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Message: <blockquote data-quote="Autumnal" data-source="post: 9492995" data-attributes="member: 6671663">these are two of my favorites. In Grave Encounters, that moment where they break open the front door and see what’s beyond it is perfect. There’s no glitzing it up, no portal flow or shimmer, nothing but the bald of reality of something that can’t be there but is.Yellowbrickroad renders the effects of sound in visual terms as effectively as any movie I can think of. Also, go back to the first scene and pay attention to what we can see and hear of the guy in the office there. Not a generic government guy.Sure. “Horror”. <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f642.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=":)" title="Smile    :)"  data-smilie="1"data-shortname=":)" /> or if you want some academic terminology…in his book Weird Fiction: A Genre Study, Michael Cisco borrows from Deleuze and Guattari to write of minor and major modes in weird fiction (and literature generally).Major modes end up reinforcing the status quo: Ebenezer Scrooge becomes a better person but not a crusader for any serious social change.Minor modes shake the status quo loose and don’t put the pieces back when they’re done; even when the incursion of the story ends, people can’t live the way they did. Hellraiser, Alien + Alien 3, and the original three Living Dead movies push the surviving characters and/or the world at large over an abyss you can’t climb back out of.What’s interesting is that a monster killing people who really have coming it can work in either mode, depending on how they go about it. When the story tends toward “see, you should have been a nice regular person”, that’s major. When it heads toward “the monster is also a person who’s owed accommodation and respect too”, that’s probably more minor.Cisco goes into this over many many pages, and Deleuze and Guattari at many more. This is an entirely inadequate summary.</blockquote>

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