nerd4hire
Certified Uncloneable
- Joined
- Nov 13, 2002
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- 9,102
I don't why people like to perk up their stories with a little Joss-Critique, but they do.
http://www.theaustralian.news.com.au/story/0,20867,21532749-16947,00.html
Atrocity entertainment
* Filmmakers are turning up the volume on human degradation, writes Lynden Barber
* April 14, 2007
JOSS Whedon, creator of the popular television series Buffy the Vampire Slayer, says he mistrusts attempts at censorship and has always believed in "the necessity of horror stories". No surprise there.
What is surprising is that last month Whedon, also executive producer of the teleseries Firefly and Angel, and writer of the movie Alien: Resurrection, was one of many US citizens so outraged by the advertising for an upcoming horror film that their deluge of complaints forced the campaign to be withdrawn.
Causing the ire were the graphic images and slogans plastered across 30 Los Angeles billboards and 1400 New York cabs for Captivity, in which starlet Elisha Cuthbert plays a woman captured and psychologically tormented: the latest example of a phenomenon dubbed "torture porn" by New York Magazine's film critic David Edelstein.
Splashed across the ads were four images of Cuthbert accompanied by words such as "Abduction" (next to her face covered by a gloved hand), "Torture" (in which tubes protruded from her nose) and "Termination" (her head thrown back to suggest a corpse).
In a letter to the Motion Picture Association of America, responsible for classifying movies and their advertising, Whedon railed that "the ad campaign for Captivity is not only a literal sign of the collapse of humanity, it's an assault. I've watched plenty of horror; in fact I've made my share. But the advent of torture-porn and the total dehumanising not just of women (though they always come first) but of all human beings has made horror a largely unpalatable genre. This ad campaign is part of something dangerous and repulsive, and that act of aggression has to be answered. It is part of a cycle of violence and misogyny that takes something away from the people who have to see it."
The film's production company, After Dark Films, responded to the furore by withdrawing the ads, which had been posted in defiance of a ruling by the MPAA that they were inappropriate. The ratings body has imposed a month-long suspension of the ratings process for the film which, as The Hollywood Reporter notes, may cause it to miss its scheduled release date of May18.
Surprisingly, perhaps, this is the first big skirmish over a trend that, until now, has attracted little controversy. Of course, torture scenes are nothing new; think of Edgar Allan Poe's The Pit and the Pendulum, first filmed in 1913 and popularly revived in 1961. Yet for all that, there has been a notable upsurge in movies featuring prolonged and graphic scenes of torture and its devoted handmaidens, abduction, dismemberment and rape.
Aside from Mel Gibson's blood-drenched The Passion of the Christ, look to the three hit titles in the horror series Saw, created by Australians James Wan and Leigh Whannell, and Eli Roth's Hostel. Pushing on-screen sadism to perverse extremes has brought handsome profits; the first Saw in 2004 cost $US1.2million and earned more than $US55 million in the US alone.
But the fashion goes wider than those lower-budgeters aimed at 18 to 25-year-old audiences may suggest. Take last year's Casino Royale, in which Daniel Craig's James Bond had his genitals whipped while tied to a seatless chair. Said to accurately reflect the sadism of Ian Fleming's Bond novels, the scene, set in a dungeon, was unusually grim and prolonged, marking a notable shift in tone for a series long noted for its light treatment of sex and violence. It was hard not to suspect the influence of Hostel, which climaxed around a Slovakian dungeon where US backpackers were lured for the pleasure of monstrous sadists.
Why is this happening? Clearly some audiences, jaded by graphic violence, are looking for more extreme thrills. Most screen gore happens quickly: blink and it's gone. Torture prolongs the suffering and, for some viewers, the adrenalin. Here the influence of extreme Asian cinema is making itself felt, as Hostel openly acknowledges via a cameo by cult Japanese director Takashi Miike, whose Audition (1999) featured a sadistic bride making unconventional use of acupuncture needles and cheese wire.
But torture chic is not only turning up in cultic exploitation flicks, it's increasingly being found in films with lofty ambitions. For wince-inducing interrogation featuring the removal of fingernails, look no further than Syriana, which won an Oscar for George Clooney, and Ken Loach's pro-Irish Republican The Wind that Shakes the Barley. This points to the other obvious influence. In the era of Abu Ghraib and Guantanamo Bay, torture is part of our daily news diet, our collective unconscious.
While asking us politely not to mention the T-word, the US has admitted to the use at its Cuban detention centre of techniques including near-drowning, extremes of heat and cold, and 24-hour lighting. In one of last year's most disturbing films, Michael Winterbottom and Mat Whitecross's The Road to Guantanamo, prisoners were yelled and screamed at by US interrogators, then shackled to the floor and subjected to strobe lighting and heavy metal music at ear-splitting volume.
Meanwhile, critics of the TV series 24 have accused the makers of encouraging US torture by depicting it as necessary to force confessions that will prevent terrorist atrocities. In November the show's producers met retired military interrogators, human rights representatives and the dean of the US Military Academy at West Point. All were worried the techniques used by Kiefer Sutherland's hero, counter-terrorism agent Jack Bauer, could influence real-life American interrogators in Iraq. The show's producers have since announced they're scaling down the number of torture scenes, officially because they were becoming cliched.
Meanwhile, look out for the next movie cliche: beautiful women being tortured in their underwear or less, among them a naked Natalie Portman in Milos Forman's forthcoming Goya's Ghosts and Kate Mara in the action thriller Shooter, released next week. Of the latter, the Los Angeles Times' Kenneth Turan remarked "surely there is a better way to hold our attention", a prime candidate for tart understatement of the year.
http://www.theaustralian.news.com.au/story/0,20867,21532749-16947,00.html
J. Ruby
Dorks.