Thursday, August 07, 2014

Ponderings on PotA


Let us forget that the horrible Tim Burton version of Planet of the Apes ever existed.  We have the five original movies plus the OK (from what I remember) TV series, an excellent comics adaptation, and now we have the first two installments of the _____ of the Planet of the Apes reboots. These are enough Apes related goodness to keep a PotA fan going.

After recently watching Dawn of the Planet of the Apes, Colbinski pointed me in the direction of a recap of the original movies I wrote. This got me to thinking about the story this new reboot is attempting to tell compared to the story the original told. It makes me wonder if the producers have an overarching theme for the rest of the series. The originals had five installments although the follow-up, short-lived TV series, is often presented as movies. Those five were:

Planet of the Apes
Beneath the Planet of the Apes
Escape from the Planet of the Apes
Conquest of the Planet of the Apes
Battle for the Planet of the Apes


The first two originals had humans as the heroes. The third shifted protagonists to the apes that went back in time and landed in 1970’s America where they met. The fourth chronicled Caesar’s revolution (subtext in this attempted to mirror the social unrest that was occurring in America at this time) and then the final installment, perhaps the worst of the lot, but not without its moments, showed the remaining humans and apes living together and how the apes eventually took over waiting for the events of the first one to occur many years later. As a young’un watching these, I always enjoyed and was enthralled by the circle it created, even if it used time travel, mind readers, nuclear bombs, terrible NYC geography, and other outlandish claims to get there.


With minor spoilers for the new movie, I’ll just say that Caesar the Ape is the hero of both and this is the opposite of the originals. I would like to see this inverse continue for the new movie series and see if they can make another circle of a full, complete story. As Dawn ends with Caesar resigning himself to
war with humans, I see the third movie portraying the world where Apes dominate. Hollywood being
Hollywood, I gather that they want to keep Casar as the lead although it may do the series some good to jump ahead in time to a world where Apes have really taken over.  This can show the shabby treatment of the remaining humans, perhaps being treated as humans currently treat primates – zoos, experiments, inferior, etc. This would allow the tone of the series to change form Ape heroes back to human heroes, jyst as Escape allowed Cornelius and Zira to be the heroes. Killed in the end but still the heroes and that movie paved the way for the original Caesar.



This brings us to the fourth movie in the reboot.  I would like to see this follow-up on the Easter Egg provided in Rise about a lost manned spaceship to Mars. Have the lost ship land on Earth under ape rule and we can ressuruct a bonafide hero like the Taylor character from the original. This would provide a human hero countering the Caesar of Conquest. The fifth movie of the reboot can be humans, led by the astronauts of the fourth movie, trying reclaim civilization, perhaps with some newfound humility and lessons learned. Or maybe during a kick-ass battle scene, which is much more likely. It may also be interesting for the movies to span out from the northern California area and let us see how the rest of the world is faring. Maybe provide an explanation of how intelligent apes came to be in other parts. Did the virus that killed humans also move to apes all over the world and allow them to become like Caesar’s crew in the Redwoods?

I’m glad to see what they are doing with these reboots so far. I’m sure Hollywood will do its best to disappoint me in these future installments but one can hope that they continue the quality and thoughtfulness they have so far. No mind readers, please.





IPA Taste Tourney April 2014 Results - Please Excuse My Tardiness


Well, I plum forgot! The beer has been drunk and a winner has prevailed. It all seems so long ago now.

Because I take my beer drinking seriously, I take copious notes of my endeavors and have the results ready.

ROUND 1
1-Dogfish Head 61 vs. 8-Big Eddy Imperial IPA
 
 
Dogfish Head is smooth yet earthy. It goes down easy and always leaving me wanting another sip or glass. The grape musks takes the sting away from the hoppiness but adds layers to it. A very well-balanced and good tasting beer.  In comparison, an Imperial IPA is a bit too much. Big Eddy has a rich thick honey taste and fills you up like home cookin’. Subsequent to this taste tournament I was able to sit down with Big Eddy and enjoy it on its own merits. But this is a competation and against DFH 61, it was really no contest.  Dogfish Head 61into the semi-finals.

2 - Great Divide Hercules Double IPA vs. 7 - Fegley's Brew Works Hop'solutely Triple IPA
 
 
Hop'solutely Triple IPA is another beer that may be a bit too much.  Having said that, the trusty IPA glass works wonders. The transition from bottle to glass takes the edge off. With the edges smoothed out it is incredibly drinkable. However, Hercules, even though it is from Colorado, comes across as a traditional west coast IPA. Powerful, strong, and with a presence. The hops are heavy in this Double IPA and it linger son your tongue. Both of these are well made and both have punch.  Hop'solutely  hads the heavier hands and that wasn’t quite what I was looking for in this round. Hercules moves on.

