Monday, March 3, 2014


(Editor's Note: February has been a very strange month. After enduring some unexplainable chest pains, doctors found a cancerous tumor on my pancreas.  I will undergo surgery in the near future and will be rid of this monster inside me. After spending some time in the hospital and feeling my body turn on me, I felt compelled to write something inspired about the experience. As this piece deals with rape, there is a TRIGGER WARNING for this article.)

Body Horror is undoubtedly one of the most complex horror movie subgenres.  Rooted in the innate fear of meeting our demise, body horror films have played a prominent role in the expansion of practical effects and social commentary within the horror genre.  Body Horror can also be called "biological horror," "organic horror," or "venereal horror," classified as a work of horror fiction where the horror is predominately extracted from the graphic destruction or degeneration of the body.  The subgenre includes disease, decay, parasitism, mutilation, mutation, anatomically incorrect limb placement, unnatural movements, and fantastical expansion.  The fear of the unknown is one thing but when that fear lives inside of you, there's no escaping or hiding from ones own mortality.
Poster for 1958's THE FLY

1958's THE FLY is arguably the film that pushed body horror into the threshold of the horror pantheon, and the films have only gotten more unsettling and graphic with its successors.  Advertising with a slogan of "100 pounds to the first person who can prove it can't happen!" THE FLY took away the fear of "other" and instead rooted horror in the realm of possibility. What separates body horror from the other subgenres is perhaps the irrefutable future of destruction.  Afraid of sharks in the sea? Don't swim. Afraid of Jason Voorhees? Don't have anything to do with Crystal Lake.  Afraid of ghosts in the house? Call a priest or move.  Afraid of the monster growing within you?  Pray that medical science can assist you or enjoy feeling yourself crumble to pieces.  In body horror, there are no "rules" for survival.  Body horror forces us into the world of the unknown and there would appear to be no way out.  In fact, most people will look to other unknowns to help with their own unknown.  Religion, theoretical science, voodoo, ancient texts, astrology, and many others have all been cited as resources for those struggling with some sort of internal ailment.
Rick Baker's phenomenal make-up work for THE INCREDIBLE MELTING MAN

Perhaps the most intriguing aspect of body horror is that the line between victim and hero is very much often blurred. Those suffering are literally the ones to blame for their predicament.  Sure, Dr. Brundle in THE FLY should have double checked his Telepods before experimenting upon himself and perhaps the kids from CABIN FEVER should have been a little more careful about how they dealt with the infected drifter, but do they deserve the horror inflicted upon their bodies for not being overly cautious?  The idea of "coulda, shoulda, woulda, didn't" in regards to the source of most body horror films is very reminiscent of the way we as a society deal with victims/survivors of rape.  Why is it that people immediately feel bad for MacReady and the boys when they're attacked by THE THING without ever telling them they were "asking for it" by playing with a stray animal but at the same time are still seeing news reporters and politicians try and discredit rape victims and assume it was the victim's fault?  Body horror is very closely related to rape culture because it puts a mask on the violence of rape by putting it in the context of an "other worldly invasion" and makes it permissible to revel in the other person's destruction. If we see a person raped in a film, we immediately feel a sense of sympathy, but when we see someone invaded by an alien pod or even a tree, we are filled with extreme delight.  The over-exaggerated and graphic nature of body horror presents a safe distance for the audience to feel a great sense of schadenfreude.
Ripley 7 in ALIEN: RESURRECTION looking a lot like Brother Fred in MONSTER MAN

Body Horror being a parallel to rape toys with those "infected" with the taboo subject of sometimes enjoying their transformation and again being demonized for it. Rosemary in ROSEMARY'S BABY was actually as excited as she was naive, Ripley enjoyed using her conjoined alien DNA to her advantage in the ALIEN franchise, and Ginger Fitzgerald in GINGER SNAPS greatly enjoyed "snapping" into a werewolf.  When this happens, our sense of compassion is toyed with and often muddled within the story. How could anyone possible be okay after enduring something like this? How could they get better? Wouldn't it be more comfortable for everyone if they just died? --- and that's what's really screwed up.  We champion survivors but they always seem to have that smell of tainted goods from then on.  In the end the "thing" that took over the body is what becomes the defining characteristic of the victim almost to the point of overshadowing the victim.  What do you remember about Dawn in TEETH other than the fact she has vagina dentata?  Do you care about the demised futures of the people sewn up in THE HUMAN CENTIPEDE or are you forever remembering them as the people forced to go ass-to-mouth for eternity? We remember all of the infected folks in NIGHT OF THE CREEPS, but what about their dates? Do you know any of their names? No, because they're not important. The victim is what is important.  Throw that parallel on every rape revenge movie and the picture becomes a little clearer.  This isn't trying to say rape victims "liked" it or anything like that, but rather that there are plenty of rape victims that don't allow the situation to completely destroy and ruin them.  Like Ginger embracing her werewolf transformation and making it her own, there are plenty of survivors of rape that live their lives like something other than a character on LAW & ORDER: SVU.
I'm surprised this shot from SLITHER doesn't have a BRAZZERS logo on it.

