4/29/2023 0 Comments Texas chain saw massacre historyWhile there are still a few detractors, it remains one of the most popular and controversial horror films ever. Aside from the critical praise, it has also been named a classic among horror films by Entertainment Weekly and Total Film. Other reviews hailed the film as one of the greatest horror movies since 1968. Linda Gross of the Los Angeles Times called the film “despicable”, while critics such as Roger Ebert hailed its acting and technical execution. The film received mixed reviews upon its initial release. Tobe Hooper’s vision of the climax of the film was made into a feature film, The Texas Chainsaw Massacre 1974. Many elements of the plot were inspired by the real-life murders of serial killer Ed Gein. The story was inspired by real events and Tobe Hooper’s experiences in the San Antonio area and was based on events he observed there while working as a documentary filmmaker. The walls were decorated with human skin-like latex, while the art director, Robert Burns, collected animal carcasses and blood from the surrounding countryside to create an authentic look. Much of the filming took place in a farmhouse that was decorated with furniture and decorations made from animal bones. Originally titled The Texas Chainsaw Massacre, the film was shot on 16mm film using a fine-grain, low-speed film that requires four times more light than modern digital cameras. In addition to the crazed cannibal, the movie features a host of other psychopaths. The killer, who disguises himself as a man named Franklin, bashes both Jerry and Franklin with a chainsaw before mowing down Sally with a sledgehammer. In the horror film Texas Chainsaw Massacre 1974, a crazed cannibal named Leatherface terrorizes a small town. SW of town, west of Hwy 95 on CR 336 Texas Chainsaw Massacre 1974 This paper offers a ‘taste’ of a Bataillean approach to the theorising of horror and the spectatorial ‘pleasures’ of submitting to the anguish it provokes.The home has been moved to Texas now near Antlers Inn. In The Texas Chain Saw Massacre, capitalism’s transgressive excesses both ignite the taboo’s prohibitive power while revelling in and glorifying its violation. While Bataille asserts that the ‘main function of all taboos is to combat violence’ (thus maintaining the power, integrity and conformity of social institutions), he also suggests that the taboo paradoxically begets its own violent transgression. In this paper, the film’s representation of ‘cannibalistic capitalism’ will be explored in relation to Georges Bataille’s theory of taboo and transgression. Chain Saw offers a model of horror that is both deeply rooted in American ideology, taboos, and the key (and interdependent) institutions of the family, the worker and capitalism, yet produces aberrant and transgressive versions of these same social units. ‘Home, sweet, home’ becomes the slaughterhouse and consumers become the consumed as ‘cannibalistic capitalism’ (embodied by a family of unemployed but murderous abattoir workers), wreaks havoc on the lives of a hedonistic group of youths, as the ‘Age of Aquarius’ comes to a bloody end. The Texas Chain Saw Massacre (Tobe Hooper, 1974) presents a nightmarish vision of an America, metaphorically and literally devouring itself. The essay concludes with some points for further discussion. By doing so I hope to show that human victims are often represented through animal terms (and can thus be read as symbolic for the status of animals in society) and that the storyworld of these films is one of an extremist “non-speciesist” disposition. This part will be my experiment to perform what I refer to as a “vegetarian analysis” of filmic examples by referring both to the ethical background of the animal rights movement and the visual representations used to portray the relationship between the killer and his or her victims. The third part will analyze selected films from the horror genre in light of four different themes, or motifs, that I believe to resurface again and again in horror cinema. His story provides a paradigm example of speciesism in action and of the dystopian world where humans are hunted and killed precisely in the same manner as animals. The second part constitutes a retelling of the story of the now legendary serial killer Ed Gein, whose work inspired at least three generations of horror cinema. I will review the concept of “speciesism” and recite a brief history of animal rights and some of the movement’s main arguments. The first one discusses my theoretical background in animal rights theory and ethical philosophy. The essay is divided into three main parts.
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