3- Ass Kisser Double IPA vs. 6 - Brewery Ommegang Hop House Pale Ale
 
 
Two brews tasting for first time although Ommegang has the more familiar pedigree. Ass Kisser provides a faint caramel aroma and goes down the gullet is easy fashion. Hop House is smooth and light. The hops are prevalent but not overwhelming. Well-balanced and well-crafted. This is a tough choice. Hop House at a disadvantage because it is not a true IPA and it is going against a double hopped one. Ass Kisser survives to be drunk another day.

4 - Breckenridge Small Batch 471 Double IPA vs. 5 - Stone Ruination IPA
 
 
The most difficult decision of Round 1. Both are excellent IPAs that I will partake in a plentiful way in the future. Stone always seem to get the short straw in these tourneys but both Stone IPAs featured here are great beers. This time Breck 471 is just better.

 
SEMI-FINALS

 Dogfish Head 61 vs. Ass Kisser Double IPA
 
 
The balance of 61 prevails. It comes off as smooth, full yet light taste compared to the double hoppiness of Ass Kisser. Both are eminently drinkable and have fragrant beers that go great in the IPA glass. As mentioned above 61 always makes me want another. To the finals!

 Great Divide Hercules Double IPA vs. Breckenridge Small Batch 471 Double IPA
 
 
A double versus a double. Two Colorado beers that have a lot in common with California west coast IPAs. Looks like we are playing on even ground. Close match, here. Toe to toe. Both are strong, powerful and have excellent presence.  Breck 471 has that something extra. It stays with you like a tender kiss. It lingers and provides a memory. This is some beer. Breck 471 moves forward.

FINALS

Dogfish Head 61 vs. Breckenridge Small Batch 471 Double IPA
 
 
Extremely tough final. Two different IPAs yet they compete ferociously with one another. The smoothness and flavor of 61 climbs ahead then the power and persistence of Breck 471 begins t break from the pack. These two beers make me glad I am a beer drinker. Both I can drink again and again. As a result of this final I have a new favorite beer: Breckenridge Small Batch 471 Double IPA.  Everything seems right about this beer. The level of hoppiness, the flavor, the aftertaste, the slow buzz that creeps up on you like pulling a blanket up to your chin on a chilly night. Breck 471 envelopes you and is comfortable to drink.

 
This was the third IPA taste Tourney.

Previous winners:


Friday, April 11, 2014

IPA Taste Tourney April 2014

The IPA taste Tourney Returns. The brews have changed but the rules remain the same:

The beer tasting crtieria will be easy. Whichever I find tastes best. Whichever I feel like I could keep drinking. Whichever is most enjoyable. Extra points go to the IPA with a big improvement in overall taste from bottle to glass.

This is the most expensive IPA Taste Tourney yet. All beers came in a four-pack and an exorbitant price. I'm overpriced and under beered in this tourney. Every sip is important.

The seeds for this tourney are completely random. I also haven't tasted all these beers. For some I will be going into the taste test blind.

Without further ado and before I fill my special IPA glass let's introduce the beers for this challenge.

1 - Dogfish Head Sixty-One


I have had this beer before and think it is great. Excellent. It's not as hoppy or powerful as other IPAs from Dogfish Head and the other challengers. It makes up for that lack of power with terrific taste and suitable drinkability. I am actually interested in how it fares.

2 - Great Divide Hercules Double IPA


One of three Double IPAs  in this tourney. Yay me for drinking them. I haven't yet had this one from Great Divide. If you remember back to the last taste Tourney Great Divide Titan IPA made it to the seecond round before succumbing to the eventual winner Racer X.  Lets see if Hercules can move worlds better than Titan. 

3- Ass Kisser Double IPA

 
 I have never had any beer from Ass Kisser. Another Double IPA. Interested and excited to get going on this one. 

4 - Breckenridge Small Batch 471 Double IPA


This is another great beer I have tried before. Not to be biased but this is my favorite going into this tourney. A fantastic beer to drink. Enjoyable in every way. 

5 - Stone Ruination IPA


I haven't had this beer in a long while. Looking forward to popping it open again and trying it inthe IPA glass. Stone IPA was in a previous tourney and never made it out of the first round facing tough competition from Dogfish Head 60 Minute IPA.


6 - Brewery Ommegang Hop House Pale Ale


OK, this isn't actually an IPA. One of my favorite beers is Three Philosophers by Brewery Ommegang. I wanted to see how they worked with a more hoppy ale rather than the traditional Belgian style beers they excel in creating. 

7 - Fegley's Brew Works Hop'solutely Triple IPA

  

Well, well, well. A triple. Yes, a triple. I have not before drank a beer by this brewery or do I think I have ever tried a triple IPA before. 11.5%. Interesting. Let's see how it does. 

