Rate this book

House Of Psychotic Women: An Autobiographical Topography Of Female Neurosis In Horror And Exploitation Films (2012)

by Kier-la Janisse(Favorite Author)

4.54 of 5 Votes: 4

languge

English

genre

Horror

publisher

FAB Press

review 1: My very favorite film books typically exist in two categories: Either as analysis & lists of films I've yet to discover (Film as a Subversive Art, The World of Fantastic Films, Nightmare USA, etc) or as an in-depth behind-the-scenes mixture of anecdotes and remembrances (Easy Riders Raging Bulls, Pictures at a Revolution, Cronenberg on Cronenberg) which illuminate aspects of films I love and, in their own ways, make me love them more.House of Psychotic Women is a completely unique film book in that it uses the films it studies as an almost psychological analysis of the life of its author - it really feels like a therapeutic exercise but also presents an answer to the oft-remarked question: "Why do you watch such bizarre/gross/disturbing movies?" The author's life is pre... moresented as a prime example of juvenile delinquency, borderline (and maybe not so bordeline) mental illness, and the loneliness and despair (at times) of institutionalized and foster life. In other words, the author had it really tough for a while. It seemed to me that in these films she analyzes, she finds comfort in expressions of emotions and situations she had consciously and un/sub-consciously experienced. And of course, these films are among the most extreme in the world of disturbing cinema - Possession, Antichrist, In My Skin, Martyrs, The Woman - as well as the standard roll-call of genre & exploitation directors - Rollin, Fulci, Argento, Bava, Franco... I'm just gonna say right off the bat that I was drawn to the book because of the films she chronicles. There is absolutely a common thread running from Cat People, Black Narcissus, Repulsion, Persona, and Red Desert to 3 Women, The Brood, and The Entity - (I almost guiltily admit to loving many of these films) but the crown jewel in her analysis (and a common recommendation to adventurous viewers when I worked at the video store) is her in-depth look at Andrej Zulawski's 1981 film Possession. Some times it felt to me that most of the movies in the book are stepping stones to Possession, that the author primarily wanted to express why such a strange and bonkers film means so much to her. I've seen Possession maybe 5 times in my life (originally the truncated american version while I was in high school, then several viewings when I worked at the video store, then finally a restored version on the big screen where I dragged two companions who approached the film with smug skepticism but walked out shaking their heads agreeing "that movie is bonkers.") - it is definitely the type of film that the scavenger cinephile seeks out - initially received with a collective "what?" when it first came out, its stature has grown as film (especially in the genre and independent film worlds) becomes blander and more calculated. There is nothing calculated about Possession. It is way, way out there. But why would someone respond to a film that is so unpleasant, that at times feels as if it is made by and starring mental patients?In the author's case, the film finds that rare, strange place where the internal and external worlds of the characters mix - that dreamland where unreality and reality are one in the same. There are doppelgangers, spastic fits, alien creatures, bleeding mouths - supernatural phenomena presented as part of the reality of the film. That simplistic question that dogs so many modern films "is it a dream or isn't it?" is thrown out the window: Of course it's a dream and it isn't. It doesn't matter. The film displays female neurosis in potentially the most realistically manner possible. Janisse treats these films seriously, as if their creators had secret knowledge of the inner working of the human heart and were trying to express that knowledge, and whether that expression was conscious or unconscious doesn't really matter.So basically I loved the book. I related to the structure, and found that in the middle of all of this pain and extreme imagery, there are actually some instances of humor - a testament to the author's ability as a writer. The book feels loved - that some sanity was found in the process of its creation. That alone makes it a special exploration into cinephilia; the hidden gems unturned throughout its pages are just gravy on one tasty plate of mashed potatoes.(And I guess the answer to why anyone would subject themselves to horror and extreme emotions, I'm reminded of David Bowie's last line in his Ziggy Stardust album: "You're NOT alone!")
review 2: After glowing reviews and recommendations I finally sought this out this book, and I'm really glad I did. Not just for horror fans, this is very well-written and works on multiple levels: as a sometimes harrowing autobiograpy of the author, as a thoughtful feminist analysis of horror films, and as an essential guidebook to the genre of "neurotic female horror and exploitation" films. It even has its own sort of psychotic break, switching from essay to comprehensive appendix halfway through (since the appendix contains spoilers, I'm still working through it as I watch the films that interest me). The format -- primarily the layout of the text -- can be cumbersome, although the physical weight and density of the book seems oddly appropriate for the heavy subject matter. The content is fantastic and covers everything from Z-grade exploitation to works by David Lynch and Robert Altman. Probably the most unique and memorable film book I've read. less

Download links for: House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films

Advertising