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Pixie’s Year 5!

Published October 17, 2017 by rmpixie

See what I did there? Five skulls for five years? Eh?… Eh? No?….

 

It’s year 5 for Rosemary’s Pixie! This year has been really different with fewer posts since I’ve been re-assessing my career choices, one of which involves seriously considering making outfits for my cats and taking them on the road in a crazy cat lady revue.

Programmer-wise, I had a great first year with BITS, and gotten to know my fellow BITS crew really well. We promoted the festival at Shock Stock  and Niagara Falls Comic Con, and had a great time hanging out with vendors, guests like Felissa Rose from Sleepaway Camp who is a gem of a person, The Monsters of Schlock who are seriously the coolest guys, and Goblin’s Maurizio Guarini who is very sweet and apparently needs no sleep.

The Toronto horror community suffered a big blow when Suspect Video closed down early this year. This rental store was not only a place where you could find current films but the rarest of the rare cult movies and superb conversation with the knowledgeable staff.  Founder Luis Ceriz and his staff were always ready to suggest or help with titles, books and other obscure info needed for general fun facts or important research. I owe a lot my blog content to them and the amazing films they had available. We were all heartbroken, and made our pilgrimage on the final day the shop was open. I’m happy to say that Luis is still operating Suspect as an online shop and if you’re in the Toronto or GTA area, follow the shop on Facebook as there are weekly posts of new films for purchase. He is also at the helm of Horror-Rama, Toronto’s only horror convention with his co-founder director/writer/musician Chris Alexander. Tickets are on sale now for the November 4-5th event and I can’t wait.

Some of you have noticed that I stopped doing recaps for Face Off this year. I was quite frankly bored of the show. I loved judges Neville Page, Ve Neill and Glenn Hetrick and host McKenzie Westmore, but I felt the show was mining people who have already been contestants and there is a serious lack of diversity. There have only been a handful of POC on the show, one POC winner, and after 11 seasons it seems like they’re perhaps running out of ideas. I’ll try tuning in at a later point, but I know there are a large number of POC’s out there creating wonderful makeups that would definitely hold up on the show.

The Rue Morgue library recently added a new volume to the collection, Women with Guts, a fantastic set of essays about famed women in horror written by women horror and genre writers. I attended the book launch and met the book’s author Alison Lang, as well as contributors Liisa Ladouceur, Monika S. Kuebler, executive editor to Rue Morgue Andrea Subissati, and Alexandra West. I was so thrilled that my friend and founder of Graveyard Shift Sisters Ashlee Blackwell was also a contributor. These women are stellar writers and wonderful people. You can get your own copy here. I also celebrated a personal milestone by contributing to Rue Morgue Magazine’s 20th anniversary edition. I was honoured to write a synopsis of Shock Values: How a Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood and Invented Modern Horror  for the 25 Non-Fiction Genre Film Books That Every Horror Fan Should Own feature. Andrea Subissati really pulled out all the stops for this gorgeous issue and the articles are fantastic. Pick up a copy here.

More fantastic people I met this year were:  Monika Estrella Negra, founder of Audre’s Revenge Film Collective where her tireless efforts to create content and promote QTIPOC filmmakers should be noted and shared; Jamie Broadnax, founder of Black Girl Nerds and Lauren Warren, one of the hosts of Nerds of Prey and tweeter extraordinaire at the Black Girl Nerd TIFF brunch. It was wonderful to meet so many fellow writers and content creators just as passionate about film as I am.

I’ve recently ventured into the podcast world and was a guest on The Matinee a couple of times. Ryan McNeil, a blogger, reviewer and podcast host had me on to discuss a couple of films with him. You can check them out (episodes 172and 176) here. I had a great time, and I’ll be popping up on podcasts here and there, so stay tuned.

I’m also gearing up for festival season on the horror calendar. Toronto After Dark Film Festival is up with some great films and then Blood in the Snow from November 23-26th (of course). And I’ll be at those with the best horror boyfriend in the world (and my biggest cheerleader) on my arm.

As always, I want to give a shout out to my friends Laina Dawes, Ashlee Blackwell, and Courtney Small (www.cinemaaxis.com) who support my writing, and all of you readers who visit my blog. Thank you from the bottom of my horror heart!

 

Carolyn

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Book Review: Films of the New French Extremity: Visceral Horror and National Identity

Published September 19, 2016 by rmpixie

Films of the New French Extremity: Visceral Horror and National Identity McFarland & Company Inc., 2016

 Films of the New French Extremity:  Visceral Horror and National Identity by Alexandra West ( McFarland & Company Inc., 2016)

Scholars and journalists Alexandra West and Andrea Subissati, hosts of the Faculty of Horror podcast, focus on in-depth analysis of the horror genre with a feminist approach that would sway the staunchest naysayer.  With their knowledge and background, it’s no surprise that West has recently written a book entitled Films of the New French Extremity: Visceral Horror and National Identity and after getting to meet the author herself, I had to buy a copy. Once I flipped past the first page I was hooked.

Films of the New French Extremity: Visceral Horror and National Identity came from a lecture West presented in 2014 for The Black Museum, a series put on by Subissati and Toronto-based writer and editor Paul Corupe where seasoned speakers and professionals in the horror genre present on various topics “from film theory to genre studies”.  It was here that her academic but extremely accessible book was born, and West successfully tracks the transition “from art-house films to full-fledged horror films” that came out of France from the early 90’s to the mid 2000’s.

The genre of New French Extremity is something that for a long time only a few could stomach or relate to. It is brutal, bloody and in your face, but West eases the reader in by giving you a solid base of French history and politics, along with the violence it spawned, in order to help you understand the environment these directors were coming from and the genesis of their films. In essence, French society tended to put a shiny veneer over the ills and wrongs of their actions, turning a blind eye to it all. These films attempt to peel back the shiny exterior of a country celebrated for its culture to show the societal warts that got bigger over centuries. While some of the filmmakers may have different approaches to their subject matter, be it murderous country folk, abused women, self-destructive characters or relentless serial killers, West brings them together to map their contributions to pushing societal, sexual and political boundaries, showing how their films soon became cinematic earmarks as well as social commentaries in the history of horror cinema and what is now considered a critical part of the genre.

Most horror critics and writers like myself have seen many of the films West writes about. I saw them because they were a) French and b) horror or taboo; things I love unconditionally, with Martyrs and High Tension sitting in prime positions on my shelves. They were terrifying films yet I was drawn to them. I couldn’t make connections other than they were all French and showed a darker side to the country I romanticized so much; dots on the same page without the lines to connect them. West is able to create threads of similarities with such coherence and logic, that any French extreme enthusiast feels a sense of almost relief as her analysis pinpoints characters, motivations and plotlines to make sense of the chaos you witness on-screen. All the chapters are riveting, but for those of you who search for some meaning from Martyrs as much as I have, West’s dissection and interpretation of the film comes very near to perfection.

Films of the New French Extremity: Visceral Horror and National Identity will resonate with those who love French Extreme cinema and those who have visited (and fallen in love with) France like myself; becoming lured by the romantic façade of an aloof yet beautiful country, only to scratch the surface revealing the grimy reality underneath.  Steeped in the history and culture of France, West’s book makes these admittedly horrifying films accessible and convey an understanding much like one would study a terrifying beast for meaning. It is truly a must read for any and all horror fans and academics out there looking for a comprehensive guide to the beginnings of French Extreme cinema.

This Wednesday September 21st, The Black Museum will hold a book launch for Films of the New French Extremity: Visceral Horror and National Identity in Toronto where West will do a reading. Check out the details here. Come out to support great Canadian talent!

 

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