We are pleased to welcome Cath & Phil Tyler, launching their (soon to be released) album The Ox and the Ax (Thread Recordings, 2018)
Cath & Phil Tyler play Anglo-American folk music using guitar, banjo, voice and fiddle. Cath was a member of the band Cordelia's Dad in the 1990s when she lived in Massachusetts, USA. Phil, from Newcastle upon Tyne has played in various folk, rock and ceilidh bands for many years. Coming together musically through a shared love of traditional narrative song, full voiced sacred harp singing and sparse mountain banjo, they have performed on stages as diverse as the Royal Opera House in London and a dank tower in the old city walls of Newcastle. Taking a more minimal approach to their material than some, they have been described as 'one of the most compelling musical partnerships on the scene', their music being 'a highly concentrated and intimate musical experience that penetrates to the very rawest essence of folk tradition'.
presented by The Horse Hospital & The Old Dentist
"unpretentious interpretations of beautiful songs, sang with care and love by two people who collect and cherish the history and importance of folk song." - Glenn Kimpton, Folk Radio on The Ox and the Ax
Dumb Supper is one of those rare modern folk albums that will find a home in both the longstanding 'traditional' music community and among those attracted to the form's more experimental and lo-fi possibilities.It's a weird looking-glass effect many folk fans will be familiar with: the straighter you play it, the stranger it getsShirley Collins always understood this and so do Cath & Phil Tyler. - Frances Morgan, Plan B Magazine
Tue 10 Apr
Jamie Mcleod unveils his latest London exhibition coinciding with a book launch, celebrating 20 years of his avant-garde portraits of the extravagant performer Marc Almond. The exhibition and the book entitled "I CREATED ME" (Published by Timeless, 2017) contains largely unseen photos from McLeod's 20-year archive. Creating new shape shifting images with Almond as both his muse and patron. For this show McLeod focus's on reworking rare and obscure images, what he calls his 'B-sides', the risque, film noir and even the vamp side to Almond's other more respectable image. McLeod spent a year spicing up both new and old imagery to create these cinematic like cameos for Almond to role-play and to meta-morph within the time lapsed frame.
Tue 20 Feb
Wed 21 Feb
Thu 22 Feb
Fri 23 Feb
Richard Matheson's novel I Am Legend (1954) is a recognized classic of science fiction and horror. It has been adapted many times in films such as The Last Man on Earth (1964), The Omega Man (1971), and I Am Legend (2007). In 1958, Matheson wrote a script adapting the novel for Hammer Studios, but it was never filmed. The script was rejected by both the MPAA and the BBFC. In 1968, George Romero directed Night of the Living Dead, a film he admitted was inspired by Matheson's novel, and this was the film that Matheson felt was most faithful to the themes of his book.
Through an analysis of a selection of official and unofficial adaptations of the novel, including Matheson's own script, this lecture by Stacey Abbott considers how this text marks a key transformative moment within the evolution of the horror genre on film. It will consider how the novel reimagined the vampire film through the lens of science fiction and how Matheson's adaptation for Hammer offered a new, more brutal and modern approach to horror than the studio's Gothic adaptations of The Cure of Frankenstein (1957) and Dracula (1958). Abbott will discuss how the script confounded the censors in its approach to horror, signaling a cultural resistance to the modernization of the genre and a growing tension between filmmakers and arbiters of cinematic taste. Finally, in this lecture Abbott will demonstrate not only how I Am Legend influenced Romero's work, representing a key bridge between classic and new horror, but also continues to influence twenty-first century filmmakers, particularly in the development of the vampire and zombie genres.
Thu 15 Mar
£11 some concessions
Mistaking Institute of Horror Studies - London
There had been mass murderers before, and there have been since, but Manson is an enduring symbol of unfathomable evil. He transformed seemingly peaceful hippiessons and daughters of the middle classinto heartless killers. Then he set them loose in Los Angeles's most privileged neighborhoods LA Weekly (2009)
You honestly have to wonder what would low-rent exploitation producers have done in the early 70s without Charles Manson? Trash Film Guru (2013)
This class will examine the rise of alternative religious movements/cults in California in the 1960s and 70s which spawned an ongoing sub-genre of the horror film. The focus will be on the Manson Family, not only the most notorious of these groups but also the one with the greatest cultural impact. This is due to a number of factors including the nightmarish, random violence, the involvement of a number of high-profile artists and celebrities, from Roman Polanski and Dennis Wilson through to Dennis Hopper and Angela Lansbury and the dark glamor of Manson himself, quotable, photogenic and always willing to play up for the cameras.
