disillusionment of the Vietnam War and. Watergate Focusing on food gives us a fresh perspective on the meaning making processes of. these well known films, The three peer reviewed essays collected here show the value of examining. representations of food not only in horror films but also in films that are not generally. considered food films This approach reflects the spirit of Appetites and Anxieties Food Film. and the Politics of Representation written by Cynthia Baron Diane Carson and myself and. published by Wayne State University Press in December 2013 We venture outside of the food. film genre to look at foodways representations ranging from Classical Hollywood fare by John. Ford and Alfred Hitchcock to Third Cinema from food films like Bagdad Cafe Adlon 1987. to cult classics like Repo Man Cox 1984 and from horror films like the aforementioned. Cannibal Holocaust and The Texas Chain Saw Massacre to food documentaries like King Corn. Woolf 2007 and Food Inc Kenner 2009 Please see the ad for Appetites and Anxieties. elsewhere in this edition of The Projector for information on ordering a copy. What is a meal without a tasty dessert This edition of The Projector finishes with a treat. a group of five essays on American cinema written by undergraduate film students at Bowling. Green State University The topics covered are wide ranging there are essays on Charlie. Chaplin Universal monster movies the Roger Corman produced drive in favorite Rock n Roll. High School Arkush 1979 Christopher Nolan and Todd Solondz We include this work here. for a few reasons For students in film production many college campuses hold regular film. festivals to showcase student films and videos However there are seldom any corresponding. showcases for the equally important work of film studies scholars We hope to provide such a. venue here at The Projector to emphasize the continuing importance of the academic exploration. of film something that needs defending in the face of recent draconian cuts to the humanities. departments of colleges and universities Critical analysis must be kept alive and the student. work here shows that there are undergraduate film studies students up to the task. Works Cited, Mathijs Ernest and Jamie Sexton Cult Cinema An Introduction Malden MA Wiley.
Blackwell 2011 Print, Slater Jay Review of Anthropophagus the Beast Eaten Alive Italian Cannibal and Zombie. Movies Ed Jay Slater London Plexus 2006 124 27,Eat Shit and Die. Coprophagia and Fimetic Force in Tom Six s The Human Centipede First Sequence and. The Human Centipede II Full Sequence,Delores B Phillips. Shit is power According to David Inglis faecal matters are always inherently political. in character 207 Feces has rhetorical force it constitutes a powerful linguistic weapon a. tapping into what Inglis calls the toiletry habitus to abuse others as the meanings that people. attach to the management of their excreta shift over time yet never fail in their basic features of. segregating the powerful from the powerless Who gets to shit and who must endure being shat. on or called shit are basic universally recognized tropes in the arbitration of power Indeed. telling someone to eat shit and die levels at an adversary one of the most potent insults in. It is the horror of bodily and excretory hypermanagement and the punitive power of. humiliation that shapes Tom Six s The Human Centipede series use of coprophagy as the key. tool of torment in the two films The Human Centipede First Sequence and The Human. Centipede II Full Sequence join a body of films and novels in which people eat excrement to. include Pier Pasolini s Sal 120 Days of Sodom 1975 and Marco Ferreri s La Grande Bouffe. The Great Feast 1973 1 Unlike these films The Human Centipede franchise does not strike a. posture against capitalism and excess indeed as I discuss below Six s films are complicit in the. forces that coprophagia critiques in other venues Although The Human Centipede First. Sequence 2009 uses the figure of Dr Heiter Dieter Laser to represent fascism and its interest. in human experimentation and while The Human Centipede II Full Sequence 2011 may. constitute a weak cautionary against copycat killing the films themselves largely lack sustained. meaningful social commentary preferring to wallow in their own spectacular filthiness as Tom. Six undertakes an experiment very similar to Dr Heiter s the creation of a glorious monstrosity. unique in horror cinema The Human Centipede examines the operations of the horror genre. redistributing their force by introducing a new axis of power one that violates the body not by. hacking it into lifeless pieces but by joining it with others and forcing it to eat waste and then. by offering the end product to the mass consumption of an eager audience already gorged on. televised excrement and coprophilic memes yet still hungry for something new. This essay will examine the logic of coprophagy in Tom Six s The Human Centipede. First Sequence and The Human Centipede II Full Sequence as it operates along two sepa. The Projector A Journal on Film Media and Culture Fall 2013 Issue Vol 13 no 2 And the Food Was Terrible Food in the Horror Film Editor Cynthia Baron Associate Editor Rosalind Sibielski Special Issue Guest Editor Mark Bernard Contents Introduction Mark Bernard Eat Shit and Die Coprophagia and Fimetic Force in Tom Six s The Human Centipede First Sequence and The Human

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