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The classic Grizzly of William Girdler and the genre of animal Horrors, Part 3 A review of
i - ming

BLOCKBUSTER PETZ
Grizzly was at a mere $ 750,000 cost of production a huge success. He played around 40 million at the box office and became not only the most successful independent film of 1976, but until then the most successful ever. Two years later, John Carpenter him the title with Halloween again and keep him until 1999, when Daniel Myrick and Eduardo Sánchez's The Blair Witch Project came out. May is Grizzly compatible have been for the mainstream as other independent films and B-movies of the 70s and was therefore not so popular: its look is much smoother than many of his contemporaries, there is an orchestral soundtrack to the listening habits of a mass audience equivalent, there are many beautiful nature scenes, and especially Grizzly had a PG-13 certificate, a moderate Platinum, which allowed it to demonstrations outside the station Cinemas and Grind House.

In contrast, the independent production conditions typical for a company: The script was not ready at the start of filming, and many Dialogues were improvised, therefore, the helicopter scenes are written in the summer, presenting the other scenes in the forest because of a delay in the timetable, however, until the autumn, which meant that the forest seen from above with full foliage, from below, however, the few remaining leaves other colors show. All this, however, are things that are not noticeable at first glance, absolutely.

ELECTRIC WIRE AND ANGEL FOOD
striking is because even the appearance of the eponymous grizzlies. The construction of the animal consists of five components that are to jointly create the illusion of a Killer bears:

• a Grizzly of 3.30 meters in size (one to the family of brown bears), who hears in real life on the name "Teddy"
• one black bear of 2.10 meters in size
• 1 man in a bear costume
• 1 bear paw gloves
• 1 "Grizzly cam" in POV style including wheezing, which both strongly reminiscent of the Point-of-view settings in slasher films that should be so popular a few years later, and the shark Jaws in perspective. In the book of the film by the way, there were passages in which the bear acted as narrator: perhaps an attempt to Transcription the magnificent grizzly cam?

Top left: the glove component

The illusion seems sometimes inconsistent, most clearly when a bear costume and claw gloves come into play, but the interface takes the viewer is always quick on the meta-level back in history. Comical effect the discrepancies in size and color between black and brown bear, which can be a puzzle to which dramatic Bears are right now. Analogous to the story, is being questioned in the presence of a grizzly bear in the woods for a long time is concerned, they enable a nice side effect: we spectators also doubt long in it, whether we actually have a Grizzly have seen. The real Bears have also never worked with the actors directly, an electric fence has separated the human and animal performers from each other for security reasons. In order to manipulate the direction of the bear, were marshmallows with a cord tied to a stick and in front of his nose held, which meant that the bear walked sometimes on his hind legs through the forest, a rare behavior in the wild.

GREAT BROWN
model of Grizzly is Steven Spielberg's Jaws whose plot structure he copied exactly, while exchanging a few screws to make the construction cost. We see Grizzly his economic approach, formally installed at each individual setting: It is Jaws , reduced to essentials. That the production company Film Ventures International (FVI) is not sued by Universal was amazed leaves. But it is this audacity of Grizzly traces its predecessor, which makes him so likeable and his stolen items, for all its very own magic awards: Grizzly elevates the art of plagiarism, he is in perfect imitation. He also he gives no trouble, the fact of being plagiarized to hide. On the contrary, he wears it proudly in front of it: The working title was Claws, and thus it really all paying attention to the tagline "Jaws with claws," was created.

With the similarities between the films would fill pages, from the topos of the advance of a predator in a haunted human area (camping areas in the forest vs. Shallow waters near the beach) on the constellation of characters (rangers, scientists, helicopter pilot / war veteran vs. policeman, scientist, boat captain / veteran) to basic plot elements (the competent authorities want the affected areas for fear of lost revenue can not block the high season for tourists), narrative elements (Quint's famous story about the sinking of the battleship "USS Indianapolis" is in Grizzly its counterpart in a campfire story told by a group of Indians who were eaten by a pack of grizzly bears) and technical details such as the animal POV-shots.

As part of the "Animals on the rampage" hysteria in 1977, directed by Richard Bansbach and RE Pierson even a rip-off made by Grizzly that actually bore the name Claws . The shaft was a long time and influenced the genre today. None of the successor, however, reached the complexity, the sophistication or the psychological aspects of Jaws . Also Grizzly threw all that overboard and left to what was for the exploitation cinema of the era most importantly, the pure fun of it with the option of a good deal.

The original artwork for the poster of Grizzly is from Neil Adams

THE CAPTAIN AND THE sinking ship
Grizzly was produced by FVI, a U.S. independent company, originally of Atlanta, later active in Hollywood, led by Edward Montoro. FVI earned his living mainly in the distribution and the production of B-movies in the horror field and was famous for his brazen rip-offs of successful large-budgeted genre contributions. Thus, the company drove the highly successful US-Italian co-production Beyond the Door , which paved the way for many other clones of William Friedkin's The Exorcist , including Abby by William Girdler and L'Anti Christ by Alberto De Martino . Warner Bros. had FVI namely sued for plagiarism and had failed in court, so that other producers now imagined the way, prepare the material again.

