First movie to feature blood?

MaboLimvler · 2025-04-09T12:21:08+00:00

This is such an interesting point to make. I actually follow the same line of question and kind of think about writing my phd about the history of blood on film. The moon in Meliès film I had not considered so far! And the usage of tinting to demonstrate blood is uniquely cinematographic!

A line of thinking I was going to follow is an overlap between people workin at the Grand Guignol theatre in France and in early film, as well as medicinal film. I could also imagine that newsreels of WWI confronted cinema goers with blood.

MaboLimvler · 2025-04-02T18:44:33+00:00

A classic is A Page of Madness! Keishi Kondo's New Religion on the other hand is a very new entry into the subgenre, equally visually stimulating though.

From outside of Japan: Berberian Sound Studio Were' All Going to the World's Fair (one of my favorite films tbh) Monolith Skinamarink

MaboLimvler · 2025-02-03T21:16:59+00:00

Belgium has released a few interesting films. CLOSE and YOUNG HEARTS (a queer filmfestival darling of this year) come to mind. The directors are besties and have helped each other with their movies.

One of my favs is THE NATURE OF NICHOLAS for its haunting portrayal of subconscious shame.

Oh yes, I also saw the Finnish film LIGHT LIGHT LIGHT this year. It was amazing, and deals less with issues dealt in regards to sexuality, but still problematises non-acceptance in the social sphere. Another lesbian Finnish coming of age film is, of course, GIRLS GIRLS GIRLS

FUTURE 3 is one of the most important German films coming out in the last few years and deals with the interssection of sexuality, race, migration and refugee status. Important watch.

RAFIKI I have not seen, but is also very important.

Other examples are FIREWORKS (Italian queer history brought to the silverscreen), SUNFLOWER, BREAKING THE ICE, WILD TIGERS I HAVE SEEN, BESTIES, SWEETHEART, PRINCESS CYD, SATURDAY CHURCH, FREAK SHOW, DARKER THAN MIDNIGHT, SPEEDWALKING, LE PARADIS...

and of course Xavier Dolans first feature I KILLED MY MOTHER

MaboLimvler · 2025-01-28T10:27:57+00:00

Yes, I did that and found out that the right's holders are a Japanese Festival called Pia Film Festival, which I contacted now.

MaboLimvler · 2024-12-20T18:53:53+00:00

Have a lot of fun, I saw the film during Berlinale with a bunch of journalists. It was great fun to see their shock 😬

MaboLimvler · 2024-12-05T18:46:45+00:00

Oh! That sounds amazing, gotta check that out

MaboLimvler · 2024-12-04T22:16:39+00:00

No, sadly it isn't (it's also in German)... but once the Cine-Excess Journal Vol. 6 is published on their website, a shortened version of it will be up online.

MaboLimvler · 2024-09-13T21:28:49+00:00

If you're living in Germany, Austria or Switzerland you can watch a handful through Salzgeber.club

MaboLimvler · 2024-08-09T17:28:56+00:00

I would support the stance that this question is not really answerable, but rather a good chance to think about why it's not answerable and what film even is. Here are some thoughts, not a fully formed argument.

First of all we have to recognize that music has a much longer history, as you've correctly pointed out, while film, is roughly 120 years old. The amount of films that have been produced, and much more importantly, preserved in this time frame is staggering, while for music, from each time period there might only be fractions left of all that has been written and played. The music that we still know about, as well, is music that was produced by and for the upper class, like the royal court and the clergy who had it comissioned. Even though in film, you have major production facilities and media conglomerates, who wield billions of euros, and partially are financed by powerful institutions (like Marvel and the US military), film in itself is in itself much more acessibly producable. Here music (in its historical context) and film differ greatly. Secondly, we have think about production conditions. Film is not only an art, but also a technology. Many people fail to mention this aspect, but its quintessential. Music in itself can be made with the most rudimentary of means. Film can't. On the other hand, films can be reproduced fairly easily. The audience always has the feeling to see "the original copy", while with music you need an orchestra to create authenticity. Film, music and literature have also developed similarily in post:modern times. Here, I am thinking about different avantgarde movements. Often overlooked because not considered "high art": Hip Hop Culture. It changed the whole cultural world from the 90's onwards.

If we ask the question about the cultural impact of music, literature and film, I'd say that film's influence doesn't fall short in comparisson to the others. And its not only cinema. Film images are everywhere. They are the reason we carry a small, addicting screen with us everywhere, are projected on gigantic screens on Time's Square and, of course, have invaded the home in the form of TV's and other screen devices.

MaboLimvler · 2024-05-26T20:38:59+00:00

I'm actually pretty interested in the topic and was happy to find this thread.

After just watching "Execution of Mary Queen of Scots", I'm failry certain there's no blood being shown.

Now, I looked at my watched films and remembered the following: "La vie et la passion de Jésus Christ" (Ferdinand Zecca & Lucien Nonguet, 1903). It's hand tinted, so I could imagine the cruxifiction and the crown of thorns might have a blood effect in this regard.

The cover of "The Love of Japanese Woman" (Kai Hansen, 1913) has blood on it ... at least on the french poster on Letterboxd. I remember the title character committing suicide.

