- 3 months ago
Στη Χώρα των Θαυμάτων: Γκόθικ (Wonderland: Gothic)
2023 | Επ. 3/4 | HD
Η σειρά ντοκιμαντέρ καλύπτει το φαινόμενο του "Gothic" – ένα καλλιτεχνικό ρεύμα που εμφανίζεται σε μυθιστορήματα, ποίηση, ζωγραφική και ταινίες και απεικονίζει την παράξενη, συναισθηματική και μερικές φορές φρικτή ανθρώπινη εσωτερική ζωή. Το "Gothic" εμφανίζεται με αξιοσημείωτες και ποικίλες αισθητικές μορφές από το 1780 μέχρι σήμερα, με έργα τόσο διαφορετικά όπως ο Δράκουλας, τα Ανεμοδαρμένα Ύψη, το Το Σκυλί των Μπάσκερβιλ, η Νύχτα των Ζωντανών Νεκρών και οι εξαιρετικοί πίνακες του Κάσπαρ Ντάβιντ Φρίντριχ.
Το επεισόδιο ξεκινάει καλύπτοντας τα έργα της Άντζελα Κάρτερ και της Χίλαρι Μαντέλ. Αναφέρεται η βραβευθείσα με Νόμπελ «Αγαπημένη» της Τόνι Μόρισον, μαζί με την τρομερή περιγραφή της δουλείας και των στοιχειωμάτων της. Συνεχίζει με την έκφραση της αίσθησης του «άλλου» στο γοτθικό στοιχείο, ιδίως στο μαύρο γοτθικό. Με παραδείγματα που ποικίλουν από τον «Αόρατο Άνθρωπο» του Ραλφ Έλισον μέχρι την επιτυχημένη ταινία «Τρέξε!» του Τζόρνταν Πιλ. Εισάγεται η ιδέα του «γκόθικ ξένου» με την εξέταση του «Κοριτσιού με το Τατουάζ» του Στιγκ Λάρσον και το εκτενές έργο του Στίβεν Κινγκ. Εξερευνάται περαιτέρω το έργο της Ανν Ράις με την προτροπή «Να είσαι καλοσυνάτος […] Πάντα, αν έχεις την επιλογή, να είσαι καλοσυνάτος». Το τελευταίο μέρος του επεισοδίου βασίζεται στη συζήτηση για τις γοτθικές ταινίες. Ξεκινάει καλύπτοντας τα πρώτα γκόθικ έργα, μαζί με τον «Δράκουλα» και τον «Φρανκενστάιν», και έπειτα προχωράει στην εξέταση των έργων του Τζέιμς Γουέιλ, της Hammer Films, του Τζορτζ Ρομέρο, του Τιμ Μπάρτον, του Γκιγιέρμο ντελ Τόρο, του Τζόρνταν Πιλ, και τις μεμονωμένες ταινίες «Αίμα και Πάθος», «Μόνο οι Εραστές Μένουν Ζωντανοί» και άλλες.
2023 | Επ. 3/4 | HD
Η σειρά ντοκιμαντέρ καλύπτει το φαινόμενο του "Gothic" – ένα καλλιτεχνικό ρεύμα που εμφανίζεται σε μυθιστορήματα, ποίηση, ζωγραφική και ταινίες και απεικονίζει την παράξενη, συναισθηματική και μερικές φορές φρικτή ανθρώπινη εσωτερική ζωή. Το "Gothic" εμφανίζεται με αξιοσημείωτες και ποικίλες αισθητικές μορφές από το 1780 μέχρι σήμερα, με έργα τόσο διαφορετικά όπως ο Δράκουλας, τα Ανεμοδαρμένα Ύψη, το Το Σκυλί των Μπάσκερβιλ, η Νύχτα των Ζωντανών Νεκρών και οι εξαιρετικοί πίνακες του Κάσπαρ Ντάβιντ Φρίντριχ.
Το επεισόδιο ξεκινάει καλύπτοντας τα έργα της Άντζελα Κάρτερ και της Χίλαρι Μαντέλ. Αναφέρεται η βραβευθείσα με Νόμπελ «Αγαπημένη» της Τόνι Μόρισον, μαζί με την τρομερή περιγραφή της δουλείας και των στοιχειωμάτων της. Συνεχίζει με την έκφραση της αίσθησης του «άλλου» στο γοτθικό στοιχείο, ιδίως στο μαύρο γοτθικό. Με παραδείγματα που ποικίλουν από τον «Αόρατο Άνθρωπο» του Ραλφ Έλισον μέχρι την επιτυχημένη ταινία «Τρέξε!» του Τζόρνταν Πιλ. Εισάγεται η ιδέα του «γκόθικ ξένου» με την εξέταση του «Κοριτσιού με το Τατουάζ» του Στιγκ Λάρσον και το εκτενές έργο του Στίβεν Κινγκ. Εξερευνάται περαιτέρω το έργο της Ανν Ράις με την προτροπή «Να είσαι καλοσυνάτος […] Πάντα, αν έχεις την επιλογή, να είσαι καλοσυνάτος». Το τελευταίο μέρος του επεισοδίου βασίζεται στη συζήτηση για τις γοτθικές ταινίες. Ξεκινάει καλύπτοντας τα πρώτα γκόθικ έργα, μαζί με τον «Δράκουλα» και τον «Φρανκενστάιν», και έπειτα προχωράει στην εξέταση των έργων του Τζέιμς Γουέιλ, της Hammer Films, του Τζορτζ Ρομέρο, του Τιμ Μπάρτον, του Γκιγιέρμο ντελ Τόρο, του Τζόρνταν Πιλ, και τις μεμονωμένες ταινίες «Αίμα και Πάθος», «Μόνο οι Εραστές Μένουν Ζωντανοί» και άλλες.