From the late 1970s until the first half of the 1980s drove many illustrious title FVI with great success the U.S. market, which have gained cult status, including William Lustig's Vigilante , Joseph Ellison Do not Go in the House and Juan Piquer Simón Pieces, at the FVI-production was also involved. There are different versions of how and why exactly it came to the end of FVI in 1985, two aspects are adequately supported by evidence: First, had Montoro for FVI in 1980, the U.S. rights to the Italian Jaws rip-off Great White clone of King Enzo G. Castellari acquired in 1978 the original Inglorious Bastards had sent into battle (which in turn owed their existence Robert Aldrich's The Dirty Dozen 1967). After a locally limited but successful release of Great White and an expensive promotional campaign to inflatable swimming white sharks with title lettering Universal sued the Italian producers and stopped the distribution by the companies that had acquired the rights already. The copies were made and the money was lost. Whether the Italian producers now Montoro had stood up to just Jaws rights holder Universal would have no objection to Great White and his hungry white shark nothing, or whether it was the thing to hear Montoro like to, will probably no longer clearly can be clarified.

And here we come to point number two in the history of bankruptcy FVI: Montoro, who had actually always dreamed to become a pilot of a passenger plane, but then survived a plane crash and will be patched up in lengthy operations had been abandoned by his longtime wife. The divorce law in California would have awarded the ex-wife half of Montoros entire property, thus the half of FVI. At that point, the movie just FVI Mutants 2/Night Shadows, directed by FVIs staff director John "Bud" Cardos produced, the production costs could not be moved by the theatrical release and thus costing the company in an imbalance brought. Then, Montoro ill and had to be hospitalized for months intensive treatment. After his recovery he made a decision: He took a million dollars in cash from the company's assets and put away, no one knows where. To date, his whereabouts a mystery, for he could never be traced. There are rumors here and there: He had fled to Mexico, he would be somewhere in South America and he died a few years ago. We will likely never know. I like to think that the old crook Eddie, he was now 82, 80s and 90s, has spent his embezzled company funds financed by private plane on the tourist landscapes fly to Costa Rica.

Enzo G. Castellaris L'ultimo Squalo

BAD MOVIES VS. GOOD BAD MOVIES
would secure many people Grizzly how well all the movies from Girdler, just as bad, second-rate movie, or call the imitation of inferior quality. As part of the categories of Cinema Bizarre or a target aesthetics of trash cinema however, can be differentiated approaches and strategies unlike the reception on an intellectual level and develop direct experience on an emotional level. The so-called trash film can thus be both a cinema for the head and body as cinema interpret. The apparent and obvious defects and fractures of the productions possible and force the active participation of the public not only about the content of the history and nature of their characters, but also on a meta level, fill to the viewers the drama, technical and otherwise kind gaps independently need to avoid being catapulted from the film.

On the other hand, the Trash Cinema, notwithstanding the inclusion of intellectual participation always body cinema, because it rise through the breaks, which manipulate the audience to participate, involuntary physical reactions can. The classical reactions of the spectators body to body cinema are laughing, crying, nausea and agitation, the classic body-genre comedy, melodrama, horror and pornography are aimed at precisely that. In the trash cinema, there is a possibility that the audience all these reactions are elicited, the term "trash" is limited ultimately not in a particular genre. Whether the reactions are always intended, is not really important, but attributes this issue to the complexity of intellectual reception: Was the body's response plans while viewing a particular scene in this form, or did I react in this way, because I already own interpretive have components added, and thus reception are already back with his head rather than with the body?

form the openings in the Trash Cinema interpretive gaps and confront the viewer with entirely different challenges than mainstream or art house. An aesthetics of trash cinema should therefore make every effort in my opinion in any case, to develop their own categories and assessment criteria which allow such fractures are not easy to dismiss as a flaw or defect. Vielmerh should describe these fractures as constituent elements of a specific aesthetic form to the public as to the physical reaction, a large number of intellectual ideas and insights possible. What is the trash film often interpreted as failure is, in fact, may chance.

I'll close this review with a somewhat longer quote from Stephen Thrower who has some wonderful thoughts about the aesthetics of trash cinema, which may provide a basis for further considerations:

"has often been said before, bad movies that have interfaces with the surreal. (...) The filmmakers come rather randomly on techniques that are usually attributed to the avant-garde, but they achieve this in their stubbornness or helplessness never safe Port of aesthetic theory. Clever ideas are found encrusted in trite expression, sometimes completely meaningless films capture fleeting crystal clear truths. Bunuel, for example, shied away from even the most ridiculous of all ideas not return his feelings because he said that in art which is considered low and is considered an idiot, would be hidden gems of knowledge. (...) You can laugh at the obvious defects in a B-movie, a light up more, more sensible and more entertaining way of seeing it would be, imagine how connect to Alice through the looking glass into a world where movies just to be so in of all its technical shortcomings in truth artistic success are. Why are these errors and deficiencies are not seen as a kind of art in the negative, where deviations from the norm, accidentally or not, created a parallel movie universe. (...) Let's make this journey into another world, then we can get to enjoy Bad Movies and discover their aesthetics "(translation of the author)

definition of the breaking point Trash / Art / Body.
the great Divine (1945-1988)

