ZooScope

Tag: Supernatural

  • Twelve Monkeys. Dir. Terry Gilliam. Universal Pictures . 1996.

    Twelve Monkeys begins: human beings whoop and rattle in cages, buried deep underground. Wild animals roam free in the streets; in the churches, on top of this underground prison. But who dug the hole? The animals or the human… …beings? The deadly virus which forced the survivors to flee underground came from the animals. But the…

  • Arrival. Dir. Denis Villeneuve. Paramount Pictures. 2016.

    When I think of science fiction films, I immediately think of two things: aliens and explosions. Arrival plays with these expectations of the genre, asking the viewer to look at aliens in a way they’re not used to. Taking Villeneuve’s vision of the alien to be a non-human creature, it is appropriate to categorise the aliens in Arrival as…

  • Twelve Monkeys. Dir. Terry Gilliam. Universal Pictures . 1996.

    Do you want a second chance, Cole?” In other words – Do you want your body experimented upon to benefit our research again, Cole? The film cuts to a scene where Cole is injected and pinned to the time machine… or rather, torture machine. Cole never gets to answer the question – he has no…

  • Harry Potter and the Chamber of Secrets. Dir. Chris Columbus. Warner Bros. 2002.

    Harry Potter and the Chamber of Secrets utilizes horror film narratives and their depiction of monstrous animals in order to reveal a deeper complex message regarding human-animal relationships. The franchise’s reliance on Ophidiophobia acts to highlight the negative animalisation assigned to animals such as snakes, whilst the treatment of the Basilisk by humans in the film…

  • The Shape of Water. Dir. Guillermo Del Toro. Fox Searchlight Pictures. 2017.

    The Shape of Water is a fantastical love story set during The Cold War about Eliza, a mute cleaner at a government laboratory, who falls in love with a hybrid amphibian-man who was captured from the Amazon by the film’s villain, Colonel Strickland. General Hoyt wishes to exploit the amphibian-man to Western advantage in the Space…

  • The Shape of water. Dir. Guillermo del Toro. Fox Searchlight Pictures. 2017.

    In this scene, the development of inter-species love between the film’s main characters, Eliza and the amphibian-man, culminates in their under-water embrace as the amphibian-man magically gives Eliza gills. This scene blurs the human-animal distinction as both individuals are now cross-species and it subverts the hierarchical binary between humans and animals through their cross-species love…

  • The Witch. Dir. Robert Eggers. A24. 2015.

    Robert Eggers’s 2015 independent horror film The Witch encounters human-animal relations in reference to a manmade issue – religion and the occult. I argue that such a representation of humans living alongside animals in the context of a restricted, puritanical environment of their own making exists because of how the characters decide to build their own isolation.…

  • Gremlins. Dir. Joe Dante. Warner Bros.. 1984.

    An inventor of dubious talent visits Chinatown trying to find his son a Christmas present, where he is sold a strange fluffy creature; a Mogwai. The creature comes with three rules: do not expose it to bright light, do not get it wet, and do not feed it after midnight. Within due time however, all…

  • Donnie Darko. Dir. Richard Kelly. Newmarket Films, Pandora Cinema, United Artists. 2001.

    Set in 1988, Richard Kelly’s popular cult classic Donnie Darko deals with the teenage title character’s battle with diagnosed paranoid schizophrenia, fits of violent behaviour, and cynicism towards established institutions. Unlike other ‘ordinary’ 16 year olds, Donnie (Jake Gyllenhaal) has thoughts that are plagued by a man-sized rabbit (James Duval) that simultaneously saves him from, and then…

  • The Witches. Dir. Nicolas Roeg. Warner Bros Entertainment Inc.. 1990.

    Only undeceived individuals might be able to tell a witch from an ordinary woman, for their most dangerous power is the sophisticated art of deception. “Real witches dress in ordinary clothes and look very much like ordinary women; they live in ordinary houses and they work in ordinary jobs” (Roeg 1990, minute 2:25), Helga Eveshim…