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00:00Υπότιτλοι AUTHORWAVE
00:02The wonderland of Gothic
00:04has never been more popular than at the present
00:07with a range of expression in fiction, poetry, painting and film
00:11that portrays the strange, emotional
00:14and sometimes horrific human inner life
00:17we all share, called Gothic.
00:30I'd always been fond of Poe and Hoffman
00:36Gothic tales, cruel tales
00:39tales of wonder, tales of terror
00:42fabulous narratives
00:44that deal directly with the imagery of the unconscious
00:47mirrors, the externalised self
00:50forsaken castles, haunted forests
00:53forbidden sexual objects
00:56Angela Carter's novels and short stories
00:59I'm thinking especially of The Passion of New Eve
01:02and The Bloody Chamber
01:04are, to a very large extent
01:07retellings of myths, legends
01:11and especially fairy stories
01:14from the position of empowered women and girls
01:18Angela Carter's book
01:20The Bloody Chamber and Other Stories
01:22which contains a story called The Company of Wolves
01:25which she then collaborated with Neil Jordan
01:27to make into a movie
01:29that film touches I think
01:31on another great fairy story
01:33short and sweet
01:35the story of Red Riding Hood
01:37The thin muslin went flaring up the chimney
01:42like a magic bird
01:44and now off came her skirt
01:47her woollen stockings
01:48her shoes
01:50and they onto the fire they went too
01:53and were gone for good
01:55the firelight shone through the edges of her skin
02:00now she was clothed only in her untouched integument of flesh
02:06thus dazzling naked
02:12she combed out her hair with her fingers
02:15her hair looked white as the snow outside
02:18then went directly to the man with red eyes
02:23in whose unkempt mane the lice moved
02:27she stood up on tiptoe
02:29and unbuttoned the collar of his shirt
02:34what big arms you have
02:36all the better to hug you with
02:41every wolf in the world now howled the Prothalemion
02:44outside the window
02:46as she freely gave him the kiss she owed him
02:49what big teeth you have
02:52all the better to eat you with
02:54the girl burst out laughing
02:58she knew she was nobody's meat
03:01she laughed at him full in the face
03:05ripped off his shirt for him
03:08and flung it into the fire
03:10in the fiery wake of her own discarded clothing
03:14see
03:17sweet and sound she sleeps in Granny's bed
03:20between the paws of the tender wolf
03:25i think carter is extraordinary in her knowledge
03:31of those old fairy stories
03:33in her ability to retell them to us
03:37at the same time to change them utterly
03:39so they're coming at us from a feminist perspective
03:43she suffered from nightmares
03:47too terrible to reveal to him
03:51especially since he himself
03:53was often the principal actor in them
03:56and appeared in many hideous dream disguises
04:00sometimes during the day she stopped
04:02startled
04:04before some familiar object
04:06because it seemed to have just changed its form back
04:09to the one she remembered
04:12after a brief private period
04:14in personating something quite strange
04:17for she had the capacity
04:18for changing the appearance of the real world
04:21which is the price paid by those
04:23who take too subjective a view of it
04:26all she apprehended through her senses
04:30she took only as objects for interpretation
04:33in the expressionist style
04:35and she saw in everyday things
04:37a world of mythic
04:39fearful shapes
04:41Hilary Mantel
04:44a writer with a long-standing interest
04:50in gothic forms
04:53is in ways unlike Conan Doyle
04:57nevertheless always engaged
05:00with that flickering interface
05:03between the world of the living
05:05and the world of the dead
05:07these dead women
05:14transmigrated
05:16their bones long sunk in London clay
05:20are now transmigrated
05:25weightless they glide on the upper currents of the air
05:30they pity no one
05:32they answer to no one
05:37in Mantel's historical novels
05:41and she will now chiefly be remembered
05:44for the trilogy
05:45dealing with the life of Thomas Cromwell
05:48we constantly find her thinking about
05:52how memory
05:54our shared past
05:55how history
05:57how the continuing influence
06:00of the dead
06:01reaches forward
06:02into the lives
06:04that she is describing
06:05so vividly
06:06in this historical novel
06:09Henry is haunted
06:11by the spectre
06:12of his dead brother Arthur
06:14he was so sad
06:16he's come back to make me ashamed
06:21for taking his kingdom
06:24using his wife
06:27Cromwell's life
06:29is shaped by his father
06:32by Wolsey
06:34this persistent ghost
06:37within his life
06:39the ghosts of his dead wife
06:42his daughters
06:44they slide through the pages
06:47of this historical novel
06:50in a way that seems to me
06:52characteristic of
06:53the way in which
06:54her imagination works
06:56throughout her life
