cathode-ray-tube.bsky.social
đ đłď¸ââ§ď¸European Lefty. He/him. Coeliac. Film/TV writer-researcher for hire. Contributes to Age of Thrills, Fantastic Fifties and Sensational Sixties film magazines, and booklets for Indicator, Arrow Films.
Selected Writing: https://medium.com/cathode-ray-tube
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583 following
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Itâs a very lovely thing.
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Happy birthday to Ianđđ đ°
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Iâve still got this. Mind you, I donât play the Chris Lee narration now. Mindful of the neighbours because it is very full on with vampires being staked, people screaming their heads off and James Bernardâs music giving it large.
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A combination of the Kodak stock he used and your memories. I loved the vivid pops of colour and the texture of the grain. It gave it the quality of memory or dream.
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Very atmospheric and, if you let it cast its spell, all enveloping.
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Touchstones - many acknowledged by Jenkin - throughout Enys Men to Ghost Stories At Christmas, Derek Jarmanâs super-8 work (and much of The Garden and The Last of England), CFFâs Haunters of the Deep, PIFs as well as folk horror of the 70s and Roegâs Donât Look Now.
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Yes, a definite parallel and it was apparently an influence on Jenkin. Itâs on the BFI release of Enys Men too.
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It would certainly have worked as a contemporary ghost (or should that be coast) story a la Stigma.
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And if thereâs a film about lockdown made during âthe lockdownâ then this is all highly appropriate.
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Its slow, non-linear, ritualistic pace may frustrate some but entrance others. Many nods to folk horror (to use a worn out phrase) but itâs more about human impact on environment, ageing, sacrifice and psychological states. The grit in this experimental pearl extends beyond the fabric of the film.
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Yep, I think younger LGBTQ are beginning to realise that rights can be rescinded and revoked like some of us older ones have been saying for some time. Scary times.
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Yeah, key words are being filtered. The big problem is screenshots from X. Theyâre just reposted here and if posters donât tag them or use ALT text descriptions they still clog up the timeline. If I have to see that moron with the chainsaw again Iâll fucking scream.
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Itâs quite effective!
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That's what struck me too. Many shots anticipate Romero's film. It must have been an influence, surely?
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Very low budget but it uses its location well and doesnât shy away from visions of plague pits and dead bodies. Matheson didnât like it but itâs an interesting watch and worth comparing with the remakes The Omega Man (1971) and I Am Legend (2007). All have their faults.
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Youâve done really well. You look great. đ
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A watershed for representation. The depressing thing is it isnât as trivial as it may seem. Those outraged are now forcing a reverse course. LGBTQ people find theyâre once again tarred with the âpaedoâ brush and trans people, in particular, struggle to live their lives and keep their rights.
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And very much a reflection of how he hid his own self in plain sight whilst on the Hollywood treadmill. Fascinating.
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Welcome to the club.
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I wasnât particularly keen to be honest.
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A masterpiece. Hudson is a revelation.
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Itâs odd but I enjoyed the Target book way more than the actual episode. đ¤ˇââď¸
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And the copies I bought 49 years ago are still with me.
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Iâm OK with late Liz. The Driverâs Seat was a recent watch and it was a little triumph. Caught the oddness of Sparkâs novel well.
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One or two decent episodes in the first season of new Frasier. The rest pretty awful. Second season not much better. Again, the hit rate is low. Nicholas Lyndhurst is the best thing in it. We happened to be rewatching the original run at the same time and the difference in quality is startling.
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Well, Taylor is the draw there. I delighted in its strangeness letâs say. A lesser Losey but heâs always an interesting watch.
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Donât be put off. Itâs delightfully odd.
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Ah, thanks for connecting the dots to similarly off-kilter films of that period, Private Property in particular. A sense that the lauded American New Wave was already underway in the early to mid-60s.