![]() ![]() Program notes for the National Film Theatre of Australia’s Hitchcock season ![]() Hitchcock was (and still is today) a constant point of reference the lecture It was a time of my life when I was stillĮxcitedly discovering (and applying) the film theory, “structuralist semiotics”Īnd textual analysis protocols bequeathed by the 1960s & ‘70s, areas where Served as a tutor in Rob Jordan’s 1 st year film course, which I have no definite memory or record of whenĪnd where the following talk on Shadow of a Doubt (combined here with a preceding introductory lecture) was delivered,īut I suspect it may have been at RMIT during 1981, during the time that I In that period, my lecture commissionsĬovered a curious random assortment of films, including Tout va bien (1972), Picnic at Hanging Rock (1975), The Mother and the Whore (1973), Angel City (1976), and Rear Institute of Technology, and Swinburne Technical College – all these names ![]() Gave my first, occasional, invited lectures in cinema courses at threeĭifferent tertiary institutions (Melbourne State College, Royal Melbourne As usual, this segment has a moronic ending.Introduction (January 2021): Between 19 – and the ages of 19 and 21 – I I thought amateurish portrayal of perverted families was the province of semi-pro Florida pornographers (Blazed Studios or JW Ties), but producer Bree Mills has invaded their turf. It's sort of porno Theater of the Absurd, with overacting fitting the stupid material. ![]() It's faux incest on steroids, as stepson Nathan Bronson and stepdaughter Evelyn Claire compete for the XXX affection of mama Chanel Preston. Supporting segment, "Dibs on Mom", is directed by Joanna Angel in her fake comic book fashion, ridiculously silly in presenting "naughty" sex. Resulting threesome is ridiculous, as female version of a cuckold is forced to watch the couple have sex and then join in herself. When she finally catches Ryan and the jail-bait cutie humping away in bed it turns out to be mere seduction, not a conspiracy to drive her crazy. Unfortunately, instead of thrills we get Krissy Lynn (styled as a brunette) overacting her paranoia as she imagines hubby Ryan Driller and their new babysitter Chloe Temple plotting against her. Title vignette from the "Pure Taboo" suggests Hitchcock but instead borrows from the classic "Gaslight" for subject matter. ![]()
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