By Howard Schroeder, Ian Thorne
Recounts the plots of the 1954 movie and its sequels which the occupation of an unfriendly half-man, half-fish creature came across in a Brazilian lake.
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Extra resources for Creature from the Black Lagoon (Monsters Series)
Even instruction is handling a rifle can be drummed into the heads of the densest raw recruit if the instructor uses the method of ‘decomposition’. The most interesting link is of course the one between Japanese theatre and sound film which can and must learn from the Japanese what to it is fundamental: the reduction of visual and aural sensations to a single physiological denominator. Thus, it has been possible to establish briefly the fact that the most varied branches of Japanese culture are permeated by a purely cinematic element and by its basic nerve—montage.
But let us for the moment return to one of the most interesting optical conflicts: the conflict between the frame of the shot and the object. The position of the cinema represents the materialisation of the conflict between the organising logic of the director and the inert logic of the phenomenon in collision, producing the dialectic of the camera angle. In this field we are still sickeningly impressionistic and unprincipled. Nevertheless there is a clear principle even in this technique. A mundane rectangle that cuts across the accident of nature’s randomness.
FOR ART IS ALWAYS CONFLICT: 1. because of its social mission. 2. because of its nature, 3. because of its methodology. 1. Because of its social mission, since: it is the task of art to reveal the contradictions of being. To forge the correct intellectual concept, to form the right view by sitting up contradictions in the observer’s mind and through the dynamic clash of opposing passions. 2. Because of its nature, since: because of its nature it consists in the conflict between natural being and creative tendentiousness.