Book vs movie: Pet Cemetary – What’s the Difference?

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It was inevitable that someone in Hollywood would try to reanimate the corpse of yet another classic film. So with the upcoming release of the remake of Pet Cemetary, what better time for CineFix to discuss the original book and movie in What’s the Difference?

Pet Cemetary is one of the many books lingering on my shelf in the TBR pile. While I have decided that this year will involve a concerted effort to make a dent in said pile*, it is unlikely I’ll get to read this novel anytime soon. If I’m completely honest, I want to read The Stand first.

What about the movie, I hear you ask. Back when I was a young lad – walking the obligatory 10 miles (whatever a mile is in real measurements) to school through 10 feet of snow (why would there be feet in snow?) after working 10 hours at the coal mine – Stephen King novels and movies were all the rage. Whether it was Needful Things, Carrie, Misery, Lawnmower Man, IT, or Children of the Corn, there always seemed to be someone bringing a Stephen King VHS** to watch. And after my hard lesson learnt with IT, I tried to avoid the obviously scary films – hence I have seen Lawnmower Man and most of Needful Things, but not Children of the Corn.

At this point, I probably sound like a wimp. It is odd that I generally don’t find horror novels that bad, and even movies with horror elements are fine. But movies whose goal is to creep you out or gross you out (think Saw franchise or Hostel) just aren’t for me, particularly the latter. It’s a little hard to be entertained by that sort of thing.

Yes, yes, more excuses as to why I haven’t read or watched something. Don’t worry, plenty of horror in my TBR pile. Stay tuned.

*I’ve managed to read one from the pile and added two more to it this month. That counts as progress, right?

**VHS, that’s right. I am truly that old.

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Book review: Antifa: The Anti-Fascist Handbook by Mark Bray

Antifa: The Anti-Fascist HandbookAntifa: The Anti-Fascist Handbook by Mark Bray

My rating: 5 of 5 stars

Is it okay to punch Nazis? What if I told you that is only one of the tactics for dealing with Nazis?

The Anti-Fascist Handbook aims to summarise the history of fascism and its opponents, the rise of more recent fascist groups, the lessons from history for dealing with fascism, the issue of “free speech” and fascism, and how to combat fascism today. Historian Mark Bray has detailed the tactics of the Antifa movement and the philosophy behind it through interviews and the compilation of history and research into fascism.

I’ve noticed that there are several topics that seem to be widely discussed but never with any actual knowledge. Antifa, Black Lives Matter, and other social movements are prime examples. So when I saw Ollie from Philosophy Tube’s video discussing this book (and other related work) I knew that Bray’s book on Antifa would be another of my must reads.

I think one of the most important takeaways from this book is that the rise of fascism to power hasn’t historically required huge support, just a lot of apathy from the masses. Too often debates will rage around “free speech” or “is it okay to punch a Nazis” while completely missing the point that fascists are loving being legitimised with any of these debates.

The five important lessons (my summary of the headings):

  1. Fascist revolutions have never succeeded, they gained power legally.
  2. Many interwar leaders and theorists did not take fascism seriously enough until it was too late. (Sound familiar?)
  3. Political leaders/groups are often slower to react to fascism than those on the ground.
  4. Fascism steals from left ideology, strategy, imagery, and culture (e.g. the liberal idea of “free speech”).
  5. It doesn’t take many fascists to make fascism (Overton windows shift easily).

Whilst this was a very interesting and important book, it wasn’t perfect. The coverage of fascism outside of Europe was limited; something Bray acknowledged he wasn’t going to cover in detail and would have been a nice addition – something for the next instalment perhaps. Also, the defining traits of fascism were clearly made, but the differences between groups that fall under that banner, or are adjacent (and thus facilitate normalisation), weren’t discussed. I would have found it interesting to have the discussion of how alt-right and alt-lite differ and how you combat the latter. Minor points that might be in future editions.

So before you next hear a professional opinion-haver brand Antifa as terrorists, it would be worth reading this book.

Philosophy Tube video:

Alt-lite influence: https://datasociety.net/wp-content/up…

View all my reviews

Food & Fiction: Memorable Meals in Literature

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This month’s It’s Lit! covers everyone’s favourite topic: food.

