Started by Something Spanish, March 31, 2018, 04:59:34 PM
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Quote from: eward on January 28, 2021, 08:04:48 PM11. Back to the Future Part III
Quote from: Letterboxd user nathaxnne on BONE TOMAHAWKPS: Please as an afternote let me lay clear my own hypocrisy and misgiving. It is important that we have art which reflects and channels the world in which we live. for better or for worse we now live in a society shaped and molded by currents manifest and occult of worldwide fascism and totalitarianism. Just as Cannon Films reflected the heart of Reaganite America, we need exploitation films which will channel our world as it stands now so that in 35 years someone will love them maybe as much as I love Death Wish 3 but just as much as I love Death Wish 3, Death Wish 3 and its cohort created a policy feedback loop influencing how laws were written and laws were enforced, how white violence against nonwhites was read and rewritten and on and on to this day. Is making Trumpsploitation inherently immoral? of course not, but there are many paths this can take. noting a market and creating product for that market is not inherently immoral but when that market directly reflects nativist and racist urges and anxieties how do you approach that market?PPS: one of the things i wanted to write here in the comments and maybe above is that horror connects with us on a deeply personal animal level and there are always good reasons for why that is. i feel like there is a tendency to accept many xxth century art vanguards into our collective historical understanding but decouple them from any association or interplay with fascist aesthetics which is a mistake. fascist art isn't something over there or other to us, it is something so intimate it is hard to see as such. i wish i was in a better place to write something serious about the day-to-day function of fascist art in amerikkka. i think about how 24 the tv show worked during the Bush II Admin - it presented week after week a justification for the administration's worst policies. i think about the CIA's direct involvement with Kathryn Bigelowe's Zero Dark Thirty, involvement which intentionally created a false narrative surrounding torture and Bin Laden 411. We need to think about cultural production in the shadow of fascism as it applies today. It would be weird if we DIDN'T like fascist art. Fascism (apparently) or authoritarianism appeals to roughly 30 - 40 percent of people at any given time. Those people make and consume art, art that i like. I think also about how fascist art, especially fascist art's depiction of male subjecthood and agency as it relates to being the locus and rightful administrator of violence against others in retaliation for real or perceived threats and how this relates not just to fight/flight/stress/conflict but to how the body is constructed and is operated and how this influences all personal conduct. This is as deep as anything goes in me and seeing it there while recognizing myself as a trans woman is a hell of a trip. i have these overlapping fictional bodies inside of my body and they all have voices and mess with my own sense of agency even as it relates to myself. i am going to spend the rest of my life sorting this out! maybe also the next life! <3PPPS: as a general note, i regard horror as functioning pretty much like kink in the way that it is deeply personal to the point of being rooted in essential biological drives and whatever works for you won't for someone else and it really isn't up to you what works for you and what doesn't so the last thing i would ever want to do is kinkshame someone for their horror preferences i mean, have you seen my list of favorite movies?