![]() Yet, it is possible to maintain that, just as with Peele’s Us, a pulpy exterior need not be a barrier to a provocative thematic. A recent, excellent study by Litheko Modisane, South Africa’s Renegade Reels: The Making and Public Lives of Black-Centered Films (2012, Palgrave-MacMillan) looks at the social drama Mapantsula (Oliver Schmitz, 1988) rather than The Stick, when discussing the twilight cinema of apartheid – possibly because the latter, as a horror film, wears its generic identity over its social-political one. The Stick (1988), directed by Darrell RoodtĪs this month brings us the 25 th anniversary of democratic elections in South Africa, and given my current in-the-works book for Edinburgh University Press ( Images of Apartheid: Filmmaking on the Fringe in the Old South Africa) it is interesting to look back at this troubled period and see that, far from an ostracised state in seclusion, the country actually had a thriving film industry that existed in at least some sort of dialogue with the rest of the world. Unfortunately, Roodt – whose recent credits include the slightly-less-lofty sequel Lake Placid: Legacy (2018) – rarely has his name raised in discussions of any so-called ‘highbrow’ horror. The strangest thing about Us, however, is that it made me think about a little-known film from horror’s past – The Stick, shot and produced in South Africa, released in 1988 and directed by Darrell Roodt. ![]() Us even concludes by asking if true horror comes from the inside and, in a possible nod to Swimming with Sharks (George Huang, 1994) ponders upon just how far one might go in order to gain a better chance in life – pointing to the concrete jungle of Los Angeles. Indeed, a recent IndieWire article even asked, ‘Is “elevated horror” a real thing, or is it just a reductive way of forcing a high/low hierarchy onto a genre that has always struggled to be taken seriously?’ Certainly, as with his Oscar winning Get Out, itself indebted to the work of John Frankenheimer’s Seconds (1966), Peele raises worthwhile questions about race and class identity in Us and provides no easy answers. The cel also comes custom matted with 100% acid-free matts, ready to be inserted into a frame.Last year’s superior possession shocker Hereditary (from director Ari Aster) and the recent release of Jordan Peele’s Us has resulted in a new term, ‘elevated horror’, being introduced into the critical lexicon, much to the chagrin of many fright-fans. The cel has the official Linda Jones gold seal (lower corner), and is accompanied with a certificate of authenticity. The cel has the official Linda Jones gold seal (lower corner), and is accompanied with a gallery certificate of authenticity. The artwork is comprised of a single hand painted cel placed against a photographic background, with an image area measuring 10.5" by 12.5" inches (unframed). ![]() Produced in a small edition size of 300 pieces (worldwide) this SOLD-OUT edition is very hard to find as it was released over three decades ago. ![]() Created from an original drawing by legendary animation director Chuck Jones, the cel is hand signed by Chuck Jones (Septem– February 22, 2002). ![]() This hand painted limited edition cel features Daffy in a classic scene from the Chuck Jones theatrical short "Drip-Along Daffy" (1951). Comic Mint, is pleased to offer CHUCK JONES fans this unique piece of animation art featuring Daffy Duck in a limited edition cel titled "Stick 'Em Up Daffy". ![]()
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