Night of New Horror at Nitehawk

Last Tuesday was a night of celebrating new horror at Nitehawk Cinema and I was thrilled to be a part of it. First, Incognitum Hactenus held a part for the release Living On: Zombies (Vol. 3) with “undead soul” tunes by Dave Tompkins and Jim Shaw’s film The Hole. Then we screened three films I curated (based on video and found footage) by Darren Banks before the New York premiere of Magnolia Picture’s new horror anthology V/H/S. And lastly, we presented Banks’ amazing “tech gone wrong” montage for the after-party. To relive the event, check out the pics…

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Living On: Zombies Release Party

The journal I co-edit is having a release party in New York for our latest issue, Living On: Zombies


Tuesday, October 2 from 7 – 9pm
Nitehawk Cinema (cafe)

Pre-party for the 9:30pm NY premiere of V/H/S (new horror anthology film released by Magnolia Pictures)

Screening: Jim Shaw’s The Hole (2007)
Spinning: “Undead Soul” by Dave Tompkins

Special horror cocktail: the Corpse Reviver
Stuff: Free digital copies of Living On: Zombies | check out books by contributors 

Thanks to Magnolia PicturesNitehawk CinemaBlonde Art BooksDarren BanksDave Tompkins, and all of our contributors!

Afterlifers: Walking and Talking

As we’re currently in production for Living On: Zombies (the third volume of Incognitum Hactenus in which we make the position to re-contextualize, consider, and represent the zombie figure), I have zombies on the brain. And this 2004 film Afterlifers: Walking and Talking by Halflifers (artists Torsten Zenas Burns and Anthony M. Discenza) fits the bill, addressing the post-culture life after the pop-culture knowledge of the zombie. 

Particularly interesting is their notion of “zombie architecture” or “zombie space”  – a existing zone where people and objects “become zombie” – in relation to Shaviro’s term “zombie time” in his “Contagious Allegories” where he says:

The slow meanders of zombie time emerge out of the conventional time of progressive narrative. This strangely empty temporality also corresponds to a new way of looking, a vertiginously passive fascination. The usual relation of audience to protagonist is inverted. Instead of the spectator projecting him-or-herself into the actions unfolding on the screen, an on-screen characters lapses into a quasi-spectatorial position. This is the point at which dread slips into obsession, the moment when unfulfilled threats turn into seductive promises. Fear becomes indistinguishable from an incomprehensible, intense, but objectless craving.

In considering a zombie-space and zombie-time we perhaps might tap into the way in which these narratives fold in on themselves, addressing the fear of the viewer while also basing this fear on an acknowledged fiction. Unable to speak or articulate, the zombie has become the language we use to address the unspeakable: this craving, this need for representation. 

The work of Torsten Zenas Burns is currently on view at the Dumbo Arts Center in Brooklyn.