I recently had the pleasure of watching the 1973 Danish exploitation movie, The Sinful Dwarf for the special monthly Cultcore episode of the Cinema File Podcast hosted by my good friend Andrew. This movie was awesome and filled with disturbing, unique, glorious sleaze–it centers around a little person named Olaf who lives with his mother and helps her run their sex slave ring that is hidden away in the apartment building they rent out to tenants. I have a bigger essay planned for this movie that will take me some time to complete, so in the mean time I felt that a Haiku would be the perfect way to share my affection for The Sinful Dwarf. Read The Sinful Dwarf Haiku →
I’ve been really devouring Italian Cannibal movies lately…they really fascinate me for a number of reasons that I have yet to fully, thoroughly explore. Cannibal Ferox is one of many I have recently watched and enjoyed in my quest to satiate my appetite for Italian Cannibal films. This haiku (you’ll notice this format is 5-8-5, haikus can stray slightly from 5-7-5) is just a simple summary of the film, nothing more and nothing less. I hope you sink your teeth into it and enjoy!
This essay explores the relationship between Russ Meyer’s masterpiece Faster, Pussycat! Kill! Kill! and Laura Mulvey’s theory of the Male Gaze. While the film aligns with some basic elements of the Male Gaze, it simultaneously strays from it through the presence of active, powerful and violent female characters who exert power and control over men. This contradictory relationship with the Male Gaze allows the film to function and be examined as a piece of alternative cinema.
Read The Point of No Return: On Faster, Pussycat! Kill! Kill! and Laura Mulvey’s Male Gaze Now →
This piece was one of the strangest assignments I ever had during College; after screening Ed Wood’s Glen or Glenda for my Cult Logics class, my professor emailed the class to give us our writing assignment to accompany the film. The assignment was to write a Haiku that said something about Ed Wood, Glen or Glenda and how the film represented his unconscious and thus, functioned as a Parapraxis.
Read Glen or Glenda Haiku Now →