“These forces are brought to fruition not so much in films of the horror genre itself as in more mainstream and critically acclaimed movies like Cape Fear and Silence of the Lambs (both 1991). These stories exalt the artistic boldness of their evil supermen, who put into question the timid mores of conventional society and resist the standard mechanisms for understanding, punishing, and rehabilitating criminals. In such a context, evil begins to appear attractive, courageous, and liberating.” [Thomas Hibbs, Shows About Nothing, (Dallas, Tx: Spence Publishing Company, 1999), p. 51.]
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