Hello folks. Did an early update this week. I felt that the writing I had done was enough to stand on its own, and would make the next installment longer if I didn’t separate it. I still plan on doing an update this Friday, but its Thanksgiving week here in the US, and I don’t know how much time I’ll have to do writing. I’ll figure something out, though.
Good news! I figured out how to get rid of those stupid green borders on Chapter 4.2. So now the chapter reads as I originally intended it. Turns out the issue wasn’t with the coding in the post, but the actual site template I was using. I guess the CSS was overriding everything else. I’m not too familiar with CSS but it was simple enough to figure out how to change the one part I needed to.
Today I was watching yet another Italian directed horror movie. “Cannibal Apocalypse.”
What was going on with Italian directors and music? So far each of the ones I’ve seen use it in weird ways. I guess maybe I’m just not used to seeing music used in such a forthcoming manner, where its as much a part of the scene as the acting is. Nowadays it seems the only time music plays a huge role in a movie is if its a musical or has a montage. But the problem is that the music used in these films don’t always pose a good presence in the scene its used with. In Cannibal Apocalypse for instance, Antonio Margheriti saw fit to have the opening sequence–a violent scene from the Vietnam war–accompanied by groovy funk. What the heck!?
The same happened in Dario Argento’s “Opera”. After a terrifying encounter with a crazed murderer, the lead woman decides to go running out into the streets (for whatever reason–god forbid we actually have the sense to call the cops and report a murder) and this death metal music comes on…while she’s just walking down the street. The music is used for nothing else but THAT. ONE. PART. It was the most ridiculous thing I’d ever seen. I mean…I get why Dario Argento is considered so influential in horror, but I personally don’t think its because of his scripts or even the cinematography of his films. It’s just that he’s RIDICULOUS. Experimental. Wasn’t afraid of campiness or over-the-top, not-quite-plausible gore. I don’t know if the 80’s was the height of Italian horror, but I’d really like to know if there are any Italian directors out there still doing what they want, reality and common sense be damned.
…And I still have to watch David Cronenberg’s remake of “The Fly”. It’s just been sitting on my desk since I’ve got it on Netflix.