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.
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Additional resources for The Thing (BFI Modern Classics)
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.