Warning: Some of the links included in this article depict disturbing real-life violence against animals. When we talk about movies, we often talk about representation. And when we talk about representation, we’re most likely talking about people. How does this character’s personality fit in with my understanding of people in my daily life? What are the roles that men and women of different races, sexualities, and ethnic backgrounds play in a given narrative? What does an old film tell me about people during a different era? Who are the people that made a given film possible, and how did they contribute creatively? Simply put, cinema is a medium made by people, about people, and for people. But we often represent and depict other living beings through our narratives as well. We may be human, but we often identify with things that aren’t. This weekend I co-hosted a repertory screening of F. W. Murnau’s silent American classic Sunrise (1927). One of the film’s most memorable scenes features George O’Brien chasing after a precocious circus pig. The pig stumbles into a quiet kitchen and, through a series of screwball antics, causes a cook to drop a glass of wine onto the ground. It shatters, and the pig drinks the wine. What follows is a brilliant close-up of the pig, its eyes slowly drooping and its snout out-of-focus, which rather effectively conveys the animal’s state of inebriation. Through an intuitive implementation of form, the human audience is permitted to identify with the subjectivity [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Welcome back to Junkfood Cinema; we blame the schools. This is the weekly movie column that shines a more favorable light on China’s plan to censor the internet. Every Friday I thrust a nice big bit of schlock in your face and expect you to smile as I wave it around with all its faults. Not to be labeled as someone with taste, I will then describe exactly why I love the terrible movie in question. To cap it all off, just before your lengthy and expensive therapy regimen begins, I will offer a tasty snack inspired by the film. This week we wrap up another successful, if borderline offensive, Blaxploitation History Month with one of my all time favorites: Slaughter.

Our coverage of the Afterdark Horrorfest Volume III kicks off with a trip to the farm in Slaughter. Anyone else cravin’ bacon?