The fear and horror films and comic books. It's the same feeling or need to better identify distinctions noticed, especially if related to the technical procedures, similar to what certainly different, these two media?
From this point of view it makes sense to the hypothesis that the artificial construction of a sensation of fear is possible only in an authentic way in the cinema. For the fear is rather a comic ' emotion limit, unlike the horror that seems to arise directly dall'ingigantirsi image in its apparent stasis.
Fear caused the viewer to the film finds its source in the irrepressible film frame that encompasses the vision, within the confines of the camp. The eye travels and captures the space defined by shots, and you tune in to the perception of a time cut from the suggestions of the images, or even the length of a single moving image and variable. But beyond the limit of surface area of \u200b\u200bthe field that inscribes the vision is not granted to the viewer to have guarantees of absolute control of what lives there. This unpredictability, in whole or in part, is the authentic seat of fear.
The horror in film, is determined, however, when this dynamic variation slows down when the image motion causes the eyes to fixate in concentration or in slow motion in a hallucination. Horror, fear change, turns occurred in the finding of an unacceptable reality that is going to touch closely, next to penetrate into our bodies, to transform our deepest subjectivity. The horror is unbearable to take on the absurdity of reality, that it removes any possibility of salvation. The horror involves a scheduled stop for the eyes that can not avoid the fixing side of the event.
In the comic, and field Boundaries are established and life in her eyes. By connecting and deciding the continuity between the fixed patterns of each vignette, the look itself decide when to take, dynamically, in addition to the visibility of the area is coming from the next vignette. In the eyes of a comics reader fear is an emotion only filtered by the design of the horror. The fixity of horror on which the eye discovers engages a different source of fear.
Andrea Cavaletto has the merit of bringing a jewel in Italy bloody and perverse cartoon Chilean El Italian, an anthology that brings together some of the authors of underground comix scene of the most extreme South America, meeting to recount the exploits of El Italian, Paid killers, sadistic and evil, created by the warped mind of Patricio Valladares, author and director of the small cult film Curriculum (see the accompanying video trailer if you have more than 18 years). Stories
strong, bloody, sadistic, provocative and challenging. Stories of necrophilia, pedophiles, serial killers, sexual perverts. Stories that have a cold and cynical merciless cross-section of dark times in which we live. Stories that show a dangerous and crazy South America, where it is best not to walk alone.
Nicola Pesce Editore - NECKLACE AND ITALIAN HORROR
by Patricio Valladares
by Andrea Cavaletto
stories and drawings by Andrea Cavaletto, Patricio Valladares,
Evelyn Belmar, Rodrigo Diaz Ricci, Miricioman, Caoz, Moz
80 pg. - 24x17 - B / W - 7 € - MATURE READERS
0 comments:
Post a Comment