07:19Hilary Mantel suffered from a severe form of endometriosis
07:23a disease of the female reproductive system
07:26which left her unable to have children
07:28and with a lifetime of chronic
07:30and debilitating pain
07:32we do know Henry was in chronic pain
07:34I know what that does
07:37to degrade the personality
07:39to detract from rationality
07:42I think I can write about this well
07:44I don't think it's quite as mysterious
07:46as people would believe
07:48if you understand what long-term pain does
07:52both to the body and the mind
07:55Mantel turned the traditions of the Gothic
07:59into a way of thinking about
08:03how a woman who has been
08:07almost deformed
08:09by the nature of experiences in childhood
08:13can find ways of creating
08:16a different identity for herself
08:20she never loses that powerful sense
08:24of a world other than this one
08:26that shapes our world
08:29In the sky he senses movement
08:34a shadow falls across his view
08:37his father Walter is there
08:40voiced in the air
08:43so now get up
08:46he lies broken on the cobbles
08:48of the yard of the house
08:49where he was born
08:51so now get up
08:55so now get up
08:59Black Gothic has become
09:03more widely recognized across Western culture
09:06in part because of the work of people
09:08like Toni Morrison
09:09and Jasmine Ward
09:11Marcy Conde
09:12and of course filmmakers like Jordan Peele
09:15The best thing she was
09:18was her children
09:20whites might dirty her all right
09:23but not her best thing
09:25her beautiful
09:27magical best thing
09:29the part of her that was clean
09:31no undreamable dreams
09:34about whether the headless
09:36feetless torso
09:37hanging in the tree
09:38with a sign on it
09:39was her husband
09:41or Paul A
09:43whether the bubbling
09:44hot girls
09:45in the colored school fire
09:46set by patriots
09:48included her daughter
09:49whether a gang of whites
09:51invaded her daughter's private parts
09:54soiled her daughter's thighs
09:56and threw her daughter out of the wagon
09:58she might have to work the slaughterhouse yard
10:02but not her daughter
10:04and no one
10:06nobody on this earth
10:08would list her daughter's characteristics
10:10on the animals side of the paper
10:12when I talk about black diaspora literature
10:18I'm talking about the literature of African descendant populations
10:22that are no longer in Africa
10:24of people that are now in the Caribbean
10:26in the United States
10:27in the UK
10:29people that have been
10:30as a consequence of the transatlantic slave trade
10:33dispersed all around the world
10:35but also as a consequence of the colonial adventures that followed
10:39I am an invisible man
10:46no, I'm not a spook like those who haunted Edgar Allan Poe
10:52nor am I one of your Hollywood movie Ectoplasms
10:55I am a man of substance
10:57of flesh and bone
10:59fibre and liquids
11:01and I might even be said to possess a mind
11:05I am invisible, understand?
11:08simply because people refuse to see me
11:17Remarkable for his great success Invisible Man
11:21Ralph Ellison poignantly deals with the invisibility of the black self
11:25in a world that is blind and uncomprehending
11:28He's representing in a novelistic form
11:34W.E.B. Du Bois' idea of double consciousness
11:37the extent to which people of colour are never seen
11:40because we're seen first as a racial other
11:43and that otherness has all these preconceived definitions
11:47histories attached to it
11:50so that when I appear before people
11:53what they see first is my brown skin
11:56and they begin to make assumptions about who I am
12:00based on that skin colour
12:02without knowing me
12:04without ever
12:05Ellison would argue
12:06and so would Du Bois argue
12:07ever really getting to know me
12:09because those preconceptions
12:11always present a veil in front of my face
12:14which obscures it
12:15the question is
12:17is how opaque is that veil?
12:21Then in my mind's eye
12:23I see the bronze statue of the college founder
12:26the cold father symbol
12:28his hands outstretched
12:30in the breathtaking gesture
12:31of lifting a veil that flutters in hard
12:34metallic folds above the face of a kneeling slave
12:37and I am standing puzzled
12:40unable to decide whether the veil is really being lifted
12:44or lowered more firmly in place
12:47What's important about thinking about the metaphor of the veil
12:52and we get this also at the beginning of Ellison
12:54is that it not just warps the ability of people
12:58from without to see the subject
13:01it also warps the subject's view of the world
13:06How do you exist in this culture
13:10which on the one hand to acknowledge that you're African American
13:13is then to accept that you're lesser
13:17but to try to occupy a middle class position
13:20seemed to mean assimilating into whiteness
13:23which was also given to oppressing blackness
13:26How do you exist as this creature
13:30in the mid 20th century?