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Reel Animals, Part 2

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The classic Grizzly of William Girdler and the genre Horrors of the animal.
A review of i - ming

TERRITORIAL DISPUTES
If we mentioned assume that the horror film always needs a Monster to exert its effect may be in the animal horror, the role of the monster taken from animals . How does this reinterpretation of the animal to the monster? Are there similarities in all the different movie monsters to explain to us how the animal is constructed into a monster? What steps are necessary to make the change or they might be accomplished? In general, a behavior must be present, which differs from a norm, be it animal or human behavior, a to allow interpretation of this standard. Here are three basic distinctions with respect to the situations of the stories are taken to be analogous to the patterns of action "action", "response" and "passivity" may be considered:

1) The animal behaves more or less by its very nature, expands the circle of his activities, however, about the usual norm. In this category is the animal described in the disposition to most as an "active part" ( Jaws, Grizzly ).

2) The animal reacts to outside influences, usually on human Interference with the natural conditions, these effects have to be a learning curve to understand the animal's reaction as an evolutionary step. This step is a) his mental development (Phase IV , Squirm ), b) include physical mutation ( Tarantula ) or c) both mental and physical evolution ( Bug ). Here the animal the "reactive part" is.

3) The person enters the area one of the animal, and changes in this way the standard ( The Lost World , Open Water ). In this category, the animal is most likely the "passive role". Take

continues, the fear of the monster in the horror film is influenced to a great extent the fear of their own inability to a situation positively. Is the animal in the animal horror proxy for the forces of nature, where man encounters, the question arises as to the responsibility of man to bear the consequences for his encroachment into nature, and after its failure to take up this responsibility. The person is displaced from the role of the agent and it is often only the reaction, no matter what situation, the history up to that point is accepted. The nature shows him back in his place and command respect. Animal Horror addresses the fear of the people as explorers and conquerors, as the crown of creation, its achievements and conquered territories to lose again to the original owners and thus leave its status as rulers and masters. The man is being pushed back: The earth, which he has subjugated chases him out of his colonial home. In the center of the Animal Horrors So is the fear of not more accepted part of this Earth to be a foreign body in the natural system of the planet.

Adam and Eve as confounding factors in the ecosystem earth
Briony Behets, John Hargreaves Colin Eggleston
animal horror parable Long Weekend 1978

Animal Horror therefore less supernatural attributes as much more political and more often ecological approaches. As films about natural disasters, environmental disasters and epidemics animal horror part of the larger framework of "eco-horror" is an area of "Nature Strikes Back" is also often associated with the term is. The stress field in which moves Eco-Horror in general, and specifically animal horror is always the question of cause and effect, according to the relationships between human actions and those of the animal. The central question is: Is man responsible for what happened? And if so, how he goes with this responsibility to?

William Girdlers Grizzly in its consequence is the prototypical representative of its genre: plagiativ, calculating in its combination of pure spectacle and superficial explanation, and in its technical execution, at best, average. At the same time he meets all the requirements of a proper style exploitation film: He is a highly cost-produced independent film, a shot rip-off with a clear focus on the economic advantage in the wake of an original product, he was in the 70s, a decade in the today of view totally different production and style rules that prevailed Exploitation icon Christopher George plays a starring role as the sexy Ranger, and last but not least, is peppered with many Grizzly vulgarity. (Mentioned only had to stumble into an open body and the attack of the bear to a little boy, two scenes that put the audience still in amazement at how the performance of Grizzly in the series Bizarre Cinema convince confirmed on 02.11.2008 in Hamburg 3001-cinema could.) You can see both the film's unabashed look at the dollars as well as the unconditional love of his subject and his medium. You get the feeling here was a man at work who loved his work.

WILLIAM GIRDLE
Girdler, born 1947, came during his time with the U.S. Air Force for the first time in contact with the film, when he was there involved in the production of documentary and educational films. In 1970 he founded the company Studio One Productions, which produced first commercials. Girdler filmed in 1972 with his Studio One crew then his first screenplay and delivered his debut film Asylum of Satan . Quite artistically deficient, a story about this film proves Girdlers inimitable business acumen and his nose for the small excesses of genre cinema: In Asylum of Satan a devil costume is used, the Girdler from the inventory of props Roman Polanski's Rosemary's Baby concern from 1968 was: The same Satan, Rosemary Woodhouse was raped, got another head put on and was allowed to drift on the loose.

Rumor had in the famous scene in Rosemary's Baby incidentally carried none other than Anton LaVey the rubber devil during the filming, in his capacity founder of the Church of Satan, and probably of post-modern Satanism par with his rationalist, anti-spiritual attitude and his now entered into pop culture imagery and the theatricality. Girdler tried to make contact with LaVey to him for his support to win the set of Asylum of Satan . LaVey was not available and instead sent one of his adepts, who eventually helped to optimize the satanic black mass dialogues and design more realistic, in part, by objects from LaVey's pool for the set. Whether LaVey has actually played for Polanski Satan is still a matter of speculation. His surviving comments on Rosemary's Baby but are priceless: "The best paid advertising for Satanism since the Inquisition." Or, " Rosemary's Baby was for the Church of Satan, what Birth of a Nation been for the Ku Klux Klan, complete with recruitment posters in the cinema foyer. "

