Kier-La Janisse has written a very singular overview of horror films, her subset being those with a focus on female neurosis, and combined it with a sort of autobiographical account of her life. Aside from some jarring transitions between the personal material and the cinematic analysis, this works remarkably well. Janisse is a Canadian film programmer and her lifelong devotion to horror is jaw-dropping in its comprehensiveness. Horror is probably my favorite genre but she has seen and absorbed hundreds I’ve barely heard of, or not at all. The odd structure of the book works because it’s not about some trite “and this is how I got interested in horror”, but rather uses various horror cinema as clues to her own dark family history and psychology. I don’t say ‘dark’ lightly. The scariest things in this book aren’t about movies. In his column in Gorezone #32, Tim Lucas called it “A groundbreaking book,” continuing to say that: “This is a rare work within the field, one that takes an almost novelistic leap of imagination in determining and recording its subject and collating its parts. The personal chapters are fascinating and harrowing, showing gifts for autobiographic writing not commonly found among film critics. Janisse proves an equally adept critic; her selection of films reveals a remarkably thorough immersion in her subject. She also deserves points for confronting the question about the subtle scars that we may invite by turning to such films for entertainment.”

House of Psychotic Women: An Autobiographical Topography of

In 2019, Janisse participated in the restoration and re-release of Harry Nilsson’s 1971 animated TV movie The Point, offering the use of her personal 16mm film print and contributing to several of the bonus features for the 2020 MVD Blu-ray release as a producer and editor. [27] I Like Batsis presented in 1080p from a 2K scan of the only 35mm print known to exist. And well, that might give you a hint as to how good of shape the print was in. There’s some pretty noticeable damage that shows up infrequently, but the encode handles it all capably without detracting from how just how beautiful the film does look in high definition. Shadow definition is a bit limited because of the damage, yet that’s not due to any digital tinkering. This still looks good for what could have essentially been a lost film without this print being scanned. Nicoletta Elmi: Italian Cinema's Imp Ascendent — Video essay by film scholars Alexandra Heller-Nicholas and Craig Martin Bolkan is excellent in the lead. She looks great in the part and plays her role with an appropriate sense of confusion. We have no trouble accepting her as Alice, she’s a very good fit for the character. Nicolette Elmi and Peter McEnery are also very good. It’s also worth mentioning that Klaus Kinski has a small role as the astronaut in the Footprints On The Moon footage and Evelyn Steward has a brief supporting role in the film as a mysterious woman named Mary.In 2019 and 2020, Janisse appeared as a guest speaker on the AMC series Eli Roth's History of Horror. [28] This is my own interpretation of what I think Ms. Janisse might consider some of the key films discussed, based on how passionately she engages with them. (Oh, and you might notice not every film is strictly speaking horror; Kier-La is flexible.) Award-winning writer/programmer/filmmaker Kier-La Janisse presents four of the strongest and strangest explorations of onscreen delirium and hysteria. TEEN ROUTINES: THE SELF-MADE MAGIC OF R. STEVIE MOORE - Screening at The Horse Hospital in London". ArtRabbit . Retrieved 2021-06-19.

Blue Eyes of the Broken Doll - Wikipedia Blue Eyes of the Broken Doll - Wikipedia

Jimmy McDonough, author of The Ghastly One: The 42 nd Street Netherworld of Director Andy Milligan and Shakey: Neil Young’s Biography From 2008-2011, she founded and ran Plastic Paper: Winnipeg’s Festival of Animated, Illustrated and Puppet Film, a five day festival of independent animation arts, including screenings, installations and expanded cinema performances. Special guests included Ralph Bakshi, Bill Plympton, Heather Henson and more. i always find myself craving self-destruction and i wanted to know why, as a mentally ill woman, i wanted to understand this fascination for something that will devastate me completely. pop culture often reinforces stereotypes about mental illness, subjecting us to see ourselves as a terrifying public property, and it’s scary and revolting; but what i’ve found in my obsession with female neurosis in horror was a way to cope with my own neurosis, because this is what i know the most. horror shaped me as a person (since my childhood, my relationship with my dad, teen years, making friends, etc.) and it became a part of me, and to quote kier-la janisse, “I stayed there because of something in myself. And that ‘something’ was decidedly female.” Playing out wish-fulfillment through fictional characters can save us from living out similar scenarios with our real bodies. Janisse has often talked freely about being a teenage delinquent, one who believes that watching films like “Over the Edge,” starring a young Matt Dillon, gave her pause. “There was a recognition there in terms of, ‘OK, I’m like this and it would be very easy for me to cross over into being very bad, but I have to make choices,'” she said. “You can get some vicarious thrill out of the fact that characters are living out this extreme fantasy, but you’re also able to reflect on the consequences.”Audio Commentary With Kamila Wielebska, Actor And Co-Editor Of A Story Of Sin: Surrealism In Polish Cinema