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American Horror Story is an American anthology horror series created and produced by Ryan Murphy and Brad Falchuk. Described as an anthology series, each season is. All the best stories: culture, reporting, interviews, podcasts, comics and fiction from Hazlitt. Create custom t-shirts and personalized shirts at CafePress. Use our easy online designer to add your artwork, photos, or text. Design your own t- shirt today! Season 1 Episode 8: Directed by: Miguel Arteta: Written by: Ryan Murphy: Production code: 1ATS07: Original air. Torrent Search. Torrents.me combines popular torrent sites and specialized private trackers in a torrent multisearch. Beside The Pirate Bay, Kickass Torrents and. Table of Contents. Introduction. Tales of an Antichrist. The Myth of Satanism. A Satanic Fairytale. Satan Worship in America: A Disclaimer.
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Italian Horror: Dario Argento's Suspiria (1. In this multi- layered examination of Argento's undisputed magnum opus, Linda Schulte- Sasse analyses the use of gothic spaces and sly references to fascism and the film's eligibility for being .
One of two Argento films with a supernatural theme (the other being Inferno . Though her investigation into strange occurrences puts her in grave danger, she destroys the coven. Not only does Suzy survive malevolent supernatural forces, but even a dormitory filled with ballerinas whose viciousness gives the witches some healthy competition. Suspiria is part of a trilogy Argento planned based upon Thomas de Quincey's recounting of an opium dream about thee mothers, Mater Lachrymarum (Tears), Mater Suspiriorum (Sighs) and Mater Tenebrarum (Darkness). But if Disney's artificiality invites us to share a beautiful fantasy of stability and reassurance, Argento's fantasmagoria goes for the exact opposite, destabilising every inch of the way and graphically visualising the bodily violence and dismemberment of many a Grimm fairytale (pun intended). Already the soundtrack, which precedes the first image, effects a sensuous immersion, a sense of compulsion as opposed to control, drive as opposed to desire.
The music is overlaid with enervating sound effects like whispers, screams and whines that add to the overall paranoiac mood. Sound is in perfect synch with visuals, but renders unstable the boundary between conventional, non- diegetic . Moreover, the power of the soundtrack makes silent passages in the film all the more tense, all the more silent. Modern and gothic spaces.
Like the standard fairytale, Suspiria is a story of travel and movement between two kinds of spaces, one realistic and high- tech modern, the other gothic? Already this pedestrian space is estranged through a color scheme that bathes the functional design in reds and blues. From out of the crowd a woman in red passes Suzy, walking ahead and exiting the airport door in the distance, her hair and clothes flapping in the wind. Though at this point nothing but a contrapuntal figure adding graphic interest to the image, the woman anticipates the woman in red (also young, tall, slender) who will be running frantically from the ballet school when Suzy arrives.
Although nothing . Besides being an experience which any contemporary traveler will recognise, the cab ride again functions to anticipate a breakdown of communication in the film.
It prepares for a gothic world where employees don't understand the language and speak in incomprehensible tongues, where clues disappear and telephones don't work, where authorities speak plainly enough but harbour dirty secrets. The main setting for the film is the gothic space (or what Carol Clover's taxonomy of horror would call the . This primary space will be echoed in several others (notably the apartment building where the first murder occurs), which have the distinction of being at once imaginary and historically overdetermined. Although the Dance Academy is a famous historical building from 1. Zum Walfisch (. In Suspiria's gothic spaces, childhood fantasies of something abject or horrific . A room may be inexplicably full of sharp wire coils, a bat may suddenly attack,9.
With a method that is madness, disembodied Argento hands from nowhere invariably kill: that is who they are and that is what they do. A different kind of gothic space in the film appears only once, but leaves an indelible mark; the public square where man's best friend most literally goes for the jugular when Daniel is murdered by his seeing- eye dog. The square is of interest first because it is clearly does not belong in the Swabian culture of Freiburg, Germany, but is strongly suggestive of Munich. The sequence begins with Daniel sitting in a pub featuring Schuhplattler dancing, which is not only quintessentially Bavarian but provides a counterpoint to the rest of the film.
It invokes a canny, folkloristic Germany of tourism by means of a dance whose bawdy and jerky body- slapping is in stark contrast to the smooth elegance of ballet and to Argento's signature traveling shots. Daniel will die in the middle of a huge, empty square flanked by white buildings with Corinthian columns that is redolent of Munich squares like Odeonsplatz. The misplacement of the square with its neo- classical architecture in the quaint, medieval crampedness of Freiburg is significant because it recalls a very different moment of German history, National Socialism, which got its start in Hitler's infamous 1. The association of the square with Nazism may be illustrated by comparing Argento's set to that of Arthur Kampf's painting January 3. Nazi demonstration in front of the kind of neo- classical architecture Nazism privileged. The buildings also call to mind Albrecht Speer's never- completed vision of . In this context, it is notable that Daniel's suddenly murderous dog is a German shepherd, the dogs most closely associated with the SS.
