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Articles by Vincent Bec
[Pride 2022] Freddymania: Girls Just Want to Have Fun — Gayly Dreadful -- Bursting out of your closet with the latest horror reviews
On the first and only Friday the 13th of 2022, I sat down with my brother to marathon the A Nightmare on Elm Street franchise. Apparently, he had only seen the first film prior to this day, which seems almost impossible to me knowing how many times I rewatched film after film in the series during my high school years.
He Knows You're Alone (w/ Vincent Bec) on Apple Podcasts
1 hr 33 min People, I don’t want to frighten you but… HE KNOWS YOU’RE ALONE. Also, that’s the name of the movie we’re talking about on this episode with writer Vincent Bec, who brings an academic viewpoint to this alternately progressive and regressive slasher flick. Along the way, we explore Sawsville bathroom decor, examine our killer’s magic left hand, debate a “shit sandwich vs.
Women Still In Danger: An Analysis of Incel Rhetoric in the 1980 Slasher Film He Knows You’re Alone
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[Pride 2021] Pinhead is My Husband, but Leatherface is My Child — Gayly Dreadful -- Bursting out of your closet with the latest horror reviews
I have joked that Leatherface is my child and Pinhead is my husband on Twitter, in private conversations, and often just in my own head to myself. There can be a strong feeling of ownership in queer spectatorship. One reason for this is the hard work it can take to carve out a place for queer narratives when watching mainstream media.
A Tale of Two Lyonnes
But I'm a Cheerleader (Lions Gate) by Vincent Bec You are now reading an exclusive piece from the Film Daze Digital Magazine, Issue 6: Adolescence. Enjoy! - The Film Daze Team In both of these cases, our main characters have spent their lives separated from the community that understands what they are going through-- Megan with the gay community and Vivian…
The Opposing Genres of Possession — film and fishnets
Andrzej Zulawski’s 1981 horror film, Possession, opens with shots of a city. Views of buildings are cut off by concrete fences. The camera keeps steel structures in the foreground of the shot letting the grey homes and apartment buildings blend together in the background. We travel down a road of decaying walls and structures that block our view of the modern, occupied buildings. We are traveling this road with the main character, Mark (Sam Neill), as he makes his way home to his wife and child.
The Spoiled & the Subversive in DAISIES — film and fishnets
“Everything is being spoiled in this world” “What do you mean, everything?” “You know, everything” “In this world…” “Know what? When everything is being spoiled…” “What then?” “We’ll…” “Be spoiled…” “Too.” Despite it’s often whimsical and colorful imagery, the life Daisies (1966) creates for its main characters, two teenage girls both named Marie, is not as joyful as it appears. Under a layer of giggles and cake, the Maries’ thoughts are burdened with existentialism.
Gender, sexuality and representation throughout each Carrie adaptation
October 30, 2018 • 1 Stephen King’s 1974 debut novel, Carrie, continues to be one of his most heartfelt stories to date. In tradition with many horror stories of the past, it places the audiences’ compassion conflictingly with the monster of the story, reflecting our own anxieties about how we fit into our rigid cultural norms. Carrie is particularly special because of its ability to capture women’s complex community structures within our greater society.
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