Anton LaVey ( Look , August 1971)

The following year was Girdlers Three on a Meathook published, a horror movie about a serial killer whose story is vaguely based on the life story of Ed Gein, and which is said therefore he would be an important source of inspiration for Tobe Hooper's The Texas Chainsaw Massacre been in 1974. In fact, it seems the Trailer to be more interesting than the movie itself was in 1974 by Abby Girdlers out, one by American International Pictures (AIP) produced Exorcist rip-off as a blaxploitation version. Warner Bros. moved because of plagiarism in court and won. Abby had to be withdrawn from cinemas and was the only rider from William Friedkin's' The Excorcist that was actually taken from distribution. Before Abby disappeared from the cinemas, he had recorded many times its modest production costs of $ 100,000. Girdler saw nothing of the revenue, maybe it was between Warner and AIP, where a deal in which he was not involved.

A short throw in more or less personal note: I often confuse statements by both critics and producers who proclaim the star of a film evidence in his latest performance "courage to ugliness." This expression and the mindset behind it, are contrary to my view of what I consider to be acting. He seems to be an expression of the idea of good acting, would be dressed nicely to present to the audience. Now I have nothing against prettily actresses and actors, but this rise to the norm and everything is different, can be described as brave, seems to me to be a very superficial understanding of acting, which the Performance of the actors can never meet. It is also observed that the phrase "So-and demonstrates the courage to ugliness" mainly in the assessment of female actresses is utilized. In this score, I would like to beat most in all the contradictions of consciousness when I say: What the really charming Carol Speed, star of many blaxploitation films of the 1970s, in Abby make how changed her wonderfully pretty face in a disgusting grimace, the has to be seen to be believed. In addition, as the entire film.

Carol Speed in the Portrait / Carol Speed as Abby

1975 staged Girdler also for AIP the Blaxploitation -Action movies Sheba, Baby with Pam Grier in the lead role, which at the time considerable success with the movies Coffy , 1973, and Foxy Brown , 1975, from Jack Hill was recorded. In 1976 followed Grizzly both Girdlers biggest commercial success as a director and Edward Montoros greatest financial success as a producer. Montoro, in anticipation of the circumstances of his subsequent disappearance, cheated by the unexpected and enormous advertisement of director and co-producers and tried to embezzle the sum. Girdler and the other sued Montoro and FVI, but could not get a share of the revenues. Girdler again went away empty-handed, although he had created a real blockbuster, one of the most profitable independent films in cinema history. Despite everything, did not lose the courage and Girdler directed 1977 for Montoro and Film Ventures International (FVI) Day of the Animals , a sort of sequel to Grizzly .

Girdlers to other films, The Zebra Killer of 1974 and Project: Kill from 1976 to reference at this point to the wonderful website www.williamgirdler.com , are mentioned only to his last title The Manitou of 1978 with none other than Tony Curtis in the lead role, the incredible with the German distribution title Super-Zombie: The birth of horror was provided. (The Manitou also ran as part of Cinema Bizarre in Hamburg.) It was in this year 1978, when William Girdler the location hunting in the course of preparations for his next project in the Philippines in a helicopter crash fatal accident. At that time he was 30 years old and had turned in six years, nine films. Statistically, he is still one of the most prolific American directors of all.

Girdler had never given up the illusion of producing art films: His works should be produced quickly and cheaply as possible and bring in much money. Looking at its output, but are close to two conclusions: the man was an obsessive workaholic with a strong business sense, and he loved the cinema unconditionally. There are sources that tell it, he had worked so obsessed, because he foresaw his early death. Have we come Girdler once in their words:

"I'm in this business to make money. Why would you lie to yourself? No one wants to lose money. We have produced no art films and will not do in the future. I have no message to the world, we consider scenarios in terms of their commercial usefulness. I aim not to produce with my film art, but try to make them as elaborate as possible. "(Translation of the author)

Girdlers love of cinema, his passion for film and the special attitude to filmmaking in general and its own work in particular with respect to express themselves in words only in the elusive charm that radiates Grizzly, the movie can be called Girdlers masterpiece.

Willam Girdler (1947-1978)

Part 3: Grizzly , Montoro and the question of what a bad Movie good job

Railway Sleeper Retaining Walls

Schlupp!

"Ere we came to this world
and even so still be content taken
there we have yet to nothing which in;
hovers around you, is debt free,
has no clock and do not rush
and rarely bored.
But we will not care, and
schlupp! one is brought to the world "
(Wilhelm Busch, quoted by Werner Enke
on 04/10/2010 Metropolis )

In this photo (right: Torsten Stegmann ). explains Werner Enke the shooting of a complicated Pursuit of an eight-man tandem on which he sat in the back. Enke slipped it off his foot, it slipped into gear, the front seven kicked on hard, and only the quality of its trainers kept sink before the amputation. This planned fifth film, directed by May Spils was never completed, Enke's dream of a German cinema of visual comedy is still awaiting its completion.