Body Horror also offers the most thinly veiled solution to the "invader(s)" - kill them. We kill The BrundleFly, we torch The Thing, we squash the SLITHER slugs, and we kill the "host" of THE BROOD.  This, by proxy, is what also justifies all rape revenge movies.  Based cinematically, rape should be a capital crime. The other Undiscussed side to body horror is once something is "birthed," the person that served as the "host" is crazy or unstable if they want to keep it alive and in their care.  Madeline is seen as insane for wanting to continue to feed human blood to her baby in GRACE when logical people would assume she should just destroy her.  Even after knowing the truth about the child, Rosemary smiles and rocks her baby.  These actions are seen as shocking and terrifying, but if a rape victim with the ability to become with child wants to rid themself* of their rape caused pregnancy...they're monsters.  (*Day of the Woman accepts that not all people with the ability to have children are women or identify as women and are continuing to become more open and educated with identification pronouns.) What degree of ownership and responsibility is attached to Body Horror?  Audiences often spend the film screaming KILL IT! KILL IT! and find people like Blair in THE THING crazy for wanting to keep the parasite alive.  We as humans like to think ourselves as the most valuable creatures in the universe, but to The Thing, we're nothing more than a host.  In the same regard, human children see "Mother" as nothing more than a host and a means of survival. That's why most babies cling to their mother more than their fathers.  It's not a matter of preference, it's a survival tactic.  If someone implanted you with a demon baby, you'd be screaming for it to go, but if someone implants you with a rape caused baby, you're a demon if you don't want to raise it.  With few exceptions, there aren't many body horror movies where society has tried to coexist with the issue.
My junior year prom date, or Three Fingers in WRONG TURN 2

So what about victims/survivors of body horror that continue to walk amongst us?  The most general way to examine these individuals is to look at mutants.  Mutant horror films are just whitewashed body horror.  These individuals cannot control the way that they are but because they live unconventionally and are seen as "damaged," they are treated as lesser thans.  Not exactly horror, but think about the X-Men.  We've got people that can't help what has happened to them and are fighting for the right to coexist with the general public.  Play that card on rape victims and their endless fight for better laws and after treatment, and it becomes clearer that we treat rape victims less like humans and more like mutants.  These are people to feel sorry for and to try and "fix."  These are people who are inspiring simply for existing, or terrifying for being proud of it.
A still of Bob Costas at the Sochi Olympics...I mean Najarra Townsend in CONTRACTED

(IF YOU HAVE NOT SEEN THE FILM DO NOT READ AHEAD)What happens when we have a film that deals with both body horror and rape culture?  Eric England's CONTRACTED shows a film about quite possibly the most terrifying disease a person can contract from sexual contact.  We only assume at the end of the film she became a zombie, but what if it was something more?  What if that wasn't even her final form?  At the moment of her transformation, she's finally taking control of her life in all aspects - from her mom, her lover, her friend, but because she's now a deteriorating mess, we're meant to see that change as a bad thing.  Much like rooting for the last man on earth in I AM LEGEND even though he's the parasite to the new world, who are we to say that Samantha in CONTRACTED isn't now exactly who she's meant to be?  Sounds a bit like that Justin Bieber, "everything happens for a reason" quote in regards to rape, doesn't it?
THE ACT OF KILLING was Oscar snubbed, but I promise there are reasons to live, BIO-COP!

Rape culture is a complex thing to understand and it will always be interpreted differently by other people.  However, I firmly believe that whether infected by an other worldly creature, contracting a disease, becoming the product of an accident, or simply being born with it, body horror is an exaggerated reflection of rape culture in Western civilizations.  While we may not have to worry about being implanted with pod people, we do have to worry about become a victim of rape.  The only difference is that unlike a Pod Person or an Alien chestburster, we can't teach these creatures to "not chestburst;" but we do have the ability to teach people not to rape.

Sunday, March 2, 2014


Cleveland filmmaker Keith Ten Eyck is truly a force to be reckoned with.  Known for his dystopian film A BARGE AND ITS WIND, about a government conspiracy involving a mysterious boat docked in Cleveland's harbor, Keith Ten Eyck is known for blending genres and giving films an entirely different flavor than what the common audience is accustomed to tasting.  A filmmaker completely unique to himself, it's not often that we see an upcoming individual with such a well established style.  A filmmaker, artist, and graphic designer, Keith Ten Eyck utilizes his variety of talents to create films that feel like cinematic performance art.  His pieces ooze of passion, skill, creativity, and his newest short flick LOCK-OUT/TAG-OUT is no exception.

An intriguing character study about the lives of elevator union workers; the film explores love, work relationships, friendships, and the way death changes them all.  Ten Eyck's cinematography is extremely impressive for such a young filmmaker, and his editing techniques showcase a highly under appreciated skill.  While his writing of the short is very strong, his camera work acts as the strongest character in the entire film.  LOCK-OUT/TAG OUT isn't exactly a fun film to watch, but it's not supposed to be.  This is a film where the drama stands forefront versus the premise.  Although the film is not without its bloody moments, it's a painfully accurate look at how things actually happen in dangerous work environments.  The fact special effects master Maxwell Desotell is an elevator worker himself makes the visions of elevator shaft dropped bodies even more haunting.  For Desotell, he was creating the images of the disasters that he overcomes every day a la 1000 WAYS TO DIE.  Ten Eyck writes very natural dialogue but plot wise, there's a bit more foils to contend with.  However, for a local Cleveland filmmaker, this is a remarkably ambitious piece...especially in acquiring and filming in working elevator shafts alone. Keith Ten Eyck isn't afraid to tackle the harsh realities of the chaos left behind in the lives when someone passes away, and he isn't afraid to do something other than the indie filmmaker staple of "shooting a horror movie in the woods with half naked women."

At just under twenty minutes, LOCK-OUT/TAG-OUT is arguably the most "different" from Keith Ten Eyck's earlier pieces.  There's no fantastical elements. The story is meant to be a cerebral investigation to how guilt and remorse affect the human psyche in the presence of a tragic demise.  It's a more relatable piece, a bit more conventional, and perhaps marketable...but that's how most gateway drugs work.

LOCK-OUT/TAG-OUT premieres FOR FREE at 7 p.m. tonight at Market Garden Brewery. Steve Macadams, another Cleveland filmmaker, will also screen his movie QBCCLE, which will also make its local premiere.
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