13:33We should acknowledge that Toni Morrison and Alice Walker
13:37refuse to be termed Gothic
13:40because Morrison said what she's talking about
13:42isn't some imagined horror
13:44she's talking about real life
13:46and so that in of itself brought attention
13:49important attention to the real Gothic
13:52that is racial existence and oppression in Western countries
13:57this is what inaugurated the first wave of Black Lives Matter
14:06the recording of this violence on phones
14:10to be shared around the globe
14:13and the ways in which this persistent recording on personal phones
14:19has made it impossible to ignore the violence
14:24the horror is both the violence itself
14:28and the recognition that some will watch that violence and be entertained
14:34Eric Garner, Michael Brown, George Floyd being murdered and crying out for help
14:42and we would watch and re-watch and re-watch
14:46and not feel horrified
14:49The ghost is still out there
14:55she's waiting for you to forget to return
14:58because the moment you forget
15:00the moment you rest is when the nightmare returns
15:03the work we have to do is find a way to end its haunting
15:11and we have to find a way to do it correctly
15:14or we're going to be repeating this Gothic nightmare in another generation
15:25How are we going to create a world in which there is room for difference?
15:32How are we going to create a world in which there is room for the individual?
15:38For the non-conformist?
15:41Speaking from my own experience as somebody who was grappling with my sexual identity
15:4760 years ago as a young man
15:50I would say yes, I certainly felt an outsider certainly then
15:55I don't know how I would feel now if I was that age in the world we live in now
15:59but I certainly felt an outsider then
16:02I am reminded of the awful events
16:06which Simon Armitage wrote such a moving book of poems about some years ago
16:12where two young people in the north of England were attacked
16:16just because they wore goth clothing
16:20a gang of five teenagers first turned on Robert Maltby
16:26Sophie's boyfriend seen here at her funeral
16:29the jury heard she was cradling his head in her lap
16:32when the group set on her like a pack of wild animals
16:36the couple were attacked simply because they were goths
16:39Sophie never recovered consciousness dying a fortnight later
16:43in a terrible way that rather fulfills the fears of being different
16:55Gothic patrols that boundary between the human and the non-human
17:04I shed the mask till I ran naked
17:07I became in my mind an animal in truth
17:11no longer not a monster
17:13a wondrous undiscovered species
17:17The upsurge of interest in Gothic forms
17:24particularly among young people
17:26that does reflect a need for finding ways of responding to changes
17:35that seem oppressive
17:37or simply changes that are hard to fully comprehend
17:46One of the major developments in this century
17:52starting a bit before that
17:54is the development of a whole genre
17:57which in bookshops is not referred to as Gothic
18:00it's referred to as dark romance
18:02and it's essentially geared towards young adult readers
18:07and I think that does underline
18:11a focus on specifically adolescent alienation
18:17a disjunction between the inner world and the outer world
18:24we've all known it
18:25well I've known it
18:26when I was an adolescent
18:27I used to believe that I was a beautiful soul
18:30encapsulated in a rather horrible body
18:32and that nobody else could see inside my body
18:35to see the beautiful me that was me
18:42If you're going to be a successful young American woman
18:45your smile must never leave your face
18:48it's a minor but rather telling form
18:51of cultural resistance
18:53the refusal to smile
18:55and one of course shared by many young teenage Goths
18:59they don't smile
19:01they may be happy
19:03but they will not smile
19:05and the Gothic mode can accommodate
19:08these small resistances
19:10as a girl
19:15she was a legal prey
19:17especially if she was dressed in a worn black leather jacket
19:21and had pierced eyebrows
19:23tattoos
19:24and zero social status
19:29forms of the Gothic have been important
19:31in Scandinavian culture
19:33in recent years
19:35you see it particularly within
19:39Scandinavian crime fiction
19:42which does very often draw
19:44on the imaginative resources
19:46of the Gothic
19:50you can also see it
19:52in the very successful novels
19:55and then films
19:56from Stieg Larsson's
19:58The Girl with the Dragon Tattoo
20:00The Girl Who Kicked the Hornet's Nest
20:05those relate to forms of the Gothic
20:09An interesting example there it seems to me
20:13is the work of Stephen King
20:16King's work is always found on the shelves of horror
20:21while at the same time
20:23a lot of American critics go around lamenting
20:26the absence of the great American novel
20:29well I can tell you
20:31that the great American novel is here
20:33it's being written almost every year
20:35by Stephen King
20:36but because he's regarded as a Gothic writer
20:39he's hived off
20:41into a separate department as it were
20:43but in fact
20:44King's realist depictions
20:46of small town America
20:47are unsurpassed
20:49since the days of say Sherwood Anderson
20:52The overall impression
20:53is one of a town that is waiting to die
20:55it is not enough these days
20:58to say that Chamberlain will never be the same
21:00it may be close to the truth
21:03to say that Chamberlain will simply never again be
21:08all at once there was a huge red splash in the air
21:12some of it hit the mural
21:14and ran in long drips
21:16I knew right away
21:19even before it hit them
21:21that it was blood
21:23Stella Horan thought it was paint
21:28but I had a premonition
21:30just like the time my brother got hit by a haytruck
21:34they were drenched
21:36Carrie got it the worst
21:39she looked exactly like she had been dipped
21:41in a bucket of red paint
21:42she just sat there
21:44she never moved
21:46the band that was closest to the stage
21:50Josie and the Moonglows
21:52got splattered
21:53the lead guitarist had a white instrument
21:57and it splattered all over it
21:59I said
22:01my God
22:02that's blood
22:04that's blood
22:11the zombie has been seen
22:13much more as an image for
22:16some would say capitalism
22:18but I think perhaps consumerism
22:20is perhaps the better term
22:22I think of Stephen King's novel
22:26The Mist
22:27which has the unusual scenario
22:29of a supermarket
22:31rather than a castle
22:33convent
22:34abbey or monastery
22:35the protagonists are mostly stuck in a supermarket
22:37while the ghastly creatures were trolling outside
22:40but the question raised by that is
22:42who are the zombies?
