The Complete Halloween Guide to the Horror Film


Photo Credit – Pintrest

Halloween is upon us. The eve of All Hallows’ Day. The sky is overcast. The leaves, adorned with burnt autumnal hues, fall from the trees. The neighborhoods are strewn with pumpkins, skeletons, and plastic graves. Soon the children will scour the streets. In our mass-market post-modern world kids only issues idle threats. Trick or Treat once a literal threat. No more.

It is no longer Samhain, Halloween’s Celtic precursor that marked the end of the harvest. Pre- Tenth Century, the Celts believed that Samhain was a liminal time – a time when our world and the Otherworld merged. The spirits of the dead were among us. To survive the winter we would have to please them. In the days of Samhain, fear was the key to survival.

Today, fear is escape. Horror is a sensation genre. It is not purely intellectual. The viewer has a visceral reaction. The hairs stand on the back of his neck, his date gropes for his hand. Horror toys with our most primitive coping mechanisms – our survival instinct and our id.

By David Sporn Entertainment & Arts Contributor

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Ingmar Bergmans ‘Persona’ | Cadre Cinematique


(Image Credit: “Persona,” Ingmar Berman, AB Svenk Filmindustri, 1966.

)Filmmaker David Sporn’ CadreCinematique explores classic, esoteric, and just plain entertaining films. Nothing is off limits. Sometimes the column will be about a specific filmmaker or artist. Sometimes it will not specifically be about film at all, focusing on politics, literature, or philosophy that has influenced cinematic form.  Film is a pretty big subject. Douglas Adam’s wrote in The Hitchhiker’s Guide to the Galaxy, “Space is big. Really Big. You just won’t believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it’s a long way down the road to the chemist, but that’s just peanuts compared to space.” So it is with film. Welcome to the wild and woolly world of cinema. Let’s dive right in.

By David Sporn Entertainment & Arts Contributor

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Festival de Cannes 2016: The Spin


(Image Credit: The Hollywood Reporter)

By David Sporn Entertainment & Arts Contributor

The 2016 Cannes Film Festival ended Sunday, May 22nd. Cannes is the glitziest, most distinguished, and most important film festival in the world. Past winners of the Palme d’Or, the festival’s highest honor, include cinematic luminaries Federico Fellini, Akira Kurosawa, and Luis Buñuel. In the Marché, the festival’s film market, producers strike multi-million dollar deals for production or international distribution rights. Cannes is a closed festival. All participants are industry insiders. It is a world of controlled anarchy and strict hierarchy. Inside the Palais des Festivals, the six story modernist convention center on the world famous palm-lined Promenade de la Croisette, along the Mediterranean, world famous filmmakers and A-list celebrities walk the red carpet of the Grand Théâtre Lumière in the trendiest  Parisian couture. Others jostle for position. By the way, the brothers Louis and Auguste Lumière invented the cinematograph and directed the first real motion picture. There are five different levels of color-coded press passes. For the press, access to screenings, as well as staff courtesy, is dependent on color of their badge. Throughout the day and the night parties abound, champagne flows, and deals are finalized. Cannes is one of the largest film markets in the world.

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