8 -  Big Eddy Imperial IPA

 
Haven't had this one before either. Big Eddy seems to be a craft brewery by Leinenkugel or as by Jacob Leinenkugel Brewery as indicated on the label.  Fancy that it is imperial. Ooh la la. 


Results to be posted as soon as I can crack open the bottles, pour into the glass, and drink them down. The only reason I can think of to cause delay is if I need seconds and thirds just to make sure.

Cheers!














Wednesday, February 26, 2014

Is Laughter the Best Medicine?

This post presents the second paper I wrote for the American Film Genres class I took years ago. The first paper - Sympathy for the Monster - and more info about this class can be found here.

I remember enjoying writing this paper. I think The Wild Bunch is a tremendous, groundbreaking film and I was hay to see it on the agenda even though I had watched it many times previously. It was a contrast to other westerns we studied in class, notable High Noon and Shane. In reading this over now, I feel I may have been a bit too derivative in describing the laughter in chronological order from the film, although presenting it this way did fit into my overarching theme.

A comment my professor made about this paper is one I wish I made myself somewhere. She noted that nowhere did I point out how mirthless all the laughter between the Bunch was. It's a point that seems obvious to me after she said it aloud. I am disappointed that I was not astute enough to include it this paper. Oh well.

Laughter in The Wild Bunch 
Laughter is the sun that drives winter from the human face. – Victor Hugo

In The Wild Bunch laughter exhibits a joining or rejoining of the group, a way of acknowledging certain truths about life, and a moving on with life. It is because of the brutal nature of the Wild Bunch’s lives that laughter is used as an intermission between events in their lives. At first glance the laughter by the characters may seem inappropriate due to the excessive violence in the film. But we will see that, more than a simple coping mechanism, laughter is both a closing door on the recent past and a springboard to the next event. This paper will examine the role of laughter in The Wild Bunch and how this may differ from the traditional conventions of the western genre.

In the opening scene, laughter by children precedes a robbery attempt turned ambush. This laughter brings the audience into the first event. The Wild Bunch, stern-looking and stoic, pass by the children who are laughing while observing a fight between red ants and scorpions in a dirt pit. The camera stays on the children even after the Wild Bunch pass them. We see most children smiling or giggling, checking to make sure that others laugh along with them. One child laughs as he prods the ants and scorpions with a stick. Two children are stone-faced and catch the eyes of other children but laughter is more contagious. The film comes back to the children as the Wild Bunch leave town bloodied from the ambush. The children continue laughing as they drop burning twigs on the pit ending the insect fight once and for all. While what just occurred in town is no laughing matter for the Wild Bunch, the children, distanced from both the battle between the ants and scorpions which they facilitated, and from the shoot-out which they did not witness, continue to laugh as the Bunch ride on past.

The children’s laughter and their actions with the ants and scorpions are different than what is seen of children in other western genre films. In films such as The Searchers and Shane children are looked on upon by the traditional western hero as representations of civilization worth protecting.   The Bunch notice the children but don’t pay any particular attention to them; some even seem to be taken aback by the enthusiasm surrounding the ant and scorpion battle. While the children, ending the battle with the burning twigs and dispersing, can be seen as analogous to the shoot-out that just occurred in Starbuck, it is by no means looked upon as worthy of protection or symbolic of civilization.
  
The Wild Bunch’s first group laugh comes only after the realization of what an utter failure the robbery attempt was: they were ambushed, lost several men, and the sacks of coin they pilfered turned out to be metal washers. Old Sykes, who was not part of the failed robbery, so he is already distanced from it, begins smiling and laughing at the sight of the washers. Tension has already risen among the Bunch because the Gorch brothers, Tector and Lyle, wanted to get more pay than Angel or Sykes. Sykes, whose demeanor is that of the caricature of the demented 49er dancing and exclaiming, “There’s gold in dem dere mountains”, continues to laugh. The group only begins to laugh after talk turns to the Gorch brothers whoring while Pike was planning the robbery. The laughter starts as Dutch says, “And Pike was dreamin' of washers... you were matching whores... in tandem!” Not only does this change the subject from the botched robbery and payment issues, it allows the Gorch brothers to rejoin the Wild Bunch. The laughter begins as the truth of the situation unfolds. As in Aesop’s fable, Pike was like the ant, setting up and planning everything, while the Gorch brothers were like the grasshopper, out playing and whoring. The shared laughter acts as forgiveness of past transgressions and allows the Bunch to move forward. Now that they are back as a Bunch they can all distance themselves from the violent episode that just occurred.