22:44is it the monsters outside?
22:48or is it the supermarket customers inside?
22:51it's very unclear I think in King
23:01Anne Rice is one of the greatest exponents of contemporary Gothic fiction
23:05with further interest in erotic literature and Christian literature
23:09best known for her series of novels
23:12the vampire chronicles
23:15this first book became the major film
23:17interview with the vampire
23:19starring Brad Pitt and Tom Cruise
23:26but here's somebody who was acknowledging
23:29the power of that vampiric idea
23:33here you have two male characters
23:36who want to have a child
23:38you know which they do
23:41do you still want death?
23:44or have you tasted it enough?
23:46enough
23:48they adopt
23:49and then breed
23:50and groom
23:51into becoming a vampire
23:54in the spring of 1988
23:57I returned to New Orleans
23:59and as soon as I smelled the air
24:01I knew I was home
24:03it was rich
24:04almost sweet
24:06like the scent of jasmine and roses
24:08around our old courtyard
24:09I walked the streets
24:12savoring that long lost perfume
24:15the case of Anne Rice
24:25the case of Anne Rice I think is extremely interesting
24:28she put all the money she made from her novels
24:32into helping people, hospitals, clinics
24:37in her beloved home of New Orleans
24:40whereupon the whole thing
24:41was swept away
24:42by the terrible floods
24:44which encompassed New Orleans
24:46some years ago
24:47a truly gothic development
24:50be kind
24:52always if you have a choice
24:55be kind
24:56Gothic film can draw on collective fears
25:02of old folkloric symbols
25:07like that of the vampire
25:09to provide a mode of cultural criticism
25:15I shouldn't have brought you here
25:17I'm so sorry
25:18I shouldn't have brought you here
25:19I'm so sorry
25:20I shouldn't have brought you here
25:21I'm so sorry
25:22What?
25:23Just be quiet
25:24stand behind me
25:30And you can also see it
25:32in more centrally gothic focused films
25:37like for instance
25:39Let the Right One In
25:42the central character
25:44is a child who feels excluded
25:47The vampire allows the child
25:50to come to terms with those feelings
25:53with destructive consequences
26:08It is an eloquent example in film
26:11of the way in which the continuing vitality of the Gothic
26:17can compel audiences
26:20but also prompt them to think
26:24It's both hugely entertaining
26:27and also very thought provoking
26:30Oscar and Emmy award winner
26:34Jordan Peele
26:35wrote, produced, and directed
26:37the great commercial and critical success
26:40Get Out
26:41Where you at?
26:42Where are you?
26:43Nice to meet you Jordan
26:44There you are, hi
26:45I want to know how it feels to be a part
26:47of one of the most memorable times for black film
26:51Oh my god
26:52It's a renaissance
26:53Berlin
26:54With its four Academy Award nominations
26:57worldwide box office of nearly $300 million
27:00and a budget of just $4 million
27:03He's a director who could have easily produced genre fare
27:09None of his films quite fit a genre
27:12and yet he's telling very similar stories
27:15again and again
27:16about the value of representation
27:17for example
27:18for African Americans
27:19in a film like NOPE
27:20ostensibly a science fiction film
27:23but really very much
27:24a film about the history
27:26of African American representation in cinema
27:28It's not like what's been called
27:30black horror hadn't been made before
27:32Shooter!
27:34Some people came out of films like Us and NOPE
27:43saying that didn't quite work for me
27:45and I think that that's because those films are conceptual films
27:48you know they're more interested in their message than they are
27:51on whether they belong to a specific genre or another
27:56But I knew the moment I watched Get Out
27:58that I had watched a masterpiece
28:00because it worked narratively as a film
28:02it kept me on the edge of my seat the entire time
28:05but it worked also as a symbolic film
28:08as a film with a message
28:10Fucking hedge maze out here
28:16That opening scene is exemplary of real gothic
28:21What was that? Peacock?
28:23Oh, straight in
28:24Walking as a black subject
28:26through a wealthy white middle-class suburb
28:30I'm not alone
28:34because lord knows what will happen
28:42Okay
28:43It tapped into so many concerns
28:45about the objectification of African American bodies
28:48for example
28:49the type of white liberalism that is echoed in the film
28:52I would have voted for Obama for a third term
28:54as one of the characters say
28:58Do they know I'm...
28:59Do they know I'm black?
29:03No
29:06Shall they?
