nummtheory.blogspot.com
NATURALISTIC! UNCANNY! MARVELOUS!A blog devoted to sorting out the phenomenology of film.
http://nummtheory.blogspot.com/
A blog devoted to sorting out the phenomenology of film.
http://nummtheory.blogspot.com/
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NATURALISTIC! UNCANNY! MARVELOUS! | nummtheory.blogspot.com Reviews
https://nummtheory.blogspot.com
A blog devoted to sorting out the phenomenology of film.
nummtheory.blogspot.com
NATURALISTIC! UNCANNY! MARVELOUS!: THE GIANT BEHEMOTH (1959)
http://nummtheory.blogspot.com/2014/03/the-giant-behemoth-1959.html
A blog devoted to sorting out the phenomenology of film. Friday, March 7, 2014. THE GIANT BEHEMOTH (1959). CAMPBELLIAN FUNCTIONS: *cosmological, sociological*. 1959's BEHEMOTH- THE SEA MONSTER, as the film was originally titled, was director Eugene Lourie's return to the giant-monster genre he helped birth in America, THE BEAST FROM 20,000 FATHOMS. Like BEAST and many films of similar stripe, BEHEMOTH avoids showing the monster in its earliest sequences. Subscribe to: Post Comments (Atom). Outre outfits ...
NATURALISTIC! UNCANNY! MARVELOUS!: PLANET OF THE APES (1968), BENEATH THE PLANET OF THE APES (1970)
http://nummtheory.blogspot.com/2012/02/planet-of-apes-1968-beneath-planet-of.html
A blog devoted to sorting out the phenomenology of film. Thursday, February 23, 2012. PLANET OF THE APES (1968), BENEATH THE PLANET OF THE APES (1970). MYTHICITY: (1) *good,* (2) poor. FRYEAN MYTHOS: *drama* [CORRECTION] *irony* (see ADDENDA). CAMPBELLIAN FUNCTIONS: *sociological,cosmological*. Yet it must be noted that PLANET addresses a theme common to the "giant mutant" films of the 1950s: the constant fear that mankind stands in danger of having its reign usurped, whether by giant ants (THEM! DALEKS-...
NATURALISTIC! UNCANNY! MARVELOUS!: KISS OF THE VAMPIRE (1963)
http://nummtheory.blogspot.com/2015/08/kiss-of-vampire-1963.html
A blog devoted to sorting out the phenomenology of film. Friday, August 7, 2015. KISS OF THE VAMPIRE (1963). CAMPBELLIAN FUNCTIONS: *cosmological, sociological*. KISS OF THE VAMPIRE wasn't by any means the last time Hammer tried to put out a vampire movie without Christopher Lee, but it was the last vamp-film for producer Anthony Hinds, who sat in the producer's chair for the film that started the company's mix of fangs and cleavage, HORROR OF DRACULA. Hinds had also helmed BRIDES OF DRACULA. You make va...
NATURALISTIC! UNCANNY! MARVELOUS!: FASTER, PUSSYCAT! KILL! KILL! (1965)
http://nummtheory.blogspot.com/2015/02/faster-pussycat-kill-kill-1965.html
A blog devoted to sorting out the phenomenology of film. Friday, February 27, 2015. CAMPBELLIAN FUNCTIONS: *psychological, sociological*. Aesthetically speaking, it might be for the best that on its initial release FASTER, PUSSYCAT! PUSSYCAT deserves a fuller exposition than I can devote to a single blog-post, but I'll confine myself to saying that the "mythic conflict" is that of women and men, a conflict as much redolent of violence as of sex, as the film's introductory voice-over makes clear:. While v...
NATURALISTIC! UNCANNY! MARVELOUS!: MYSTERY SQUADON (1933), ADVENTURES OF THE FLYING CADETS (1943)
http://nummtheory.blogspot.com/2015/05/mystery-squadon-1933-adventures-of.html
A blog devoted to sorting out the phenomenology of film. Monday, May 18, 2015. MYSTERY SQUADON (1933), ADVENTURES OF THE FLYING CADETS (1943). Here we have two aviation-oriented serials, separated by ten years, but they have in common only one metaphenomenal element: a masked mystery villain. The Black Ace also sports a few uncanny devices, such as a flamethrower mounted on his plane, and a few flash-grenades that he uses to blind his adversaries when he's cornered. In contrast, the only metaphenomenal e...
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NATURALISTIC! UNCANNY! MARVELOUS!
A blog devoted to sorting out the phenomenology of film. Monday, April 9, 2018. HOUSE OF WAX (1953), THE MAD MAGICIAN (1954). MYTHICITY: (1) *good,* (2) *fair*. There is a pain beyond pain, an agony so intense it shocks the mind into insane beauty.". It's a fine line, since it encapsulates the script's fascination with the double-sided nature of human entertainment: craving both the serenity of beauty and the kinetic impact of "shocks.". This time the director's chair is occupied by John Brahm, but there...
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