Further use of laughter as a result of revealed truth can be seen as the Bunch recover from the ambush in Angel’s village in Mexico. While most of the Bunch are busy enjoying themselves, Don Jose, the village elder and leader, tells Pike, “We all dream of being a child. Even the worst of us.” Laughter ensues as Don Jose indicates he knows the truth about the Bunch. Once again laughter occurs after a truth is revealed. Along with this laughter is acceptance from the village as the Bunch enjoy a festive night. The night in the village will also be their last before they venture into Agua Verde and the next event.

Laughter is used not only to signify a joining or rejoining of the group but to show acceptance within that group. This can be seen after the Bunch steal munitions off the military train and escape Thornton’s posse by blowing up the bridge. After Sykes stops any revelry after the get-away by mentioning that Thornton will be back, a whiskey bottle is passed around. The whiskey bottle makes its way through the members of the Bunch while Lyle looks on longingly. At one point Lyle is like the monkey-in-the-middle reaching for the bottle as Sykes throws it to Angel. Angel finishes off the bottle dumping what dregs remain on the ground in front of Lyle and then drops the empty bottle into Lyle’s arms. Lyle drops the bottle to the ground and walks away while the rest have a good laugh. Just as with the first group laugh scene after the failed robbery, this acts as a way for the Bunch to distance themselves from what just happened and begin to move forward to the next event. It just happens to be at Lyle’s expense that the group laughter occurs. This happens to Lyle once again after the Mexican revolutionaries come into the Bunch’s camp to collect their rifles. Tector says to his brother, “Now you listen to me, Lyle. You get up and help once in a while, I wouldn'a got caught near s'easy.” This again causes laughter from everyone after a particularly tense moment. It is also a moment where the Bunch begin to move forward to the next event and go deal with Mapache.

This action of laughter to indicate a completion of an event begins to manifest itself after Mapache is gunned down in the showdown at Agua Verde. After Mapache slits Angel’s throat and is killed, Dutch and Tector smile and laugh. Then Pike shoots the German officer causing the explosion of violence. Pike realized that just killing Mapache was not an end. Angel was dead and Mapache’s army had them surrounded.  This was not something that the Bunch would be able to distance themselves from and move forward. Laughter could not be used as an intermission as seen earlier. Although Mapache was dead, the showdown - this event - had to continue. 

The film also shows truncated scenes of laughter in areas where some truths are too hard to face and laughing is made more difficult due to a rejection of that truth. In talking about Mapache, Dutch describes him as “just another bandit grabbing all he can.” Pike responds laughing, “Like some others I can mention.” Dutch takes umbrage to this, stopping the laughter and stating emphatically that the Bunch “don’t hang nobody.” Although Pike was willing to laugh at some similarities between them, Dutch was rejecting it as a whole truth. 

Rejection of the truth is also seen in all of Thornton’s scenes with his posse. This occurs as Coffer explains what is found in Mexico: “Mexicans, what else?” and also when Coffer yells “Bang!” and acts as if to draw on Thornton, while joking around with T.C. Never once does Thornton even crack a smile and his steely gaze stops the cackling of his men immediately. Thornton is rejecting the truth of his situation – chasing the Bunch rather than being part of them - and not capable of using laughter as an intermission between events. Only when Thornton hears gunshots off in the distance indicating the posse has been killed after the massacre at Agua Verde does he crack a smile. Thornton does not laugh until after Sykes asks him to join the Mexican revolutionaries.  Sykes expounds truth in saying, “You want to come with us? It ain't like it used to be; but it'll do.” Thornton’s laughter closes the door on his posse-leading Bunch-chasing recent past.  Laughter is used by Sykes to welcome Thornton into the new Bunch. Echoes of laughter from all the main members of the Bunch are used to show acceptance of Thornton, as he joins Sykes, in the final scene of the film.

The scenes of laughter in The Wild Bunch are not during any light or comic relief scenes. They occur before or soon after highly tense, violent scenes in the film, particularly the Starbuck robbery and the Agua Verde massacre. This may explain how the laughter can be seen as inappropriate, uncomfortable, or annoying, as expressed during class discussions. The need of the Wild Bunch to laugh is not the same as the viewer’s need to laugh. The laughter of the characters is for themselves and not the viewer. Although there are a couple of scenes that elicit a chuckle, as when the Temperance Union attempts to repeat the alcohol abstinence vow of the preacher only to murmur some of the words back, and when Mapache, after shooting up Agua Verde with his new machine gun, exhorts his men to “put in on a tripod!”, the film does not use comic relief in order to allow the viewer some breathing room from one scene to the next.  Although the characters have their intermission between scenes by laughing, the viewer is pulled along without being made to laugh by the film. This is in stark contrast to a film such as The Searchers where interaction between Laurie and Martin and most scenes in the Jorgensen’s house are light in nature if not overtly comic. While it can be argued that these comic scenes are out of place in The Searchers it does allow the viewer a respite from the unfolding drama of the film. No such respite is provided in The Wild Bunch, even though characters such as Coffer and T.C. come close.  Scenes of bickering from Thornton’s bumbling posse over booty from dead bodies never reach the point of comic relief based upon the circumstances surrounding its occurrence.