**********************************************

Werner Enke visited the Metropolis :
Thursday 22 April, 21.15 Clock: Hau on it, kid
Friday 23. April, 19 clock: Beware of the Black Beck is

Cameras Make Face Look Weird

Reel Animals, Part 1

notes of truth, beauty and goodness on film during the series Bizarre Cinema # 6
>> # 5 good bad movie / / Stanley
>> # 4 50 dead! / / Assault on Precinct 13
>> # 3 penetration, mutation, deformation / / Brian Yuzna
>> # 2 Where your money is / / Bloody Friday
>> # 1 Join Us / / Evil Dead

The classic Grizzly of William Girdler and the genre of horror animal. A review of
i - ming

by ornithologists COMPLEXITY
proves the genre of horror animal, as so many seemingly superficial, on closer inspection as the subject of almost uncanny complexity. As a description of a subgenre of the term, neither the complexity of the work and its many artistic and intellectual approaches is equitable nor the many interpretive and analytical approaches with which one can approach them. From the simple spectacle "Wild animal eats man" to present analysis of ecological and socio-political subtexts in animal horror the whole spectrum is presented. This paper is not a comprehensive history of the subgenre addressed and certainly not a criticism of the Animal Horrors are trying it are just some thoughts and information is provided, which focuses the English phrase "animals on the rampage" (such as "animals run amok") well expresses. Here it is not about human tragedies, which are closely associated with certain animals and abnormal behavior (such as in Willard or Stanley ), but the animals and their deviant behavior itself

First of all: One of the most important Animal horror classics ever, Alfred Hitchcock The Birds of 1963, will hardly play a role, since it is beyond the scope and even more so than all the other herein films the makeshift established categories and criteria escapes, though he at first view the "animals on the rampage" principle is clearly in line. Suffice it to say that its success influenced many animal horror productions in the following years, such as William Gref Sting of Death (1965) and Death Curse of Tartu (1966) and Freddie Francis' The Deadly Bees (dt .: The Deadly Bees , 1966). The variety of the animal horror here should be the focus of reflection designed to specifically in the early 1970s and stabilized in the middle of the decade, falls back as Steven Spielberg Jaws the immediacy and the declaration of refusal of Hitchcock The Birds and the sub-genre with his equips still valid today formalities.

THE DECADE OF THE BEARS
the bear said "Earl" (John Irving: Hotel New Hampshire )

saw 1976 a monster the light of the cinema, the existence of a variety of reasons is remarkably highly, as his story full of contradictions seems to stick: This Monster was very well known and leads a shadowy existence in its niche, and it was to be found fairly cheap awakened from but and seems to quite expensive was in the attitude of his, and his trainer is almost a legend, but his name is hardly known; and last but not least, it's cuddly and cute, but also more scary and horrible. The talk is of "Teddy" the Bear construct of William Girdlers animal horror classic Grizzly . The following section will consider how, in the course of the history of the animal to the phenomenon of Horrors Grizzly has come when his place in this story is and how to fill them and what this phenomenon can tell us about the dynamics of Cinema Bizarre .

French speaking Lobby Card to Grizzly

OF ANIMALS AND MONSTERS
The history of the animal horror film is to trace long, they can be up to the silent era, for example, to Harry Hoyt The Lost World of 1925, based on the novel by Arthur Conan Doyle . This film is an excellent prototype for the genre: it is assumed that in the horror film is always a monster plays the central role, whether as a man in the figure of a serial killer, as beings from another world or as a product scientific extravaganza, so the role of a monster in the animal horror filled out thoroughly by the animal. In The Lost World the animals from the standpoint of the modern viewer from inherently monstrous beings, it is still to dinosaurs, to a high plateau in the Amazon, which functions as an evolutionary enclave, the extinction of their species survive, they need So not only are stylized narrative for Monster. The stop-motion models for The Lost World traditional way, by Willis O'Brien, who eight years later became immortal through his work on King Kong .

Willis O'Brien Brontosaurus from The Lost World

In the 1950s, mutated familiar and not yet extinct animals gargantuan monsters, about 1955 in Jack Arnold's Tarantula or 1954 in Gordon Douglas' Them!. These films meant for all Fantastik a significant step forward for the genre, as it was in their work to real fears, such as of spiders. The films of the 70s went one step further by always maintained the animals in the more or less natural size ratio and dramatically shifted to an increasingly bizarre behavior of each species, to operate to the anxieties of the audience. Either the animals developed completely new behaviors, or their natural behavior has expanded beyond the usual dimensions. Both approaches are related directly to the audience's own emotional and psychological mechanisms to specific fears of the animal. Unlike the giant insects of the 50s, which, operated similar to the invasion scenarios of science fiction films, the subtext sometimes diffuse, sometimes more concrete political fears, or even stirred up in the 70s pushed the fear of the individual in the focus: in front of disgust animals are eaten and the immediate fear of.

drove part, this approach amazing flowers, as the authors in the processing of the zoological catalog sometimes bizarre decisions about the creatures met, which should generate the horror. Beautiful examples are George McCowans Frogs of 1972, and William F. Claxton Rabbits aka Night of the Lepus , also from 1972nd Unequal menacing species occur in Daniel's Willard 1971 (rats) and William Stanley Grefé 1972 (snakes), in Saul Bass' Phase IV 1973 (ants), Jeannot Szwarcs Bug 1975 (fire legendary Beetle) and Jeff Lieberman's Squirm 1976 (worms). When in 1975

