Is the villain from "I know what you did last summer" /ourguy/?
Evidence?
1) Hes a fisherman, and therefore a symbol of the exploited proletariat
2) The killer carries a hook for his weapon, like the second picture. Although his hook is I suppose for fish, Mussolini was famously hung up on a meat hook, and thus the meat hook can be considered a weapon in the anti capitalist arsenal.
3) The 4 degenerate capitalists who run over the exploited prole did so on the Fourth Of July after attending a party to celebrate the birth of the worst capitalist imperialist nation in all of history.
4) The individualist, selfish behaviours reproduced by capitalism lead to the death of an innocent proletarian and thus the movie can be read as the revenge of the exploited working class against their bourgeoise overlords
Or it could just be a low rent slasher film with no deeper meaning.
Sebastian Butler
The author is dead, pleb.
Asher Cox
But my gott aren't slasher films an expression of pure class antagonism? On the one hand we have stupid vapid spoiled rich kids doing d.egenerate things, you know having a party, sex and and alcohol and whatever. But then we have the killer, and it is here that one finds class hatred in its most pure, libidinal expression no? The audience finds its enjoyment not from the rich kids who are allegedly the stars but from the actions of the antagonist, from the killer, who is the very embodiment of proletarian resentiment, no? As a Lacanian and a leftist when I watch slasher films, I cannot but unironically root for the killer, you know?
Daniel Foster
deep bro
Brayden Garcia
Also a hook looks kind of like a sickle I guess.
Aiden Diaz
*and sho on and sho on
Cooper Ramirez
It gets a bit old.
Someone screencap this.
Adam Torres
Žižek, is that you? Nice.
Levi Perez
we /barthes/ now?
Charles Brown
I kid, but you have a point.
Jacob Brooks
*sniffs* and sho on, and sho on, *tugs shirt* but it's PURE ideology and as a Lacanian and a leftist I cannot but help to disagree *sniff*
Samuel Russell
It was produced in an ideological society thus definitely has intentional or unintentional ideological baggage from its creators.
Easton Cooper
Holla Forums really is completely mentally ill and warped. You don't know up from down or right from wrong. Due to your mental illness, you will never realise what you are.
Julian Richardson
You are all welcome
Brody Rogers
That's a longshoreman's hook. It was used to move wooden crates before they were eliminated (along with most dockworkers jobs) by containerization. It's a common emblem of dockworkers and dockworkers unions.
The use of the hook as horror-film/novel murder weapons predates I Know What You Did Last Summer There's something in Hollywood's transformation of such an iconic working class tool into an icon of murder and terror. I wouldn't say it's a deliberate effort to villify the working class, but certainly an expression of elite and bourgeois film-makers' anxiety.
Parker Cruz
Aren't villains in teen horror movies always rednecks, truck drivers, white trash, etc?
Alexander Morales
excellent contribution 10/10
Brayden Harris
True, Tucker and Daryl vs. Evil does a great job of subverting this though.
Bentley Baker
*Dale, whoops
Asher Lee
read it in his voice, well done
Aaron Thomas
I'm just gonna make this the cultural critique thread now.
To what extent can films such as "The Hills Have Eyes" be considered an expression of the metropolitan fear of the rural "peasant" population and, given the time of its re-make in 2006, at the start of the war on terror, to what extent does the "big other in the desert living in the shacks" reflect the anxiety of the population at the time? At the same time I believe Bin Laden was lurking the hills.
Considering the tensions between rural and metropolitan workers even among communist movements throughout history, and given the prevalence of rural, peasant killers and settings in horror movies, can we consider the horror genre in general a reflection of a fundamentally proletarian feeling?
As the genre typically associated with extreme violence, and often the only one willing to depict it, and given the extreme violence of capitalism, and how it is twisted and spun and euphemised by the media, does horror as a genre reflect an authentic, if overstated picture of the prevailing tensions which permeate capitalist society, probably without even knowing it?