29:07It seems like
29:11something you might wanna, you know
29:15mention
29:17Mom and dad, my black boyfriend
29:21will be coming up this weekend
29:22and I just don't want you to be shocked
29:24that he's a black man
29:26We don't have to read the meaning
29:28into its construction of monstrosity
29:31It's right there
29:32in the shape of the script
29:33in the story that's being told
29:35The characters for example
29:36are African American
29:37and they're given
29:39central roles in the film
29:41They are dealing with the consequences
29:43of the heritage of slavery
29:46And so the monstrosity changes
29:48It stops being the reflection of a particular discourse
29:51and it becomes that discourse in action
29:54So you guys coming up from the city?
29:57Yeah, yeah
29:58My parents are from the Lake Ponico area
30:00We're just heading up there for the weekend
30:03Sir, can I see your license please?
30:05Wait, why?
30:06Yeah, I have state ID
30:08No, no, no
30:09He wasn't driving
30:10I didn't ask who was driving
30:12I asked to see his ID
30:13Yeah, why?
30:14That doesn't make any sense
30:15Here
30:16No, no, no
30:17Fuck that
30:18You don't have to give him your ID
30:19because you haven't done anything wrong
30:20Maybe they may, it's okay
30:21Come on
30:22Anytime there's an incident
30:23We have every right
30:24to ask
30:25That's bullshit
30:26Ma'am
30:28Well, Hollywood is paying more attention
30:34to horror, right?
30:36And to black gothic in particular
30:38But that's not to say
30:39it's not as powerful elsewhere, right?
30:42It's just
30:43the society itself
30:45is occupying quite a lot of attention
30:48at the moment
30:49I think the gothic channels
30:52the political unconscious actively
30:54I think it's difficult, for example
30:56to separate it from the wave of African American horror
31:00that we're seeing in the United States, for example
31:02where we see the police, you know, repurposed as the villains of the stories
31:07You know, Get Out ends with this moment of horror at the arrival of the police car
31:12The police are also the moment of horror at the end of Candyman, the Nia da Costa remake
31:19The ghost in Candyman is no longer the baddie
31:35He's channeling the spirit of the community, bringing others together
31:39He says at the end of the film, tell everyone
31:41You know, this is a film that has a political ending
31:44You know, it's political cinema
31:46There are already people talking about Trump Gothic
31:52Whatever that might mean for us
31:54The Gothic is a very ambivalent form
31:59in that it can be used for conservative purposes
32:03But I would argue that in contemporary times
32:06the Gothic is very much channeling the political unconscious
32:09A context that I know very well, for example, that of Spain
32:13The Gothic has become a language through which to speak about the Spanish Civil War
32:18Which is something that has been historically silenced since the 1970s
32:22And suddenly, you know, someone like Guillermo del Toro making The Devil's Backbone
32:26Pan's Labyrinth
32:28In literature, Carlos Ruiz Fafón's The Shadow of the Wind, for example
32:32A film like Painless from 2012
32:35All of these films use or utilise the Gothic language to talk about silences
32:42Social silences, to talk about politics
32:44To talk about those things that maybe aren't popular
32:48Conejos
32:50Captain, if my father says it
32:53Cazaba Conejos
33:05Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Cazaba Caz
33:35Δελ Ταρο είναι πραγματικότητας φιγωγή φυγης
33:40στην κοινωνική φιλματική.
33:41Ειναι πιθανόματι πανίς φυγης,
33:44και σημαντικά τίποτα φιλματικά,
33:46όπως «Ίπιναι Ιρήφα Βατή», και ακόμη.
33:49Ήρήφαν τον συγκεκριμένο του Ιατήρου,
33:52από τον Ιημού Γρησιμούς Νατμήρ Αλλήρ,
33:54που φιλούς στις πρωτοφαίες αλληλεσίες της γοθικής κομμάτιας
33:57της φιλματικής φιλότητας,
34:00και το φρεκοσό και εξπλωρήν την ποιότητα.
34:08Υπότιτλοι AUTHORWAVE, Υπότιτλοι AUTHORWAVE,
34:10και ο Ωραία και το παιδιόνι,
34:13γιατί ξεκίνησαν τα φραίωτης του χωρίου
34:18και πώς τα φραίωτης μπορεί να είναι μεταφράτερα και ανάπτυξη.
34:24Υπότιτλοι AUTHORWAVE
34:55The same for Jekyll and Hyde, the same for Frankenstein.
35:00The Gothic has become an inescapable way of reading culture.
35:05Frankenstein is studied in school, it's studied at university.
35:10The first film of Frankenstein
35:12has nothing really to do with the book as written by Mary Shelley.
35:17What was created instead was something so visceral
35:25that it's lingered and remains part of everybody's consciousness.
35:32Would you like one of my flowers?
35:33It's hard to know what it was that made this film so successful.
35:44Partly, I believe, it's the presence of James Whale.
35:49Whale's importance as a film director,
35:52I think rests almost entirely on the four great films that he made.
35:58And they're great for different reasons.
36:00Frankenstein, first of all, followed by The Old Dark House.
36:04and then The Invisible Man with Claude Rains
36:09and then The Bride of Frankenstein.
36:14Those four pictures, all of whom,
36:16though they're not all set in Gothic times,
36:18have a Gothic sensibility to them.