Jaws came out, everything changed. The number of animal horror productions has risen exponentially, and every imaginable species was used to allow people to treat a large amount of production but had to salt water and fresh water covers. The content of the films offered some enormously disparate plots together with them, however, is the monstrous beast in the water. A look at some of the titles gives a good overview of the development and scope of this category of sub-genres since 1975 (sometimes it is also worthwhile to consider the German rental title that often brings the economic aspect of each production shamelessly to the point where he their still-catching rhetoric underlines):

• Mako - Jaws of Death ( Mako, the beast ), USA 1976, directed by William Grefé, also a producer, writer and director of Stanley
• Shark Kill , a U.S. TV production from 1976, directed by William Graham, who has directed include some episodes of Batman TV series by Adam West and the cult series The Fugitive ( The Fugitive )
• Orca ( Orca ), USA 1977, directed by Michael Anderson, director of the science fiction classic Logan's Run ( flight into the 23rd century )
• Tentacles ( polyp - The Beast with poor death), USA / Italy 1977, directed by Ovidio Assonitis, who in 1974 also Exorcist rip-off had staged Beyond the Door
• Barracuda , USA 1977, directed by Harry Kerwin and Wayne Crawford
• Jaws 2 , USA 1978, directed by Jeannot Szwarc, the 1975 Bug ( fire beetle has ) staged a very unusual, original and intelligent genre entry
• Piranha , USA 1978 Director: Joe Dante , who was the subject of almost parodic staged

1978 also the year in which John De Bello Attack of the Killer Tomatoes! the first real wave of horror parody of the animal came out of the occupied not only the historical necessity of the interaction between successful and genre parody, but the development of the animal into an independent horror subgenre consolidated.

Today is produced animal horror, whose theme is moving in the water: Stephen Sommers, who came with the modern Mummy franchise to Hollywood fame, 1998 directed the octopus Horror Deep Rising ( Octalus ), Chris Kentis had 2003 Open Water a surprise success in the mockumentary style that reached cult status and its own sequel moved to, Jack Sholder made 2004 for the U.S. television 12 Days of Terror , the true story a series of shark attacks off U.S. East Coast in 1916, tracing, which also Peter Benchleys novel Jaws based and Australian Greg McLean tried, one by Wolf Creek with the crocodile strips Rogue 2007 final, the to spoil the mood for a trip into the Outback. The titles mentioned are only a small selection, but demonstrated the resistance of the water division Horror in the animal. No wonder, the fear of unknown waters is finally as old as mankind.

But how Grizzly impressive evidence limited, and the counterfeiters, imitators and inspired limit in the wake of Spielberg is not on wetlands, even on land and in the air of animal terror lurking since 1975, everywhere, to illustrate how the following exemplary references.

Dog Movies:

• Dogs ( Killer Dog ), USA, 1976, a TV film by Burt Brinckerhoff, who otherwise have worked mainly in TV series, for example, and on some episodes of the series Alf
• The Pack ( The pack ), USA 1977, directed by Robert Clouse, known for his martial arts-heavy action films, including several Bruce Lee titles like the classic Enter the Dragon
• White Dog ( The white beast aka The white dog from Beverly Hills ), USA 1982, directed by Sam Fuller, who in 1969 in Shark! had exploited the terror may spread the sharks
• Cujo , USA 1983, directed by Lewis Teague, who celebrated in 1980 with Alligator its animal horror debut had

insect movies:

• Empire of the Ants ( In the Empire of the Ants ), directed by Bert Gordon, who also Food of the Gods staged ( of the Gods ) by the appearance of many different, large species
• Savage Bees ( killer bees attack ), USA 1976, directed by Bruce Geller, author of many episodes of TV series Mission: Impossible
• The Swarm ( The Swarm ), USA 1978, directed by Irwin Allen, director of the known animal documentary The Animal World of 1956, for which Ray Harryhausen animates a dinosaur sequence

spiders Movies:

• Kingdom of the Spiders ( Spiders ), USA, 1977, Director: John "Bud" Cardos, this time not for Film Ventures International (see Part 2) active, but for Arachnid Productions Ltd..
• Tarantulas: The Deadly Cargo ( aka Deadly Cargo tarantulas: They come to kill ), USA, 1977, a television production directed by Stuart Hagmann, the also some episodes of the series mission staged Impossible has

mollusc Movies:

• Special mention should at this point Juan Piquer Simón US-English co-production Slugs, muerte viscosa ( worm ) of 1988 . see Simón films are classified only with difficulty: they are talking essentially for himself, as the decision-treated in an animal horror genre thematically types add the worm proves
  

The list could go on quite long, but looking at this small selection can be observed already three main characteristics, examples for the production of animal horror after 1975 are: 1 Many of the directors (as well as the actor) normally work for television, and a significant proportion of the movies are TV productions. 2. Often, the directors have staged more than a genre review. 3. These examples contain the above-mentioned policy of the reorganization of the German distribution company it is clear that relied on a kind of hyper simple Dramatisierungsstrategie, a phenomenon that is limited but not on animal horror productions in the late 70s.

