The current state of cult film historiography is perhaps best exemplified by the book . It’s just a pity that it’s rather clumsily written. This could have been a great book in the hands of Cinema of Obsession Greil Marcus or David Toop. Excellent is its selection of films and its four tier ontology, of which three are useful: the male gaze, the female gaze, the fugitive couple. The category titled romantic implosion is rather enigmatic.
Its main merit lies in the
thematic literary criticism, as it provides a useful contribution to the notion amour fou, mad love, sexual obsession, obsessive love and the war of the sexes.
brings L’Aventure hippie The Killing of America
“… a new breed of killer appeared …”
Above is the
Charles Whitman episode, in 1966 he was the first instance of the “ senseless killings” sniper variety.
Youtube has the whole film in parts at
Here is another interesting episode, the case of
“… three black snipers set fire to this hotel in dowtown New Orleans …”
( The Killing of America 1982) is an American documentary film tracing the origins of gratuitous violence in the United States. Directed by Sheldon Renan and narrated by Chuck Riley, the film was written by Leonard Schrader and his wife Chieko Schrader, with music by W. Michael Lewis and Mark Lindsay.
It featured notorious
multiple killers such as Tony Kiritsis, Ted Bundy, Mark Essex, David Berkowitz, Kenneth Bianchi, Mark Essex, Jim Jones, Charles Manson, Herbert Mullin and Charles Whitman.
(1765) by La Dormeuse Pierre Antoine Baudouin
Recent scholarship by
Sholem Stein has revealed that the protagonist reader in this painting by French artist Pierre Antoine Baudouin had been reading either Sinistrari d’Ameno‘s or Demoniality Or Incubi and Succubi Claude Le Petit‘s “ Apologie de Chausson.”
The woman reader was previously believed to have fallen asleep of boredom by reading Kant’s
, professor Stein now confirms that she probably died of excessive Observations on the Feeling of the Beautiful and Sublime lasciviousness.
I am the
This is my
death scene, I was not given a deathbed. I do not represent the most famous death scene. I am outdeathed by Jesus Christ who died on the cross and Jean-Paul Marat , both after me.
I seem to have been born in a
culture of death, yet I was not given any last words. This fascination with death in Western culture. Why? Why so pervasive?
Why did Jane write
? A Death-Scene
So I knew that he was dying-
Stooped, and raised his languid head;
Felt no breath, and heard no sighing,
So I knew that he was dead.
Why this fasicnation with
Why did Andy Warhol produce
? The Death and Disaster paintings
And why is every sensationalist corner of video-libraries around the world filled with copies of
? Faces of Death
Bonnie and Clyde
Why do we enjoy the
slow motion death of and countles other Bonnie and Clyde movie death scenes?
Aristotle, had I known him, would have answered me:
Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity: such as the forms of the most ignoble animals and of dead bodies. — Aristotle via the . Poetics
This entry was posted in
aesthetics, Carnography, crime, culture, death, docufiction, exploitation, grotesque, horror, irrationalism, juxtapoetry, transgression, violence, visual culture, voyeurism on . December 7, 2008