The scenes of laughter may also seem out of place due to the western setting of the film. The members of the Wild Bunch lack the traditional qualities and ideals associated with the tropes of the western genre. Not only are the Wild Bunch outlaws and killers but they have the temerity to laugh after terrible events unfold. Western heroes are normally not seen laughing especially when gunplay is involved. Laughing is reserved for the likes of the grinning, black attired, gunfighter Wilson in Shane. Will Kane from High Noon and Shane take their duties as protectors too seriously to laugh. Ethan in The Searchers may laugh after uttering “That’ll be the day” but it is always a derisive laugh.  These heroes, unlike the Wild Bunch, never get to have an intermission between events; their idealized role as protectors is continuous.

This juxtaposition of the Wild Bunch committing violent acts and laughing afterward as they regroup is what allows the Bunch to continue to the next event and continue to function. The Bunch existed before the laughter of the children in the opening scene and Sykes and Thornton will continue on after the departed Bunch’s laughter in the closing scene.  In this way, although the film is contained between these scenes, the audience is invited to keep thoughts about these characters open. Even after the film ends there is no intermission granted to the viewer.

Monday, October 21, 2013

Sympathy for the Monster

Oh, around 8 years, while I was seriously deliberating on whether to attend grad school, I enrolled in a Continuing Ed course to see if I would like being back in the classroom. I decided to take a course offered in the English Lit dept called "American Film Genres". The course consisted of a film list. The students needed to watch two films a week and then during each class that week we would discuss the films and breakdown the themes and tropes, as if we were dissecting a book. As the course title indicates it was all American film and the genres were comedy, horror, western, noir, science fiction, war, etc. Lots of good movies watched. Some I havd never seen before, some I watched for a second or third time just for the class. The grading was based upon two papers and a final exam.

The professor was excellent. She was brilliant and insightful and excited about film. I learned a lot and she taught me even more about writing as she reviewed my submitted papers with me and offered all sorts of helpful tips on critical writing. It was a wonderful experience and I subsequently went to grad school for Public Health and never took a class on film again.

I was thinking about this experience since The Walking Dead just started up again and a remake of Carrie recently hit the theatres. Carrie was one of the films as part of the horror genre. One of the paper subjects that could be chosen dealt with Carrie as a sympathetic "monster" and I think asked to use Carrie and another film monster a subjects. I used zombies. I love zombie movies, specifically George Romero zombie movies. Probably my favorite monster genre, although huge creatures stomping cities can give it a run for its money depending upon my mood.

Presented below is my paper, unedited, as submitted; before my professor reviewed it with me. I thought of including her copious notes and suggestions but that would require me to dig up the hard copy and take away from the rawness of the original. One comment my professor did make to me was to wonder why I just didn't ask her to drop Carrie and just focus on the Romero zombie movies (of which there were 4 at the time of this writing). Without further ado, here are my thoughts on Carrie and zombies as sympathetic "monsters".

One final item before that: my second paper for the class had to do with The Wild Bunch, as great a western film as the Romero "Dead" series are zombie movies. 

Sympathetic Identification With Horror Film “Monsters”

In horror films a clear divide usually exists between the “monster”, the victims, and the hero, where the audience identifies with the hero.   Occasionally, this divide is blurred, and the “monster” exhibits identifiable traits. The films Carrie (1976) and the George Romero directed “Dead” series [Night of the Living Dead (1968), Dawn of the Dead (1978), Day of the Dead (1985), and Land of the Dead (2005)] all invite the viewer to identify with their respective “monster”. In these films, identification with the “monster” is achieved by evoking the viewer’s sympathy.

Although identifiable characteristics within the zombies can be found in any of the “Dead” films, the entire series will be discussed.  One of the conceits of the “Dead” series is the zombies’ continual evolution from one film to the next.  The identification process for the zombies takes a bit of maturation because from the first sighting in Night of the Living Dead zombies can be viewed as the “monster” and therefore need to overcome that stigma. Conversely, Carrie White is first viewed as an unfairly mistreated high school student and the qualities that may make her viewed as a “monster” come to light later.

As a result, the identifiable traits become apparent to the viewer at different times. Carrie becomes “monstrous” during the climax of the film, while in each subsequent “Dead” film the zombies become more human-like. The viewer, then, is invited to have sympathy for the “monster” in different ways.  Examples of identifiable traits that can evoke sympathy are the “monster’s” familiarity, innocence, and victimization. 

