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Danse Macabre :: Кинг Стивен
Страница: 339 из 359except that one of Stallard's fastballs went out of Fenway Park to become Roger Maris's record-breaking sixty-first home run. And Fuzz , a poorly executed comedy-drama, effectively ended TV violence.
The message? You are responsible. And network TV accepted the message.
12
"How do you justify the violence of the shower scene in Psycho?" A critic once asked Sir Alfred Hitchcock.
"How do you Justify the opening scene in Hiroshima, Mon Amour?" Hitchcock is reputed to have replied. In that opening scene, which was certainly scandalous by American standards in 1959, we see Emmanuele Riva and Eliji Okada in a naked embrace.
"The opening scene was necessary to the integrity of the film," the critic answered.
"So was the shower scene in Psycho," Hitchcock said .
13
What sort of burden does the writer-particularly the writer of horror fiction-have to bear in all of this? Certainly there has never been a writer in the field (with the possible exception of Shirley Jackson) who has not been regarded with more than a degree of critical caution. The morality of horror fiction has been called into question for a hundred years. One of the blood-spattered forerunners of Dracula , Varney the Vampyre , was referred to as a "penny dreadful." Later on, inflation turned the penny dreadfuls into dime dreadfuls. In the 1930s there were cries that pulps such as Weird Tales and Spicy Stories (which regularly served up lip-smacking S & M covers on which lovely ladies were tied down, always in their "small clothes," and menaced by some beastly-but identifiably male-creature of the night) were ruining the morals of the youth of America. Similarly in the fifties, the comics industry choked off such outlaw growths as E.C.'s Tales from the Crypt and instituted a Comics Code when it became clear that Congress intended to clean their house for them if they would not clean it for themselves. There would be no more tales of dismemberment, corpses come back from the dead, and premature burials-or at least not for the next ten years. The return was signalled by the unpretentious birth of Creepy , a Warren Group magazine which was a complete throwback to the salad days of Bill Gaines's E.C. horror comics. Uncle Creepy, and his buddy Cousin Eerie, who came along two years or so later, were really interchangeable with the Old Witch and the Crypt-Keeper. Even some of the old artists were back-Joe Orlando, who made his debut as an E.C. artist, was also represented in the premiere issue of Creepy , if memory serves.
The message? You are responsible. And network TV accepted the message.
12
"How do you justify the violence of the shower scene in Psycho?" A critic once asked Sir Alfred Hitchcock.
"How do you Justify the opening scene in Hiroshima, Mon Amour?" Hitchcock is reputed to have replied. In that opening scene, which was certainly scandalous by American standards in 1959, we see Emmanuele Riva and Eliji Okada in a naked embrace.
"The opening scene was necessary to the integrity of the film," the critic answered.
"So was the shower scene in Psycho," Hitchcock said .
13
What sort of burden does the writer-particularly the writer of horror fiction-have to bear in all of this? Certainly there has never been a writer in the field (with the possible exception of Shirley Jackson) who has not been regarded with more than a degree of critical caution. The morality of horror fiction has been called into question for a hundred years. One of the blood-spattered forerunners of Dracula , Varney the Vampyre , was referred to as a "penny dreadful." Later on, inflation turned the penny dreadfuls into dime dreadfuls. In the 1930s there were cries that pulps such as Weird Tales and Spicy Stories (which regularly served up lip-smacking S & M covers on which lovely ladies were tied down, always in their "small clothes," and menaced by some beastly-but identifiably male-creature of the night) were ruining the morals of the youth of America. Similarly in the fifties, the comics industry choked off such outlaw growths as E.C.'s Tales from the Crypt and instituted a Comics Code when it became clear that Congress intended to clean their house for them if they would not clean it for themselves. There would be no more tales of dismemberment, corpses come back from the dead, and premature burials-or at least not for the next ten years. The return was signalled by the unpretentious birth of Creepy , a Warren Group magazine which was a complete throwback to the salad days of Bill Gaines's E.C. horror comics. Uncle Creepy, and his buddy Cousin Eerie, who came along two years or so later, were really interchangeable with the Old Witch and the Crypt-Keeper. Even some of the old artists were back-Joe Orlando, who made his debut as an E.C. artist, was also represented in the premiere issue of Creepy , if memory serves.