The Importance of Dystopia in Sci-fi

“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.

Below you can find my analysis on why constructing the perfect society is nothing like constructing a seemingly perfect society. In other words, why filmmakers see the future in a cataclysmic and calamitous light.

Stay safe!

Kids: Source of Evil vs Source of Resolution

Michelle is Head of the Social Sciences Department at a large school in Derbyshire, UK. She is examining the use of kids on horror films and examines the genre through the prism of Evolutionary, Cognitive, Psychodynamic, and Social Psychology. She will definitely make you question yourselves why you feel the way you do when you watch a horror.

 

 

References:

Trypophobia – fear of irregular patterns or clusters of small holes or bumps, e.g. buttons, crumpets, sponges etc.

Evolutionary/Biological psychology

There’s not a named psychologist, but we tend to take Dawkins and apply to psychology.

Emamzadeh (2018) Origin of common fears: A review (Psychology Today)

Parapsychology

[ESP cards]

Utts (1991) Replication and meta-analysis in parapsychology.

Cognitive psychology

[Elizabeth Loftus pioneer in the field and expert witness in courts].

Loftus and Palmer (1974) Reconstruction of automobile destruction (I mentioned experiment 1).

Loftus and Pickerell (1995) Lost in the mall study.

Jean Piaget (1952) Assimilation and Accommodation in Schema theory.

Psychodynamic psychology

Sigmund Freud (1917) Introduction to psychoanalysis.

[Id, Ego, and Superego all part of the Tripartite model of the personality in our unconscious like an iceberg].

Social psychology

Haney et al (1973) Stanford Prison experiment.

Zimbardo (2007) Lucifer effect.

Piliavin et al (1969) Good Samaritanism.

[The bystander effect: https://www.youtube.com/watch?v=OSsPfbup0ac]

Behaviourism

Pavlov (1897) Classical conditioning in dogs

Social Learning theory:

Bandura et al (1961) Bobo doll experiment.

Michelle’s book: Psychology Review: A-level Exam Skills and Practice Paperback – 30 Oct. 2020 ISBN-10: 1398308013

Influential, Dissuasive, and Thought-Provoking Monologues

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“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.

Below you can find my analysis on some of the most influential, dissuasive, and thought-provoking monologues I hand-picked. I hope these chosen ones entertain you, educate you, and, potentially, find an application in the way you see and experience life.

Stay safe!

Influential, Dissuasive, and Thought-Provoking Monologues

 

The Initiation (1984): Horror / Mystery / Thriller

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A college student who suffers from a recurring nightmare and her sorority sisters decide to break into a mall one night while a serial killer is out for blood.

One of the best mediocre 80s, slasher, nonsensical, American horrors made back then. Brilliant for American millennials to get educated on how their parents acted – and what they were wearing – during their college/Uni years. Well, up until blood starts splattering everywhere.

The acting is almost as funny as the haircuts; almost. The storyline is the perfect motive to stick popcorn in the microwave and put your feet up, the music and sound effects will make you laugh out loud, choking on that popcorn, and the editing will finish you off.

Have a friend around or a couple of good ones. Share your problems, concerns, and thoughts, and when you’re done, hit play, forget our horrible reality, and enjoy just over an hour and a half of unintentional fun. I know I did.

Stay safe!

Possession (1981): Drama / Horror

Possession

At the peak of the Cold War, a man comes back from a mission to reunite with his family only to find out that their marriage has fallen apart and an eerie entity might be behind it.

Possession is the art of writing, directing, editing, and acting with no rules. No. Rules. It’s been at least a couple of decades since I last time watched it and the first time, not knowing how to properly “read” a film, I just found it bizarre and moved on with my life. Now that I know a bit more, I can tell you with certainty that no review or analysis can be adequate to make one understand with certainty how, what, or why everything is happening. In addition, there is no way to predict who will like it and who won’t. Personally, I couldn’t recommend this film more to horror / mystery / thriller fans but also cinephiles with whatever particular interest they have in films. If you decide to watch it, here’s what you sign up for:

  • Sam Neill’s and Isabelle Adjani’s best-ever performances. Theatrical, verbal, and non-verbal performances like anything they had delivered before and anything like they ever attempted again to this very day, almost 40 years later.
  • Andrzej Zulawski’s most intricate script. Where did Mark come back from? What is he so good at? What is happening to Anna? Why does Helen look like…(no spoilers)? Why does everyone speak and act in such a way? Are their responses somehow related to “the thing”? Where did that thing come from? The fear. The possession. The siren… Zulawski defied rules and conventions, making an unprecedented, satisfying, yet questionable horror, heavily censored in the US and banned in the UK.
  • Zulawski’s directing which haunted both Neill and Adjani, taking them years to shake off the extremely unpleasant experience they were put through. Reportedly, Adjani stated: “He [Zulawski] is a director that makes you sink into his world of darkness and his demons”. His lens is captivating and the photography mesmerising throughout all three acts.
  • Editing-wise, Possession becomes the Bible of when not to cut! The pace and rhythm are remarkable and as this is a performance-driven film, the editing is patient enough to move on to the next shot only after Neill and Adjani have given their 100% or more!

Think of Possession as The Last Tango in Paris (1972) meets Kramer vs Kramer (1979) meets The Thing (1982). And that’s what I’m going to leave you with. For readers who have watched it, if you want to, please read further.

Stay safe!

 

 

 

SPOILER

 

I cannot even begin to imagine the reactions to the introduction of hentai pornography in a live-action film, in the early 80s, in the Western civilisation. If you know any European, (North or South) American, African or Australian films including hentai tentacles prior to Possession please let me know in the comments. I believe that awe and shock don’t even come close to describing the majority’s feelings. Personally, I think that the concoction of feelings and emotions throughout the film does not fall under one category. To the point where, possibly, you won’t even be able to explain how you feel or why you react the way you do to certain stimuli. A daring cinematic experience!

Epic Plot Holes in Iconic Films

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“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.

Below you can find my analysis on some films we loved so much – or not – that we turned the blind eye to their plot holes. Hint: One is definitely not one of my favourites, and another actually has not a plot hole…

Stay safe!

Epic Plot Holes in Iconic Films

The Qatsi Trilogy

 

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“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.

Below you can find my analysis on the Qatsi trilogy. A cinematic statement about civilisation, technology, nature, and the relationship among the three. A trilogy left behind in the shadow cast by blockbusters, forgotten by time, buried in oblivion.

The Qatsi Trilogy

Death Ship (1980): Adventure / Horror / Mystery

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A Nazi ghost ship rams a cruise ship, sinks it, and then comes back only to get the survivors on board and make them descent into madness.

Act I: Chessy ’70s editing, accompanied by cheesy ’70s music. Get to know who everyone is and what everyone is like. You see them having fun and then you see them sink.

Act II: Get to know the ship… and what it can do to its passengers. Or, even better, what it can make the passengers do to each other.

Act III: Standard, hiding no major surprises.

Death Ship could as well be the B-movie version of The Shining (1980), on the sea. After all, they came out the same year. Also, the same year, the same producers brought you the Terror Train (1980) – I assume you can see the connection. Anyhow, Death Ship may not be well known but I would call it the father, the instigator of every other ghost ship movie out there. So, if the three acts are as described above, do I recommend it? I do indeed. But before I say why please pay attention: You must watch it with untrained, ’80s eyes! Where a good B-movie was as entertaining. Forget the New Hollywood, the 21st century, and how the digital era advanced the filmmaking techniques (or did it?). Keep the Italian Giallo horror films in mind. Not knowing too much about films in the mid-nineties, I first watched it with my brother and we crapped our pants! Is it now outdated? It sure is, but let it trip you down the memory lane. Through an era that you were either too young or not even born. In a time where ‘Intermission’ appeared halfway through the film… Damn, I’m getting nostalgic!

Anyway, if it doesn’t scare you, let it amuse you. Cinematically, the ‘omniscient’ handheld shots are the film’s biggest asset. Crenna and Kennedy are brilliant and so is the cinematography. Last but not least, the first act’s cheesy editing becomes the second act’s conveyor of paranoia…

That one’s for you bro. Remember the scare we got that night (dog manically barking outside / grandma appearing out of nowhere)???

Original vs Remake: Hollywood’s Need to Retell the Story (or the Lack Thereof)

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“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.

Below you can find my analysis on a few international films, not particularly well-known ones, that have spawned renowned Hollywood successes (whether critical or commercial). Maybe I can get you to watch either or both of them, and then get you to ask if the Hollywood remake added to the existing film it was indeed necessary.

Original vs Remake: Hollywood’s Need to Retell the Story (or the Lack Thereof)