36:20He understood the important connection and combination
36:25between humour, macabre humour in particular,
36:29and horror,
36:29and created what's perhaps the blueprint now
36:32for horror filmmaking.
36:35What James Whale did was to bring to the screen
36:38a being that looked as though
36:40it was a botched-together human being.
36:44The work, by the way, of a great make-up artist,
36:47a man called Jack Pierce.
36:48And it is easy to forget
36:51how much hesitation there was
36:53around, for example, the filming of Frankenstein.
36:57Many people in Universal
36:58thought it was going to be potentially a terrible disaster,
37:01that it wasn't going to make money,
37:03that Dracula was a fluke
37:05that was not to be repeated.
37:08Whale then decided to cast,
37:11as the role of the creature,
37:13an actor who, a bit-part actor in Hollywood,
37:15who'd made a couple of films
37:17whose real name was William Henry Pratt,
37:20but whose assumed name was Boris Karloff.
37:26What Karloff brought,
37:27and it's hard to see anything of Karloff
37:29except his eyes under the make-up,
37:31but what he brought was this sense of despair,
37:36of confusion,
37:37so much so that we care about the monster,
37:40the creature.
37:43We understand.
37:45That's the extraordinary thing about Boris Karloff
37:48and James Whale's Frankenstein,
37:51is that the monstrous has greater humanity
37:54than the human beings who interact with him.
37:57and James Whale himself was very much an outsider.
38:03He was an openly gay man.
38:05He lived with his lover,
38:08and apparently, it seems,
38:11it was pretty much uncommented on in Hollywood, certainly.
38:14The legacy of Whale, we should remember,
38:18went on in Hollywood.
38:20And I'm not just talking about horror movies.
38:22Think, for example, of the opening shots of Citizen Kane,
38:26Orson Welles' great masterpiece.
38:37Hollywood Gothic is really created in these films,
38:42and the film of Dracula, as well, by Todd Browning,
38:45because these films shape what we think of
38:48as that Hollywood Gothic.
38:50There's a moment in The Bride of Frankenstein
38:52where Elsa Lanchester looks up
38:54and everything about the light catches her
38:57wherever her head turns.
38:59The Bride of Frankenstein.
39:04James Whale is so interesting
39:06because he's a man who came from very modest, poor origins.
39:10became an established theatre director,
39:14a renowned film director,
39:16a man who had the bravery, the courage,
39:19to be open about his sexuality.
39:22But he ended his life in a place of utter despair
39:26and committed suicide and drowned himself,
39:30although we didn't know that for a long while
39:33because the suicide note that he left
39:34was hidden and kept hidden from us.
39:37By the 1950s, Gothic cinema was in decay.
39:47There was an urgent need
39:48to make the genre modern and relevant.
39:51Step forward, Hammer films.
39:56Hammer's Dracula from 1958,
39:59it's all of the markers of what Hammer would do.
40:02Turn up the volume of the Gothic,
40:04to give it colour, give it blood.
40:08Count Dracula.
40:09I am Dracula and I welcome you to my house.
40:12And when the Count is introduced,
40:15it's again an aristocratic, solid Dracula,
40:18but moments later,
40:19maybe within the first ten minutes of the film,
40:22we have a full-on vampiric phase
40:24with blot-shed eyes, big fangs,
40:27blood around the mouth.
40:27It's a landmark moment.
40:43Gothic monsters would not be the same.
40:45We have people hacking each other to bits by 1966.
40:49The 1960s is, again, a turning point
40:52in terms of Gothic representation.
40:54I think it's 1968
40:56that the regulations start to lessen
41:00in terms of what you can show on screen,
41:02the amount of nudity you can get away with.
41:05We go from very low décolletages
41:08to full nudity
41:09by the time we get to 1970
41:11and The Vampire Lovers.
41:12Much of the reason why horror has been maligned
41:22since that period in time,
41:24especially in the 1990s, 1980s,
41:27is that there was that connection
41:28that Gothic horror was inherently transgressive,
41:31was inherently maybe a little bit too sexy,
41:34maybe too violent.
41:35What we also have rising out of the 60s
41:37is one of our first and most popular racial horror films,
41:40which ends with a lynching, essentially,
41:48of the only black survivor of the house.
41:51All right, Vince, hit him in the head,
41:53right between the eyes.
41:57Good shot.
41:59Okay, he's dead.
42:00Let's go get him.
42:01That's another one for the fire.
42:03George Romero was a very significant
42:05and important director,
42:06not just because he symbolised
42:08the rise of the independent horror filmmaker
42:12that was so typical of the 60s and the 70s,
42:14but he also gave us brain-eating zombies,
42:18which hadn't quite existed before
42:20and has become the main model, really,
42:23for the zombie.
42:24So we have him to thank for that.
42:30And therefore, all of the connections
42:32between that zombie and what it represents
42:34in the 1970s with Dawn of the Dead,
42:37you know, it's no surprise the zombies
42:39are walking around a shopping mall.
42:42They are becoming a representation
42:45for something else,
42:47hapless consumerism.
