It should be noted that I have a real soft spot for 1970s eurohorror—the visuals are so fun, and the vibes are unmatched—but this one was particularly fun. Just looking at the pictures here made me want to watch it again, heh.
Same. Europe was putting out some good stuff at that time. And yes, it's a vibe. I'm currently taking a film history class and it has been fun. Though they appear to have glossed over this stuff. There was like one sentence in the textbook about "exploitation" films and moved on. That sort of bundled a lot of things into one without discussing them.
Oh, bummer, I'd like to take a whole class JUST on the exploitation films of that era. Have fun with that class, though—all of my film studies have been self-directed, but I still daydream about finding the time to take some online film classes at some point? (The degree to which I'm looking forward to hitting retirement age is probably ridiculous, but the idea of having all that TIME to engage with all of the media I'd like to engage with is basically my personal definition of Living the Dream.)
That would be a fun course. When I was in my early 20s, I made a lot of indie film stuff. During that period I studied a lot of early film (self-taught). This is the first time I've ever taken a course on film and it isn't part of my degree.
Back in the day I started studying film noir and immediately found out it was an evolution of German Expressionism so I had to backup and study that first. The Hays Code or Production Code is fascinating to me. Filmmakers before that period were more free to make what they wanted. During the Hays Code they had to censor a lot. It's fascinating stuff. I had grown up on a lot of films during the Hays Code and thought all old movies were clean and family friendly. Turned out that was mostly true because of censorship.
I tend to be the same way—learning about one thing leads me to research off in, like, fifteen other directions. Lucky break that I became a librarian?
Oh, yeah, everything around the Code is fascinating—and once I learned about the Code, I found it SUPER fun to start watching for the different ways that folks circumvented it, or to think about how it affected book-to-film adaptations like Rebecca or The Bad Seed. (And obviously I occasionally get mad/sad about all of the movies that COULD have been, etc., etc., or frustrated thinking about how the Code turned movies into such a funhouse/fractured mirror of reality, an incomplete and sanitized reflection of the world as some folks wanted to imagine it was/should be, not as it is.)
I hadn't come across The Blood Spattered Bride yet. Seems more promising than most. Even if it takes so many liberties, it becomes its own democracy.
It should be noted that I have a real soft spot for 1970s eurohorror—the visuals are so fun, and the vibes are unmatched—but this one was particularly fun. Just looking at the pictures here made me want to watch it again, heh.
Same. Europe was putting out some good stuff at that time. And yes, it's a vibe. I'm currently taking a film history class and it has been fun. Though they appear to have glossed over this stuff. There was like one sentence in the textbook about "exploitation" films and moved on. That sort of bundled a lot of things into one without discussing them.
Oh, bummer, I'd like to take a whole class JUST on the exploitation films of that era. Have fun with that class, though—all of my film studies have been self-directed, but I still daydream about finding the time to take some online film classes at some point? (The degree to which I'm looking forward to hitting retirement age is probably ridiculous, but the idea of having all that TIME to engage with all of the media I'd like to engage with is basically my personal definition of Living the Dream.)
That would be a fun course. When I was in my early 20s, I made a lot of indie film stuff. During that period I studied a lot of early film (self-taught). This is the first time I've ever taken a course on film and it isn't part of my degree.
Back in the day I started studying film noir and immediately found out it was an evolution of German Expressionism so I had to backup and study that first. The Hays Code or Production Code is fascinating to me. Filmmakers before that period were more free to make what they wanted. During the Hays Code they had to censor a lot. It's fascinating stuff. I had grown up on a lot of films during the Hays Code and thought all old movies were clean and family friendly. Turned out that was mostly true because of censorship.
I tend to be the same way—learning about one thing leads me to research off in, like, fifteen other directions. Lucky break that I became a librarian?
Oh, yeah, everything around the Code is fascinating—and once I learned about the Code, I found it SUPER fun to start watching for the different ways that folks circumvented it, or to think about how it affected book-to-film adaptations like Rebecca or The Bad Seed. (And obviously I occasionally get mad/sad about all of the movies that COULD have been, etc., etc., or frustrated thinking about how the Code turned movies into such a funhouse/fractured mirror of reality, an incomplete and sanitized reflection of the world as some folks wanted to imagine it was/should be, not as it is.)