The Family story has been reworked in a dizzying variety of contexts, from true crime mini-series (Helter Skelter ) to Claymation satire (Like Freaky, Die Freaky ) and even as hardcore porn (Manson XXX ) while Charlie himself has been variously cast as revolutionary, white supremacist, Satanist and vampire. The Manson story contains a number of highly-exploitable elements, from sexual and chemical excess through to horrific and inexplicable violence and it can also be slanted in a variety of ways, a warning against false prophets, an indictment of the counter-culture, a slice of anti-drug propaganda or simply gruesome spectacle.
As well as a focus on the first wave of Mansonsploitation, low-budget independents such as The Other Side of Madness (1971) and Sweet Savior (1971), there will be a consideration of the Family references in an eclectic collection of films including the work of John Waters (Multiple Maniacs  and Russ Meyer (Beyond the Valley of the Dolls ), the British period gothic tradition (Blood on Satan´s Claw ), no-budget labours of love such as Manson Family Movies (1984) and Jim Van Bebber´s The Manson Family (2003). This will lead on to an examination of other cults including The People´s Temple and the mass suicide at Jonestown, an event reworked as glossy TV mini-series (Guyana Tragedy: The Story of Jim Jones [1980), low-budget exploitation (Guyana: Crime of the Century ) and found-footage horror (The Sacrament ).
There will also be a consideration of the renewed fascination with cults in the 21st century. The events of 9/11, like the Tate/LaBianca murders served as a reminder that terrifying violence can strike without warning and internet-inspired ´lone wolf`terror attacks have ensured that fears of brainwashing and mind control are again part of the zeitgeist. This fascination is reflected in films such as The Strangers (2008) and The Invitation (2015) and TV shows such as Aquarius (2015 16) and American Horror Story:Cult (2017).
Thu 17 May
£11 some concessions
PROGRAMME STARTS: 7.30PM
O. B. De Alessi presents Kuo's Eyes & other visions of darkness
ABOUT Kuo's Eyes: Young Kuo is found unconscious in the woods with his eyes torn out. Using his stuffed bear companion Bainfu as a guide, he goes in search of the person responsible for this heinous act. It is equal parts traumatic, mysterious, magical, compelling and overwhelmingly beautiful.
The earlier part of the evening features a selection of O. B. De Alessi's video works.
ABOUT O. B. De Alessi: O.B. De Alessi is a visual artist, director, writer and actor from Italy. She graduated from Chelsea College of Art and Design and later from Central Saint Martins, London. O.B.'s videos, live performances, installations and drawings have been exhibited extensively throughout Europe, as well as in South America, Australia and Russia.
O. B. was last seen at the Horse Hospital when I screened Dennis Cooper and Zac Farley's magnificent 'Like Cattle Towards Glow'.
O. B. De Alessi's Official Website: http://www.obdealessi.com/
THE EVENING'S RUNNING ORDER:
INTRODUCTION by Billy Chainsaw & O. B. De Alessi
"Dreams Are Black" Director O. B. De Alessi R/T 5 mins
"That's Where You'll Find Me" Director O. B. De Alessi R/T 2 mins 44 secs
"Dialogue #1" Director O. B. De Alessi R/T 3 mins 59 secs
White Moon Director O. B. De Alessi R/T 15 mins 55 secs
The House Director O. B. De Alessi R/T 11 mins 26 secs
Kuo's Eyes (2016) Director O. B. De Alessi R/T 28 mins
LIVE CONVERSATION between Billy Chainsaw & O. B. De Alessi discussing the artist's work and influences + audience Q & A
INTERMISSION MUSIC PROGRAMMED BY NOVA BILL
Thu 8 Mar
Miskatonic Institute of Horror Studies - London
This show-and-tell lecture will illustrate many of the issues encountered and (with varying degrees of success) resolved in a digital restoration of Murnau's NOSFERATU. We will begin with a description of the original production and the technology used to make the film. The film's own troubled history complicated the film's physical reconstruction, and that impacted the digital restoration. The reconstructed master print was made from many disparate elements, as a single negative was simply not available. We will examine many scenes and shots in a side-by-side comparison of the unrestored reconstructed print and the digitally restored version of the same material. As we do, this talk will investigate many of the problems faced by any restoration team when not all the original elements are available. We will examine the use of VFX tools, grain management, tinting processes and photo-chemical to digital translation issues when restoring motion pictures.
This talk will primarily explore the complex and subjective issues currently floating around in many analog-versus-digital discussions of film and how those opinions can influence the determination of what the restored version should look like if the goal is to replicate the original projected image at the time of first release. Can digital restorations generate valid preservation copies of photo-chemical materials? Let's find out.
Thu 19 Apr
£11 some concessions
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