David Cronenberg, “Consumed”

Consumed goes increasingly in the direction of (con)fusing reality and fantasy.  This is a major theme of the book, one that continues until the very last sentence.  Let’s focus on a single passage that will provide a nice transition into our next course unit, “Grindhouse in the Digital Age.”  We will do a close analysis of the full paragraph on page 271.  How do technology, reality, and simulation intersect in this passage?  Quote from the text in your 100-word response.

The Groovy Gothic (Argentina)

Let’s face it.  The Curious Dr. Humpp and Blood of the Virgins are about sex.  Rampant libidos have a grip on everyone, from the gothic monsters and mad scientists to the groovy youth culture.  In this blog post, we will consider how representations of sex differ between antagonists and protagonists.  What is implied by these differences?  My ultimate question is: Is the gothic “groovy” in these films, or is it just, well, gothic.


Coffin Joe: Artist, Exploiter, or Both?

Let’s reflect further on the question of Art vs. Exploitation from today’s class.  Please reply to this blog post by referring to one film example that makes a case for Jose Mojica Marins as a serious artist, and another example that suggests he is a showman selling cheap thrills for profit.  After careful reflection, where do you come down on the question I pose in my title?  Is the director an artist, an exploiter, or both?  Explain.

Blog Post #1 (Mexploitation)

In Santo Vs. Vampire Women, the professor-protagonist reports to Santo:


“we’re living in a time when things are perfect for the resurrection of monsters here on earth.”


Truer words cannot be said of the Mexican exploitation cinema (“mexploitation”).  For this first blog post, contribute a 100-word entry that reflects on the use of monsters in this genre.  Why monsters?  You should think on a macro level (monsters are universal fictions, after all), but also social and political issues pertaining specifically to 1960s Mexico.