Familiarity with the “monster” is put into motion using “normal” settings.  Carrie is set at an All-American high school with recognizable characters. The viewer can appreciate the trials and tribulations a high school student such as Carrie must endure.   Most viewers can relate to the desperate feeling of not being recognized as when Carrie’s principal continues to call her by the wrong name. Carrie’s sentiment that “All the kids think I am funny” is another way of involving the audiences own memory of times they have felt different. But, while different, Carrie neither looks nor acts like a “monster” for most of the film.

Familiar settings also exist in the “Dead” series, notably in Dawn of the Dead, which takes place mostly in a shopping mall. While the zombies, being recently dead, differ physically from humans - purplish skin, rotting flesh, evidence of death - familiarity still exists because of their past humanness.  As the films progress, an abundance of zombies betray their past lives by their clothes, accessories, and actions. In Night zombies that were buried in their Sunday best to others wandering around in their underwear are seen. Dawn begins to show an ethnic diversity of zombies, reflecting the world in which we live, that will continue through Day of the Dead and Land of the Dead.  Everyday recognizable outfits worn by the zombies throughout the films include a little boy in his Little League baseball uniform, doctor, softball player, cheerleader, butcher, clown, construction worker, a woman still clutching to her purse, and various blue-collar work uniforms.

As the films move forward, the actions of the zombies become more familiar.  One technique used to enhance this is a focus on an individual zombie rather than a mass volume of undead. Day, mostly taking place within a military bunker, limits the actual number of zombies on screen.  Bub the Zombie is seen responding to music, attempting to use a razor blade and read a book, saluting Capt. Rhodes and shooting a gun.  This coincides with Sarah expressing that the zombies are “…learning, they are actually learning”.  Land expands on familiar actions, bringing to the forefront the zombies’ past humanity.  During a raid for supplies by the surviving humans, a group of zombies, gathered with wind instruments under a gazebo in the town center, fruitlessly try to make music. Big Daddy, a former gas station attendant, now zombie, responds to another zombie inadvertently stepping on the bell line at his gas station, by coming out to pump gas. Big Daddy, so identified by the nametag on his work overalls, becomes the de facto leader of these zombies, uttering growls and cries to which the denizens of the undead seem to respond. Just as in all the films humans are witnessed becoming zombies, the ability of the audience in the last two films to view zombies as individuals emphasizes their former human lives. It portrays zombies relying on what they remember of being human to get by.

Both Carrie and the “Dead” series rely on memory to allow the viewer to identify with the “monster”. The “Dead” series relies on the zombies’ memories to trigger sympathy. What began in Dawn, with the zombies flocking to the shopping mall, and is crowned in Day and Land, is an influx of “human nature” on the part of the zombies (Williams 91). What is described as  “some kind of instinct” to travel to the shopping mall in Dawn, becomes Riley telling the other survivors that the zombies are just “looking for someplace to go…same as us” at the end of Land. This indicates an intersection of desire and memory shared by the living humans and the undead zombies (Williams 91).

Rather than emphasize certain character’s memories, Carrie relies on the audience’s memory of high school and feelings of being ostracized or considered different to identify with Carrie. These high school memories are meant to focus on the “typical” victimization and relative innocence of the outcast.

Carrie is viewed in the opening scene as an outcast by other students, blamed for losing a volleyball game, and then alone in the shower.  Her innocence is displayed as she reacts to having her first period. Even before her telekinetic powers are revealed, Carrie’s na├»ve reaction immediately marks her as different from her peers. (Sobchack 183)  Carrie demonstrates a lost innocence here. Not only does having her period reflect a burgeoning sexuality, but immediately after the bleeding occurs, Miss Collins is trying to help, and the first glimpse of Carrie’s power is shown as a light bulb explodes in the shower.  Carrie’s loss of innocence through natural means and by the taunts of her peers allows Carrie to be identified with even as she begins to show “monstrous” characteristics. The sympathy towards Carrie due to the helplessness she feels allows the viewer to live vicariously through Carrie as she unleashes her telekinetic powers.

Carrie’s innocence, although lost to some extent now, reasserts itself in preparation for and during the prom.  It is this innocence that causes her victimization at the hands of her fellow students. Carrie is seen sewing her own dress and putting on lipstick and make-up, presumably for the first time.  Carrie maintains a child-like glow of wonderment as she enters the prom. Carrie is portrayed as an innocent in a new world until the pig’s blood drowns that illusion. From this additional loss of innocence, sympathy is again aroused. In this respect the viewer is excused from feeling a sort of gratification as Carrie uses her powers to take revenge. This gratification dims as revenge is taken on both friend and foe, although sympathy still exists.

