The Thing (BFI Modern Classics) by Anne Billson

By Anne Billson

From Amazon: "An alien entity which could take any dwelling shape invades an remoted medical examine station within the Antarctic. John Carpenter's the item is better identified for probably the most startling visible effects--surreal, lurid, surprising perversions of the human physique --ever devoted to celluloid. At London's nationwide movie Theatre in 1995, Quentin Tarantino named the item as one in all his favourite motion pictures. but whilst it used to be published in 1982, it fared badly opposed to one other alien come upon motion picture, E.T., and critics panned it. however the factor has elderly good, and its effect can now be detected in every thing from Seven to purple Dwarf and The X documents. In her stylish and trenchant learn, Anne Billson argues that the item hasn't ever been given its due. For Billson, it's a landmark motion picture that brilliantly refines the conventions of vintage horror and technological know-how fiction, combining them with humor, Lewis Carroll good judgment, robust characterizations and prescient perception. the belief of an alien species mutating and inhabiting people resonates all too chillingly with the mad cow affliction obstacle and today's new and ever extra strong genetic technology." Anne Billson is the Sunday Telegraph's movie critic. She is the writer of the novels Suckers and Stiff Lips in addition to numerous works of nonfiction.

Show description

Read or Download The Thing (BFI Modern Classics) PDF

Similar film books

Dreams and Dead Ends: The American Gangster Film

The second one version of this vintage research presents a reintroduction to a few of the most important motion pictures and theoretical issues of movie noir and gangster movies in twentieth-century the US. starting from Little Caesar (1930) to objects to Do in Denver whilst You're useless (1995), Shadoian courses the reader via twenty vintage video clips of the style.

Hollywood's Copyright Wars: From Edison to the Internet (Film and Culture)

Copyright legislation is critical to each degree of media construction and reception. It is helping be certain filmmakers' creative judgements, Hollywood's company constitution, and the kinds of media intake. the increase of electronic media and the net has basically accelerated copyright's achieve. every body from manufacturers and sceenwriters to beginner video makers, dossier sharers, and net marketers has a stake within the heritage and way forward for piracy, reproduction security, and the general public area.

Beginning with Thomas Edison's competitive copyright disputes and concluding with contemporary complaints opposed to YouTube, Hollywood's Copyright Wars follows the fight of the movie, tv, and electronic media industries to persuade and adapt to copyright legislations. a lot of Hollywood's such a lot valued treasures, from glossy instances (1936) to big name Wars (1977), can't be absolutely understood with no appreciating their felony controversies. Peter Decherney indicates that the heritage of highbrow estate in Hollywood has no longer constantly reflected the evolution of the legislation. Many landmark judgements have slightly replaced the industry's habit, whereas a few quieter rules have had progressive results. His such a lot striking contributions discover Hollywood's reliance on self-regulation. instead of contain congress, judges, or juries in settling copyright disputes, studio heads and filmmakers have frequently saved such arguments "in house," turning to expertise guilds and different teams for recommendations. no matter if the problem has been combating piracy within the 1900s, controlling the specter of domestic video, or coping with sleek novice and noncommercial makes use of of safe content material, a lot of Hollywood's engagement with the legislation has happened offstage, within the greater theater of copyright. Decherney's exact heritage recounts those extralegal recommendations and their impression on American media and culture.

The Cinema of Hal Hartley

Essentially the most major participants to the yank autonomous cinema that constructed over the overdue Nineteen Eighties and Nineteen Nineties, Hal Hartley has all through his profession created motion pictures that defy conference and seize the stranger realities of recent American existence. The Cinema of Hal Hartley seems in any respect of Hartley's movie releases - from cult classics akin to The unimaginable fact and belief to oddball style experiments corresponding to No Such factor and Fay Grim to brief motion pictures similar to Opera No.

Xerox Ferox: The Wild World of the Horror Film Fanzine

A scene that prompted generations of writers, filmmakers and fanatics, XEROX FEROX is the 1st ebook to hide the horror movie fanzine and the tradition it spawned. From recognized Monsters of Filmland to Fangoria and every little thing in among, XEROX FEROX is far greater than a e-book approximately monster magazines. It examines the home-grown DIY fanzines that dared to dig deeper than the slick and glossy newsstand mags ever may.

Additional resources for The Thing (BFI Modern Classics)

Sample text

5 Rupert Read 31 So a number of the essays in this volume can be read with profit as attempting to understand film(s) not, as is usual in philosophy and film theory, by means of simply subjecting film to philosophical analysis using pre-arranged criteria, criteria alien to films themselves, but rather, beginning from suggestions in Wittgenstein and Cavell, by means of seeking to understand (in part, from examples of films themselves) how we have learnt to find cinema both a natural thing and an inherent source of philosophy and of paradox.

But films by their nature relentlessly – you might even say absolutely – resist this picture. How and why they do so, Cavell finds, is not something one can discover apart from careful criticism of individual movies – what he calls ‘reading’ films. In the spirit of this discovery, I want here at least to begin a reading of David Fincher’s Fight Club, released in 1999. What’s of particular interest to me about this film is the way that it develops a vision of the intimate relationship between reason and passion in terms that appear to have been lifted from the work of two philosophers whose work turns on denying this relationship – one of them, Descartes, the quintessential modern philosopher, and the other, Plato, its avatar in the ancient world.

As a set of methods of questioning whatever can be successfully questioned and being careful not seriously or literally to question anything else. As an unfolding of reason which is reliably self-conscious about both the perennial danger of an overweeningness of reason and the perennial danger of committing oneself to absurdities about ‘the limit of thought’. As a way of clearing the way for films to show us the thinking that they accomplish, and for us to think with and through them, not as a way of substituting for either of those processes.

Download PDF sample

Rated 4.07 of 5 – based on 46 votes