Moreover, what is the Germanic Miss Tanner if not an allusion to the sadistic, Lina Wertmuelleresque, Nazi female guard? Argento also calls attention to his fascism subtext by highlighting the very constructedness of this place that doesn't fit: the square looks fake, like a film set. Clearly Suspiria is neither a historical nor a political film in the conventional sense, and it makes no direct reference whatsoever to National Socialism.
Why, then, would Argento incorporate this allusion? A key may lie in the film's second modern, naturalised space, the convention center plaza where Suzy queries two academics about . Bad luck isn't brought by broken mirrors but broken minds. But though one authority explains mental illness as the cause of magic and the other sees magic as a real causal factor in psychiatry, both discursively intermingle the supernatural and the psychopathic.
Psychosis and witchcraft (or as Milius's book is entitled, . What was National Socialism if not a historical version of what the witches achieve on a seemingly apolitical level: a systematic reign of surveillance and paranoia,1. Moreover, Argento constructs the distinction between the magical and the paranoiac (and between his supernatural and giallo films) only to collapse it.
If Suspiria's two naturalised, modern spaces provide a moment of relief from an undercurrent of violence, these spaces overflow into each other. Just as the red woman disturbs the banality of the airport, the . Why is the young psychiatrist's shirt the same bewitched green that Sara was bathed in before setting off to be killed? Does the blurred reflection of Suzy and Milius in a window suggest the fuzzy subjective boundaries of the gothic world? Blindness and insight.
If the hidden reverse of fascism's friendly face was brutality, Argento's cinema reverses Disney to show the source of beauty in rottenness and the impossibility of reliance. The story's quest parallels Argento's: to render visible the invisible, which always entails recognising and remembering, mapping an unmappable space and returning the other's malevolent gaze. Because the witches' strategy is to blind (a series of eyeline matches, for example, show Suzy succumbing with bodily convulsions to the gaze of the little boy and Russian maid, blinded by a triangular reflective shard in the woman's hand), agency means mobilising a vision that cannot see. Only by using other senses is investigation possible; one . The blind pianist Daniel is the first to pose a threat by seeing through other senses. Though the reason for his killing is never explicit (and Argento is never particularly concerned with narrative coherence), when thrown out of the school, he repeatedly cries out the warning: .
First, Suzy stumbles in the dark and knocks over a miniature peacock with a multi- colored tail that contains the color scheme of the entire film, as if all color, like the evil it gives form to, emanates from Marcos' room (and as if Argento were paying homage to the NBC peacock). Marcos qua the Thing itself has heretofore been seen only as an outline; Suzy's act of stabbing is not only one of killing, but of showing; when pierced, Marcos materialises, literally rotting like the maggot- filled building.
As if the Thing were not graspable by the eye (recalling the alien thing in Ridley Scott's 1. Alien) the camera captures Marcos in fragmented form, as mouth, eyes, hands. At Marcos' command, the murdered Sara appears in the same doorway with a dagger in the same hand, a bloodied mirror image of Suzy (same hair, age, body type and clothing), yet laughing like Helene Marcos and aiming her knife at Suzy. Marcos thus answers Suzy's intervention by doubling and inverting, mixing and matching bodies and voices so that Suzy equals Sara equals Helene Marcos herself. Friend becomes enemy, dead becomes undead, aggression against other becomes aggression against self. Even when evil is defeated, we're still not certain how relieved we should be. Marcos' death sets off an apocalypse, as the building shakes, crumbles and explodes in a fiery inferno just after Suzy has run outside into the rain from which she first entered.
Particularly in light of this circularity, are we to read the rain as one of purgation or as a biblical flood taking us back to the uncanny taxi ride, where the camera cut ominously to torrents of rain overflowing gutters and gushing uncontrollably from streams? If closure is unstable in Suspiria, so is the subject's status. Marcos no sooner asks ? Who's there? Like the gate to the law in the famous parable .
Recurrent scenes in the film foreground Suzy's mirror image, notably one in which the left frame shows her mirror reflection and closes in on her red mouth while in the right frame girls joke that there is a hex on the house and an exorcism is necessary. The association between the mirror image and the dialogue remains ambiguous; is it an interpellation for Suzy to perform the exorcism, or is it indicative of her own vague implication in the hexing?