If it isn’t your favourite topic, just give yourself 48 hours without it and see if that changes your mind.

I’ve always found food scenes in books to fall into two categories: needless exposition, or important showing (Oliver Twist is a great example of this). While the video discusses the latter, it is all too common that the former is what we read most.

While I was watching the video I was reminded of something I read last year. The discussion of bread in Victor Hugo’s Les Misérables, particularly around the hard bread that needed to be soaked, was something that Karl Marx wrote about in Das Kapital. The hard bread was actually due to deliberate contamination to make cheap bread that workers could afford, knowing full well that it was bad for them to eat, and the employers knowing full well that the workers couldn’t afford to eat properly (keeping them hungry so they would work).

A great way to remind us future people of how society used to run.*

Food varies wildly from place to place and from culture to culture; since humans are such sensory creatures, using words to evoke the experience of eating is an excellent way to bring a text to life.

It’s Lit! is part of THE GREAT AMERICAN READ, an eight-part series that explores and celebrates the power of reading. Hosted by Lindsay Ellis.

*Let’s be honest, society would quite happily go back to those conditions, and in some areas of the world, it still is operating in that way.

Death of the Author

The birth of the reader must be at the cost of the death of the author… or so says Roland Bathes in his essay Death of the Author. Are we talking about literally killing authors? No, this is figurative (like most uses of literally). Can Death of the Author include killing the author? Sure, but get a good lawyer first.

Let’s let Lindsay Ellis (and John Green) explain:

My take on Death of the Author is somewhat complicated. I think there is relevant information that the author has that doesn’t make it into the story (think Elvish languages from Tolkien*), but I also think that quite often if it isn’t in the story it doesn’t really exist. I think that stories are really up to the readers to interpret, as viewpoints and interpretations will change over time**, but that doesn’t mean readers always interpret correctly.

This is a hedged way of saying that Death of the Author is probably too simple a way of thinking about how stories should be interpreted. At least, that’s my interpretation of it.

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Source: Mimi and Eunice

*Let’s not get into how “relevant” I think those languages are, or a lot of that world-building from authors in general is.

**You may remember book reviews here where I’ve discussed how older books haven’t aged well due to changing societal standards. Sexism and racism are obvious changes that have happened in the last 50 years which make formerly acceptable, even progressive, moments in a story seem backward and unacceptable now.

Another thing that can occur is changes to society changes interpretations. E.g. The Baby It’s Cold Outside controversy can be summed up as an old song made references to things that we are no longer familiar with, so our interpretation changes. This makes Death of the Author a truly bad thing for any artwork that is “consumed” outside of the social and temporal setting it was made within.

Book vs Movie: Hellboy – What’s the Difference?

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This month’s instalment of What’s the difference? from CineFix looks at Mike Mignola’s graphic novel and Guillermo Del Toro’s Hellboy?

In the interest of full disclosure, I’m not a fan of Hellboy: movie or comic. Yes, I know, how dare you not love Del Toro’s amazing artistic vision! I’ve watched both Hellboy movies multiple times and have not loved them (and despite liking the Blade trilogy, Blade 2 isn’t my favourite – but Pan’s Labyrinth was fantastic). The comics I probably didn’t give them a fair chance, as I tried reading one omnibus after not enjoying the first film.

Anyway, the point I wanted to highlight from the video was something I think too many adaptations fail to do. When you are talking about a series of comics or books, there is often some prevailing themes, motifs, and imagery to them that may be less noticeable in any one edition, but taken as a whole it is important.

Because movies are often only drawing on one book at a time, or drawing on one run (or story arc) of a comic, important aspects may be lost. An example would be the Tim Burton or the Adam West takes on Batman versus the Christopher Nolan version. The latter drew upon more of the Batman comics than the earlier adaptations (not that either of those adaptations was bad*).

So while this doesn’t necessarily result in a direct adaptation, it does result in an adaptation that is faithful to the source material in the elements that matter.

*I’m pretending that the Joel Schumacher adaptations don’t exist. Akiva Goldsman is probably more to blame, given he has a long track record of making everything he is attached to that bit worse.