42:48But I think more generally,
42:50he could be tasked with the role
42:52of having popularised
42:53a certain type of cinema
42:55that was perhaps more grunge by that point,
42:57what we might call gore cinema
42:58or splatter movies.
43:02I think the Gothic cannot help
43:04but deal with violence
43:05because it is concerned
43:06with the dark side of culture.
43:08So it is always digging out
43:10for the macabre,
43:11that which we don't want to talk about,
43:13the repressed.
43:14It's no surprise
43:15that a lot of these directors
43:17who are using violence
43:19are very political too.
43:21By the 1980s,
43:23there is what we might call
43:24a postmodern fragmentation
43:26of the Gothic.
43:29By the time we get to Tim Burton
43:30and Guillermo del Toro,
43:31it's completely almost disentangled
43:33from that history.
43:35It's impossible to think of
43:37Betelgeuse, for example,
43:39Edward Scissorhands
43:40without that shift away from the Gothic
43:43as inherent Markwarov fear.
43:47Here we are.
43:53You don't have to have seen Frankenstein
43:55to understand Edward Scissorhands,
43:57but it's clearly based
43:59on the same myth and idea
44:00of the social outcast
44:02trying to join society,
44:04not quite making it,
44:05and then spat out
44:07at the end of the story.
44:09This is the living room
44:10and back here are the bedrooms.
44:12You want to see the pictures?
44:14All right.
44:16Well, this is my husband, Bill.
44:18He's a bowling champion.
44:20Do you know what bowling is?
44:23Bowling?
44:24All of these directors
44:25were sort of influencing
44:26each other
44:27and therefore influencing
44:28the shape of Gothic horror,
44:29which I think by the 1980s
44:31became something else
44:32because that independent industry
44:34began to die out.
44:38One of the films
44:40I like to talk about
44:41is The Hunger from 1983.
44:46It's mixing counterculture
44:48and subculture
44:49with subversiveness
44:50of the Gothic.
44:52It's not nearly as difficult
44:53as you imagine, is it?
44:54It represents its time,
44:58but it also gives a voice
44:59to the outcast.
45:01You will sleep six hours
45:02in every 24.
45:04You will fit one day in seven,
45:05and from this moment
45:06you will never grow old.
45:08Not a minute.
45:11You'll be young forever.
45:13That's one of the areas
45:14of expertise
45:14for someone like Tim Burton.
45:16The vast majority
45:17of his characters
45:17are social outcasts
45:19of one form or another.
45:21The same could be said
45:21of Guillermo del Toro
45:23and many of the other
45:24contemporary directors
45:25that have been famous.
45:26They have,
45:27if for lack of a better word,
45:29canonised the outcast
45:30and made us
45:31not push them aside
45:32but understand them
45:34and maybe even want
45:34to be like them.
45:35For me,
45:36the outstanding example
45:37of dark romance
45:39in recent years
45:40has been the film
45:42Only Lovers Left Alive,
45:44which posits
45:45that a vampiric couple
45:49have a kind of separate
45:52and superior life
45:54which goes above
45:56and beyond
45:56anything that
45:58normal culture
45:59can offer.
46:04Typo negativo.
46:06And that's a very
46:07interesting question.
46:08Can there be
46:09a vampire culture
46:11which is separate from
46:13and opposed to
46:14normal culture?
46:15There are lots of
46:18questions about
46:19how a vampire culture
46:21could possibly survive.
46:24The gothic
46:25or tour director
46:26is at the heart
46:27of the gothic
46:28undoubtedly.
46:30They are directors
46:31who have seen
46:31something in that
46:32visual language
46:33in the types
46:34of meanings
46:35that come attached
46:36to it
46:36and have taken it
46:38in specific directions
46:39because they wanted
46:40to say something
46:41specific at that
46:42point in time.
46:42I would say
46:47those directors
46:47because they have
46:48the ability
46:49to do things
46:50that are more
46:50personal
46:51can get more
46:51of their view
46:52across.
46:54And of course
46:54their view
46:55is representative
46:55of larger communities
46:57not just of
46:57themselves.
47:01They tend to be
47:02fans of the genre
47:03who know it
47:03very well.
47:05They know their
47:05audiences as well.
47:08There's something
47:09at the heart
47:09of all of their work
47:10that speaks
47:11their vision
47:11of the world.
47:12of the world.
47:13They know their
47:13of the world.
47:14They know their
47:14of the world.
47:15They know their
47:15of the world.
47:16They know their
47:16of the world.
47:17They know their
47:17of the world.
47:18They know their
47:18of the world.
47:19They know their
47:19of the world.
47:20They know their
47:20of the world.
47:21They know their
47:21of the world.
47:22They know their
47:22of the world.
47:23They know their
47:23of the world.
47:24They know their
47:24of the world.
47:25They know their
47:25of the world.
47:26They know their
47:26of the world.
47:27They know their
47:27of the world.
47:28They know their
47:28of the world.
47:29They know their
47:29of the world.
47:30They know their
47:30of the world.
47:31They know their
47:31of the world.
47:32They know their
47:32Υπότιτλοι AUTHORWAVE
48:02Υπότιτλοι AUTHORWAVE
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