Sam Cooney – Page 15

The conventions of mainstream horror films have transformed ostensibly in parallel with socio-cultural development. The narrative structure and even the nature of the ‘monster’ have undergone broad, noticeable changes with the advancement of movements such as postmodernism and feminism. This particular genre holds a great deal of significance with regard to the representation of women in film: usually confined to a caricatured stereotype, the portrayal of women has evolved broadly from monster to victim to hero.

Whilst there is a general trend of transformation in Hollywood productions, conventions persist in American cinema, promoting negative stereotypes based on clichéd gender roles. Black Swan achieved box office success as well as critical acclaim but also appeared to implement these regressive gender roles. The following analysis is concerned with the resurfacing of archaic female stereotypes in the film Black Swan and how they are ultimately used to subvert mainstream Hollywood conventions through pastiche.

Continue reading “The Ugly Duckling: Female Stereotypes and Psychological Disorders in Black Swan” →

Considered the most offensive, controversial film of all-time – I have attempted to review A Serbian Film by looking past the controversy – opening with a full synopsis..

Retired porn legend Milos has settled down with his wife and son, though financial troubles loom over them. This is until he is offered a large sum of money for one last job by a self professed art-filmmaker – Vukmir. The job is not specified but profitability leads Milos blind. His first performance involves being directed to a derelict orphanage where he becomes part of a sadistic reality show. The exacerbating trials of this ‘art-film’ forebodingly blur the fictionality of other participants including an observant young girl. Milos, growing more concerned with the disturbing nature of the film, is shown another of Vukmir’s projects in which a masked man delivers a baby only to rape the child infront of the laughing mother… (aaand we’ll break it here)

Continue reading “Semiotics in A Serbian Film” →

This here analysis evolved into something a lot bigger and a tad more comprehensive available here…

Aronofsky’s Black Swan utilises fantasy and the unreal to build suspense and consequently unnerve the audience in moments of classic horror. The extravagant device of physical metamorphosis reflects the transitional state of the Swan Queen and is the result of a flexible equilibrium suggested by Nina’s mental state. However, her psychological condition coupled with the subsequent moments of surrealism support a subtext that is prominent in the film.

Continue reading “The Ugly Duckling: Psychological Disorders in Black Swan” →

In the ‘How-to’ guide of film snobbery, claiming that “the original is better than the blockbuster” is a good way to set you out from the crowd as a true lover of cinema. Especially when the original is a little-known, foreign film – in which case, efforts must be made to constantly refer to the original title: extra kudos for applying an accent where necessary. So in the wake of Let Me/The Right One In (or Låt den rätte komma in for those paying attention), I have taken another recent example of Americanisation and provided an unbiased comparative study…though I have tried my utmost to flaunt my own film-snobbery.

Continue reading “Sibling Rivalry: Brothers and Brodre” →

With Christopher Nolan’s Inception set for release on DVD (it’s out, it’s definitely out) providing the viewer with the means to pause or rewind the action, does the film lose it’s magic?

Inception follows ‘extraction’ expert Dom Cobb (Leonardo Dicaprio) as he attempts to plant an idea into a subject’s subconscious – by entering his dreams. Fronted as one of the most confusing blockbusters of all time it is hard to say whether a one line synopsis does it justice. But with all the dogmatic hype pushed aside: how confusing is Inception really?

Continue reading “Inception: Levels of Complexity” →