took in the 80 years from the number of productions, the genre was established in the minds of the audience but completely: animal horror was perhaps no longer the rage, from the offer but also to stay. In the 90 years were then in addition to films, the approach was always the old school still required, such as the aforementioned Deep Rising or Alligator 2: The Mutation , USA 1991, Director: Jon Hess (director of the Dean Koontz-film Watchers), including films on the subject that were not only parody but almost nostalgic trains carried and contained an ironic reference to the history of the subgenre. A generation of filmmakers who had grown up with the classics, devoted to the topic. Animal horror had reached its post-modern phase. The most common examples of this category are Arachnophobia , USA 1990 Director: Frank Marshall, who has many of Steven Spielberg's production of directing, Tremors ( In Tremors ), USA 1990, directed by Ron Underwood, who directed 1998 remake of Mighty Joe Young , Jurassic Park , USA 1993, directed by Steven Spielberg and Guillermo del Toro's Hollywood debut Mimic of 1997.

Bear in the genre film, however, is rare: in addition Grizzly and his rip-off Claws still is John Frankenheimer's mutants bear-Mar The Prophecy to mention in 1979. A kind of art-house equivalent of Grizzly is Boris Buneyevs beautiful The Evil Spirit of Yambuy , a Soviet production of 1977. In the same year William Girdler directed with Day of the Animals ( panic of the Animals ) a kind of sequel to Grizzly . Here were all the same forest animals amok, including the well-known from Grizzly Brown Bear "Teddy". Only in 2007, then the next films followed with explicit bear horror theme, but two: the Canadian TV production Grizzly Rage directed by David DeCoteau, who is currently working on a remake of Food of the Gods , and the U.S. production Grizzly Park , directed by Tom Skull.


Part 2: William Girdler and the fear of the animal

Scorpio Man Will He Text

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Werner Enke from 10 April in Metropolis

Men Getting Erections To Men

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About William Grefe Stanley (1972)

What to write, is a aesthetics of trash cinema . It would be an attempt to give the reader categories of the hand with which he learns to distinguish good from bad bad movies. In Cinema Bizarre it is often after talks that can be understood, perhaps as a preliminary to such a book. It can be observed that the formal and narrative shortcomings of many films, the cracks, gaps and awkward cuts, around which organizes these works are two permit at first sight contradictory reactions: first, the regret of formlessness, of the lack of coherence, implausibility, and frequently also of betraying one's own narrative conditions. Second, the hail of it is this lack of form resulting intensity of certain scenes and images that catch, no cushion through aesthetic, intellectual, psychological explanations, the viewer with full force. The enormous wealth of forms and genres of the 70 years was perhaps out of that freedom, as the filmmakers had time to devote to the aspects of a film which fascinated (perhaps only a single setting), and the rest of bored, unmotivated and quickly herunterzukurbeln.

In the still to be written aesthetics of trash cinema it to do, in conjunction with one of the two positions. Instead of looking at each film as a Grabbeltisch lying around on the much junk and some beads informally, would have him question to be addressed: How did this work its own formal defects, the inability of the actors, the inadequacy of the tricks, the inconsistent behavior the characters transformed into a virtue by it has transformed into a form of second order in a search for truth in a different field than psychologizing, preparatory each scene and pleasing illuminating mainstream art films or plow. Is it only due to Lucio Fulcis sloppiness that in A Living Dead bell rope day and night alternate with each other randomly, sometimes even within a scene? Or is behind this violation of established rules, a formal continuity ingenious idea about the collapse of all categories, between life and death, good and evil, day and night?

William Grefe Stanley (1972) is a low-cost production, which does not develop its shape in spite of, but with their limited resources. In the wake of Daniel's rat movie Willard (1971) Stanley tells of a social misfit, the half-Indian and Vietnam veteran Tim, who lives in the swamps of Florida in a kind of commune with a handful of rattlesnakes. Tim is a precursor of portraits by Werner Herzog in Grizzly Man Timothy Treadwell, a madman who believes that, since killing the snakes / grizzlies him not one of them. Stanley is struktuiert by the contrast of this strange animal becoming a human-being, which is marked with the utmost rigor of mutual exploitation, violence, ugliness and grotesque vanity. There is a contractor who hunts with his dull agents snakes, Dener he alive subtracting the skin to They sell high. He is hot on his daughter, his hairy body usually peeks out from a bright orange robe. Once he is in shorts with red hearts in front of a mirror and trained with the smallest weights in the world. Tim's mother is a painfully untalented dancer who wants to seduce her son in her first scene and later want to breathe new life into her dead career by biting than Cleopatra dancing snakes heads. It is driven by the owner of the shop The Climax, a disgusting grease rag in children's shorts. And then there's a moronic flower power junkie named Psycho, which responds to only two stimuli: snakes and Indians that he will massacre at screening immediately.

You could spend a lot of time trying to decipher the ecological, political, social messages, which lie around in Stanley like a Grabbeltisch, joined to form any coherent form or statement. His real power lies in the fact that he is the bumbling actions of the actors, their tasteless clothes, her ugly body has taken advantage of in order to design a self-contained bestiary of being human. There is no beauty, no consistency in the actions and words of the figures, each exalted, inappropriate gesture, every salacious, unpointierte remark, every detail of their miserable environment brings impressive expression: Man out is a fallen creature in nature, without grace, full of greed, disgusting. (Even the inconsistency of the lip movements with the comments of the figures in the German version underlines this impression.)