The zombie’s innocence arises partly from the possibility that they exist at all. Although a feeble explanation about radiation is proffered in Night as a reason for the zombies’ sudden appearance, it is never verified.  The zombies attack and eat the flesh of humans for no other reason than they are zombies.   Like a young child writing with crayons on the wall, the zombies conduct themselves in this manner without ever realizing it is aberrant behavior.  In fact, most of the zombie victims killed throughout the films are caused by the “sheer stupidity” of the human characters (Newman 200). The zombies have a perpetual look of otherworldly confusion, look in awe upon the most mundane objects and are portrayed as oafish throughout the series.

This innocence of lacking realization compiled with limited memory and brainpower results in the zombies’ victimization from the humans around them. What begins in Night with the posse excitedly walking through fields exterminating zombies and humans alike culminates in Land as the zombies are used as target practice and in gladiator games. In each subsequent film human behavior towards the zombies grows more barbaric.

Even though zombies become identifiable, unlike Carrie, there is no great gratification in watching a zombie eat live human flesh, other than to appreciate the special effects.  This changes somewhat in Day and Land where “bad” human characters are present along with the focus on individual zombies. Throughout the films certain human character’s behavior, towards zombies and other humans, is abhorrent. This assists identification with the zombies not by having zombies look appealing but by having humans look unappealing.

In Carrie many of the feelings of sympathy and identification come not from Carrie herself but due to the actions of other characters toward her. Issuing vulgarities, throwing feminine hygiene products at her, writing insulting graffiti on the walls, and laughing at her constantly only enhances the sympathetic identification to the character.

In addition to the traits that invite sympathy and identification with the respective “monster” in each of the films, there is also an aspect of “rooting for the underdog” present.  Carrie is viewed as a different yet nice girl, treated horribly by her schoolmates and repressed by her mother. The audience wants Carrie to have some sort of revenge and knows that Carrie possesses unique abilities that can enable revenge.  

Although the zombies become ever more numerous with each passing installment they still never shed their underdog status.  This is partly because as described by George Romero, zombies “are the lower-class citizens of the monster world” (Williams 14).  Also the zombies, as is Carrie, are never portrayed energetically with the evil or negative connotations usually seen in horror film monsters (Wood 114). The zombies are not even made out to be “particularly frightening” or surrounded by an “aura of frightening mystique” (Newman 199-200).

The viewer sympathetically identifies with Carrie and the zombies because exhibiting familiar traits allows them to be seen as unfamiliar as a “monster”. This creates an unbiased initial reaction that resonates with the audience and enhances all other identifiable traits. Ultimately, as remakes, sequels, and spoofs involving “teenage outcast with unique ability” and “oafish undead” themes continue, identification may occur less from evoking sympathy than just the result of saturation.

Works Cited

Newman, Kim. Nightmare Movies. London: Bloomsbury Publishing Limited, 1984
Sobchack, Vivian. “Bringing It All Back Home: Family Economy and Generic Exchange.” American Horrors: Essays on the Modern American Horror Film. Ed. Gregory A Waller. Urbana and Chicago: University of Illinois Press, 1987. 175-194.
Williams, Tony. The Cinema of George A. Romero: knight of the living dead. London:
Wallflower Press, 2003
Wood, Robin. Hollywood From Vietnam To Reagan. New York: Columbia University
Press, 1986

Thursday, September 19, 2013

IPA taste Tourney II - The Semi-Finals & Finals

IPA Taste Tourney Semi-Finals

 #1 Great Divide Titan IPA vs. #6 Bear Republic Racer 5 IPA   
 









In the first round Titan bullied its way to a win while Racer 5 finessed it's way to the next round. Now it's the Titan's strength versus a Racer's slickness. Titan is a beer that gets better with every draught. Racer is even-keel throughout and stays calm and collected. The strength of Titan that drove it to the win last round would be it's downfall against a sublime drink like Race 5. Another tough round but Racer 5 is the beer that takes it. Just an enjoyable beer to drink.

#2 Hop Hog IPA vs. #5 Ballast Point Big Eye IPA










Last round I was surprised that Big Eye IPA beat Smuttynose IPA. That may have been a fluke win as Hop Hog rolls over Big Eye this round. Maybe the farthest apart two beers have been in all the tournaments. A hoppy blowout. taste, flavor, strength, drinkability. Hop Hog easily to the the finals. 


