Mark Dery has a new essay -- "equal parts philosophical investigation (of memory, time, and museum vitrines) and memoir (mem-noir?)" -- up at the Thought Catalog. He says: "Why do passing encounters with the inconsequential lodge themselves in our long-term memory, sometimes forever? What makes seemingly throwaway images get stuck in the hippocampus and stay there, for a lifetime? Castle of the Living Dead (1964) is, by universal consensus, not high art. An especially forgettable example of the spaghetti-gothic thrillers turned out by Italian moviemakers in the '60s, it's a low-budget affair, badly dubbed, creaky with clichés, marred by hammy performances. Yet, for all its staginess, the film settled to the bottom of my unconscious the day I saw it, at the age of eight or nine, and has lain there ever since, submerged but still visible, like the drowned death car in Night of the Hunter."
Castle Of The Living Dead: Time, Embalmed
Kyohazard’s Lament Configuration is a terrific piece of fan-art for those of us who loved the Hellraiser movies (the good ones, at least).
“We believe that the new classics on this list are destined to become old classics,” writes the BBC. “Whether or not that happens is ultimately up to you, the moviegoers. But one thing is certain: cinema isn’t dying, it’s evolving.”
The View from the Cheap Seats, Neil Gaiman’s mammoth collection of nonfiction essays, introductions, and speeches, is a remarkable explanatory volume in which Gaiman explains not just why he loves the things he loves, but also what makes them great.
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