A phrase that is on the action level extremely implausible, reveals that even Tim, animal-becoming, not the counterpart of this general selfishness, but only a pathological extreme form of it. A young woman he has kidnapped his snake kingdom declares him after a night of love quite succinctly that his snakes are not his own kind, but his slaves that he can kill in his place and which he treated as his commanding sergeant in Vietnam, it began: as a killing machine. This encounter with the real bubble can burst fantasmatic Tim, and he escapes to complete in his madness, as he now wants to kill the girl. The snakes are opposed to their false sergeant, a fire eats away at the hut in the swamps, and from it crawls out in a truly grisly final scene Tim, along the ground and writhing with burns on his body that look like the pattern of a snake. The Tier Werdung, is it nevertheless succeeded yet.

Soon on Wayward Cloud: the Great animal horror Special!

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Miyazaki structure

Hayao Miyazaki's Porco Rosso (1992), with Deleuze

When Gilles Deleuze long enough to the spelling of his ideas and concepts is watching and listening, they begin to capture his own thinking and perceiving pleasant. When I saw yesterday evening Hayao Miyazaki's Porco Rosso for the first time, I was immediately clear that they have to deal with a thoroughly Deleuzian work. The film is the structure of a form of subconscious desire produced in which the various elements of a utopian dream of becoming. As there would be: a transformed into a pig pilot with a bogey-trench coat who hunts with his red machine hijackers. An American flyer Dandy, the dreams of the cinema and would later be president. Women who are tinkering in a workshop on a special aircraft, while upgrading their uniformed men for the war. A fascist Italy, where for pigs and pirates and aliens no place. Children, the huge machine guns for sale. A woman who has lost her heart to a pig and turned the evening in the bar the air with their songs captains head. A 17-year-old, who has built a new control mechanism and knows no fear.

The beast and the children Porco Rosso

The children have never been afraid in Miyazaki films. IT CAN define their child-Being: The curiosity is always greater than fear. At the beginning of Porco Rosso kidnap Pirates a class of 15 girls who enthusiastically jump on board, playing and climbing between the arms hang laughing at the firing guns, pull the buccaneers of the beard and admire the skull paintings. Later the mechanic Fiona, meanwhile Porco Rosso's co-pilot, bringing a whole horde of angry pirates with a few words to reason and to offer himself as a prize in a dogfight. The children at Miyazaki deterritorial think, not of their own position, their security considered, but from the horizon, from the other based on its position engaging, just curious. In the Deleuzian sense, they are always left, not quite conservative, but in the making, in becoming child. Becoming a child, the show Miyazaki's films for children that will be when watching another always something very beautiful, is not growing up, but rather the spread of perception, of feeling, of empathy on all things and beings, strangers and old, men , women, animals, weapons and monsters. Miyazaki's films are no initiation stories of adolescents, but rather exercises in the child, without a universal curiosity territory.

Or will animals, as Porco Rosso. The story of the enchanted prince who is saved by a kiss, runs as a subtext of the film, but was not told to the end. Porco Rosso, Miyazaki makes abundantly clear, does not suffer from the curse of the transformation into another being, he's become this creature, or rather he is in the process of animal Werdung. "Better a fascist pig," he says at one point, but you can also generalize: better pork will be as a person. Do not be part of a nation, a movement, a community, but remain alone, beyond the limits of the clouds, even that is becoming-animal. And enjoy: the women, the wine, the risk of the wind, loneliness.

In Miyazaki, there are pictures of the work. Factories and manufacturers. If cities and socialization appear in his films, they are always in the early capitalist stage in which one can see the work still done by hand, labor. Some of the most amazing sequences in Porco Rosso from the Milan workshop of a flight engineer, which only reduce women to the construction plans of a young girl a new machine. Their husbands are in the Air Force of the fascists, the women build the anarchist pig is an airport and escape device. Maybe looks like the unconscious, no Freudian farce, on the Stage Dad and Mom copulate on forever, but a factory that manufactured in the new will and desires take shape.

Porco Rosso is a celebration of deterritorialization. Except in Milan, playing all the action from on a variety of small Adriatic islands, pirate nests, retreats, Fantome L'archipelago. This does not localizable yet kartografierbarem Atoll, all characters have come together to be anything but want to be everything (child, animal, woman, heterosexual, adult man, Deleuze, one can not be only) Spelunkensängerinnen, pirates, dandies , pigs, scum. Although they fight each other, is clear that they belong together, not as a community, but a rhizome, of a network. A dream.

Inbound Into Customs Gmarket

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"The other theaters, we will get big financial problems because we all need to digitize, sooner or later. The lender will provide us namely the not too distant future, no more 35mm prints. Either you will then get their hard drives or anything. Cinema, not the switch to digital technology, are no longer able to play new movies. The market will clean itself all by itself, unless the distributors are obligated by law to provide for each film and a 35mm copy. This will not be so expensive that the policy will not succeed. "( Abaton founder Werner Grassmann in conversation on old and new projection techniques)