 IPA Taste Tourney Finals


#2 Hop Hog IPA vs. #6 Bear Republic Racer 5 IPA








The finals. A bittersweet moment. Time to reflect upon all the beer drank before and hope to enjoy those brews yet to come. A repeat of the last IPA taste Tourney Finals with a PA IPA that has "hop" in its name vs. a CA IPA. Two excellent beers. One thing I have noticed throughout this tourney is that Racer 5 doesn't do anything great. It just is an excellent beer that is extremely enjoyable to drink. Hop Hog is like a good wine. You can taste the flavor and hold it for more enjoyment. As good as Hop Hog is, it's just not good enough. Just like last tourney, the California IPA takes it. Racer 5 is the new winner!! I think I'll have one now. 

 












Monday, September 09, 2013

IPA MADNESS TOURNEY 2013 II - ROUND 1 COMPLETE

Round 1is in the books.

Eight great beers competing against one another. I drank them all.

#1 Great Divide Titan IPA vs. #8 Otter Creek Hop Session Ale












Great Divide Brewery Titan IPA is a full bodied brew. From the bottle it tastes much more compact than from the IPA glass. The IPA glass maintains the full body while smoothing over the taste; stretching the flavor, if you will.  Otter Creek Hop Session Ale is smooth but pales in comparison for hoppiness and body. Perhaps the fact that Hop Session Ale is not a true IPA holds it back from being something more. On strength alone Titan IPA moves along to the next round. 

#2 Hop Hog IPA vs. #7 Saranac High Peaks Imperial IPA











This was a well enjoyed round of beer drinking. Both beers flavor and taste was amplified from the bottle to the IPA glass. Not in any real significant way but the IPA glass helps both. Ina subtle way. This was the closest round of this tournament and the previous one. For a quick moment I thought I was snookered and both beers were one and the same. Both had strong flavor and taste. Both had excellent body. Hop Hog stayed heavy on the tongue in a good way. Hop Hog edges it by a slim margin.

#3 Big Daddy IPA vs. #6 Bear Republic Racer 5 IPA 












Another tough one. Really enjoyed both these beers. Once again the IPA glass provides a subtle taste and flavor difference for both of them. Two well rounded good IPA's.  I wish both could move to the next round. This contest came down to what do I enjoy drinking more. The answer to that question is Bear Republic Racer 5 IPA.


#4 Smuttynose Finest Kind IPA vs. #5 Ballast Point Big Eye IPA

I had high hopes for Smuttynose Finest Kind IPA. I have liked all the Smuttynose beers I have tasted in the past. Ballast Point was a newcomer. I just saw them at the beer distributor and decided to give them a try. At first I thought Ballast Point Big Eye IPA was too perfumey, too flowery. That was when I drank it on its own. Those proved to be strong points against Smuttynose. Smuttynose IPA seemed to have gone in for the hops. The flavor and taste seemed to be neglected along the way. Not much balance for Smuttynose. While I love hoppy beers I like to have a well rounded beer.   Ballast Point Big Eye IPA moves on. I'm beginning to think that Big Eye may be the big sleeper of this tourney. 

Updated bracket:











Friday, September 06, 2013

IPA Madness Tourney Returns

Back with 8 new IPA hoppy beers. Same rules apply as in the first tourney: 

The beer tasting crtieria will be easy. Whichever I find tastes best. Whichever I feel like I could keep drinking. Whichever is most enjoyable. Extra points go to the IPA with a big improvement in overall taste from bottle to glass. 

The seeding was done by random number generator.

The new line-up and competition.



#1 Great Divide Titan IPA vs. #8 Otter Creek Hop Session Ale
Colorado brewery vs. Vermont brewery. I enjoy snowboarding in both. I have enjoyed beers from both. Only one can move on. Otter Creek Hop Session is technically listed as "somewhere inbetween a pale ale and an indian pale ale..." but if it's got some variation of hop in its name it's fair game for this tourney. 

#2 Hop Hog IPA vs. #7 Saranac High Peaks Imperial IPA

PA vs. NY. Amish country vs. Adirondacks. Saranac had an entry in the previous tourney - Red IPA. I like Saranac beers so I gave another one a try again. Incidentally, that first round match-up was also against a PA beer, Hop Devil. It's becoming a tradition that Saranac goes up against a Pennsylvania beer with "hop" in its name. 

#3 Big Daddy IPA vs. #6 Bear Republic Racer 5 IPA 

Two well respected California IPA brews. I was disappointed with the random generator that these two had to go up against one another. Them's the breaks, I guess. A California IPA won the first tourney. (belated spoiler alert). This cuts down Cali's chances for # 2 right off the bat. But what can you do? 

 #4 Smuttynose Finest Kind IPA vs. #5 Ballast Point Big Eye IPA


New Englanders vs. Southern Californians. NH vs San Diego. Smuttynose makes lots of good beers. I hadn't yet tried Ballast Point. Just like the days of yore. The tried and true from the east coast against some new fangled concoction from the west coast. 

May the best beer win!