Sunday, 26 November 2017

The Rhetoric of Mass Murder: An Analysis of 'Fantastic Planet / La Planate Sauvage' (1973 animation)

Content Warning: Discussion of genocide; full plot details

Some works of art aim only to leave the audience with a feeling. Characters, story, aesthetic, all elements become secondary and instrumental to producing a state of mind. Fantastic Planet is about genocide, and, more strikingly, the mindset needed to commit genocide. The film guides the audience to, for even one small moment, adopt this mindset, and then realise with horror how easily they adopted it.

On the planet Ygam, the gigantic Draags treat Oms (humans) as animals. The Draags either keep Oms as pets or exterminate them as vermin. One pet, named Terr, flees into the alien wilds, dragging behind him a Draag education headset. Finding a ‘wild’ Om tribe, he gives them the Draag headset, allowing Oms the knowledge to escape Draag oppression.

Sunday, 24 September 2017

When Conscience Slept: An Analysis of 'Purple Noon/Plein Soleil' (1960 Film)

Spoiler Warning: This will reveal the entire plot of the film, and by extension the plot of the source material, The Talented Mr Ripley

Purple Noon is a work of amoral art. A rare film that playfully imposes judgement on its characters and events, not even on its central murderer and identity thief, Tom Ripley. Any praise or blame you may direct at Tom is very much your own morality, your own judgement, cast like a pebble to skim on an uncaring sea.

Tom Ripley wants what Phillipe Greenleaf’s got: money, luck, a life of leisure in Italy, and a beautiful, if too forgiving, fiancé, Marge. Of all the men in the world to be so blessed, why did it have to be the self-centered, cruel Phillipe. Tom seems fine, basking in the spillover of Phillipe’s decadence. But then, on a boat trip with Phillipe and Marge, things take a turn. After Phillipe and Marge get into a fight, she disembarks at the docks. Tom and Phillipe sail off alone. Phillipe’s luck runs out. Tom doesn’t just want Phillipe’s money, he wants it all. Tom stabs him in the chest, and throws him to the sea. Tom steps into Phillipe’s emptied life. He forges signatures, passports, and romances Marge. Living with Phillipe’s name and money, Tom gets by swimmingly, until one of Phillipe’s friends, Freddie Miles, realizes the man living at ‘Phillipe’s’ apartment is not Phillipe. Tom bludgeons Freddie with a stone buddha. Even this second murder doesn’t sink Tom. To ensure his good life, Tom steps back into his old identity, but not before sending Phillipe’s ‘suicide note’ and all of Phillipe’s money to Marge, and trying to marry Marge. Tom lays in a deck chair, safe in the knowledge the law has no lead on him. And Tom would have gotten away with it too, if it weren’t for Phillipe’s corpse getting stuck to the hull of the boat Tom was trying to sell.   

Friday, 1 September 2017

‘I’m Sure You Don’t Like Hurting All These Nice People’: An Analysis of Katie Skelly’s 'My Pretty Vampire' (2017 Comic)

[CW: References to sexual assault, murder, abusive relationships.]
Spoilers: The entire plot will be revealed.

‘Coming-of-age’ doesn’t generally mean killing spree. But adolescence means breaking free, expressing who your truest self is, and Clover is a vampire. In the process of finding herself and overcoming trauma a lot of people will die.

Clover wants to leave home, live her own life. Unfortunately for her, her brother Marcel is an incestuous bastard who keeps her locked in their castle. Unfortunately for the world, she’s a vampire hungry for human blood. She escapes her brother’s clutches, and hightails it to the city, killing this person and that, stopping only for sunrise. But there are people following her, a P.I. Marcel hired, and an Order of animal-headed figures. 