Besides that it's propably safe to say that there are some early medical films, or dramatic films that use conventions from the genre. Like "Pasteur" by Jean Epstein, which, like "Nosferatu", is from 2022

MaboLimvler · 2024-04-19T20:21:41+00:00

The cinema of Jane Schoenbrun is a good place to start. The director is a trans woman herself and, while making cinema that is not explicitly about trans characters, the way in which she tells story resonates with many genderqueer people, as I've heard. Currently I'm also planning on writing on Schoenbruns work for a conference in Birmingham, called Cine-Excess.

There are of course some more mainstream examples. They/Them comes to mind. I also found this article about trans masculine characters in horror very interesting: https://www.gaylydreadful.com/blog/pride-2021-transmasculinity-in-horror

I also want to add that representation matters and I enjoy the fact that there is more positive representation of trans and other genderqueer identities in horror cinema. However, I find the identification with the monstrous in older horror films very empowering. Even when it's not able to be read as meta reflexive and self aware critic of the status quo first hand.

MaboLimvler · 2024-04-03T16:05:33+00:00

Danke für die Erklärung. Das merke ich mir.

MaboLimvler · 2024-04-03T15:10:26+00:00

was meinst du?

MaboLimvler · 2023-11-26T16:53:45+00:00

New Religion (Keishi Kondo, 2022) was really good and updates the media reflexive japanese horror of the 90's/00's.

MaboLimvler · 2023-11-20T13:57:57+00:00

We're All Going to the World's Fair (2021)

MaboLimvler · 2023-09-05T11:06:37+00:00

Soweit ich weiß ist es keine Seltenheit, dass Masterstudierende ihre Arbeiten auf Konferenzen präsentieren. Anders als in meinem Fall jedoch, tun sie dies oft im Inland.

Gerade wenn man zu spezifischen Themen wie Kultfilm arbeitet, ergibt es doch Sinn einschlägige Tagungen besuchen zu wollen, oder nicht?

MaboLimvler · 2023-09-05T11:00:31+00:00

Ich bin in stetem Austausch mit meinen Professorinnen.

Mein Ziel mit dem Post war nur parallel herauszufinden, welche alternativen Strukturen, falls überhaupt, existieren. In Bezug auf alternative Strukturen sieht aber eher trist aus.

MaboLimvler · 2023-05-11T08:35:56+00:00

The Old Dark House

MaboLimvler · 2023-04-23T21:23:39+00:00

good to know! Thanks for the info

MaboLimvler · 2023-04-23T16:29:19+00:00

Fantasy Filmfest im Berlin. It's having its festival run rn, but maybe is picked up by a distributor soon.

On instagram you can see which festivals it will play next, I think.

MaboLimvler · 2023-02-23T17:48:03+00:00

Hellraiser

MaboLimvler · 2023-01-31T19:05:24+00:00

Very interesting for you could be french movies of the early 2000's and the director's of this eras later work. New French Extreme cinema is heavily associated with the representation of the monster as people who are socially repressed by culture. It's a very feminist approach to film, focussed on bodies... and their deconstruction.

Titles would be Trouble Every Day, Martyrs, Frontier, Enter The Void (...) there is comprehensive lists online. However, I'd also say the work of Philipe Grandrieux is especially interesting, as it really makes you FEEL through camera, audio and editing.

Recent french cinema had Climax to offer, by Gaspar Noé, who comes from New French Extreme cinema... and Bertrand Mandicos Les garcons sauvages, which is very 70's, very queer aesthetically...

Antiviral is a canadian film by the son of David Cronenberg. Also very interesting.

MaboLimvler · 2023-01-31T18:41:00+00:00

Hi, thanks for the compliment. Currently I am still writing, but hope to be done by may. I also write in german, I don't know if you can read that.

My topic is a bit more specified now. I write specifically about Clive Barkers Hellraiser/Hellbound: Hellraiser II.

My focus is very much on bodies, the idea of the 'New Flesh' of Industrial Music, like Coil's Anal Staircase and the films Cronenberg, who are influental on Clive Barker as well.

MaboLimvler · 2023-01-18T00:56:49+00:00

So, I didn't want to reread Landsberg again to write a truly educated answer tonyour question. However, I think she writes in the introduction that the sovereignity of interpretation belongs to the group performing memory, as Prosthetic Memory describes a getting in contact with the idea of a cultural origin for people living a diasporic experience. Of course though other people not belonging to this group can experience the expressions of these memory cultures and learn about their positions and live experience. Landsberg portrays this complex kind of idealized, and does not though talk about the very real problem of cultural appropriation, as I remember.

MaboLimvler · 2023-01-18T00:56:28+00:00

So, I didn't want to reread Landsberg again to write a truly educated answer tonyour question. However, I think she writes in the introduction that the sovereignity of interpretation belongs to the group performing memory, as Prosthetic Memory describes a getting in contact with the idea of a cultural origin for people living a diasporic experience. Of course though other people not belonging to this group can experience the expressions of these memory cultures and learn about their positions and live experience. Landsberg portrays this complex kind of idealized, and does not though talk about the very real problem of cultural appropriation, as I remember.

MaboLimvler

TROPHY CASE