Sunday, 6 August 2017

Nature, Lacking Tooth and Claw: A Review of Algernon Blackwood's "The Dance of Death" (1928 Short-Story)

In The Dance of Death, Algernon Blackwood uses the supernatural to express platitudes. A modern man, a modern-deskbound-man, yearns for rugged nature. Mr Browne’s nine-to-five deadens him, you see. Blackwood does not redeem this trite setup with nuance, character depth, and/or Weirdness. From respect to Blackwood, an acknowledged master storyteller, I was tempted to uncover layers of irony, to find, beneath the naïve protagonist’s thoughts, a subtext criticising the protagonist’s naiveté. But no, The Dance of Death depicts a love of nature held only by those who have never met nature.

Mr Browne loves nature. He saves up, from his stultifying desk-job, so he may retire to a life among nature. His doctor’s diagnosis, then, comes as quite a shock; and a shock is the last thing he needs, what with his weak heart. Living among nature would be far too strenuous for him. Even dancing must be undertaken with care. He attends that night’s dance hesitantly and sadly. Then he sees a woman, Miss Issidy, a woman none else seem to see, a woman more like a forest sprite than an urban dancer. He dances with her, and she reveals she knows him, and was waiting for him. We zoom out: Browne died on the dancefloor from overexertion. His boss is glad to be rid of him. 

Sunday, 9 July 2017

An Ape is an Ape is an Ape: An Analysis of Kafka's 'A Report to an Academy' (1917)

Trying to adopt another culture is difficult. Trying to adopt a different species is damn-near impossible. Kafka talks about the former through a fable about the latter. An ape assimilating into humanity allegorises a person of one ethnic background assimilating into a different culture. This person may mimic every behaviour and internalise every value, but at some level his audience will only see this person’s origin.

Red Peter – Peter to those who respect him – is an ape. An academy has invited him to talk about life as an ape. As Peter’s has no memory of his ape-like days, he hijacks the engagement to talk about how he became human. Captured in the Gold Coast by a hunting party, and imprisoned in a cage on a boat, Peter needed an escape. Ape-strength could not break his cage, and even if it could, a bullet would be his reward. The only way out, he realised, was to become human. Through a vigorous apprenticeship under his shipmates he learnt how to smoke, spit, and drink. He continued his education on dry land, employing five teachers at the same time to help him reach the level of the ‘average European’. With humanity under his belt, he took a job as a variety performer, the only job available to him outside the zoo. But as he says to the academy, he does not seek their approval. Through his narrative, he only hopes they understand him.  

Sunday, 4 June 2017

You Will Never Be One of Us: An Analysis of 'The New Advocate' by Franz Kafka

A new advocate has come to the bar, Bucephalus, Alexander the Great’s horse. The narrator acknowledges that, as a horse, Bucephalus will have an awkward time. No sooner does the narrator introduce Bucephalus than his mind drifts towards the horse’s past, to Alexander the Great. Where have the great men gone. But, being gone, perhaps it is better to be like Bucephalus. Abandon the battlefield, and devote oneself to quiet study.

That is the plot, but this story is not a plot. Progressive sentences do not unfold events, but unpeel the narrator’s mind, his prejudice, nostalgia, tone-deafness. The narrator, by telling us about Bucephalus, shows himself. Bucephalus is an Othered individual – it doesn’t matter exactly what marginalised group he stands for. What matters is how the narrator, a member of the dominant class, views this Other. 

Sunday, 28 May 2017

The Comedy in Horror: A Review of 'The Bride of Frankenstein' (1935 film)

Camp ages better than seriousness. Subjected to the ironising current of time, straight-faced gothic horror becomes ridiculous. James Whale prevented The Bride of Frankenstein suffering this fate. He makes his film ridiculous to begin with.

One night, Mary Shelley reveals to Lord Byron and Percy Shelley that her tale, Frankenstein, had a second part, that of the bride of Frankenstein’s monster. Henry Frankenstein has put mad science behind him. He’s settled down in his massive castle, and all’s right with the world. That is, until an even madder scientist, Dr Pretorius, drags him back into the game. They will make a female monster. And it turns out the original monster is alive and well.