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sCreeNINGs PAUL JULiAN SMiTH sC Are qUoTes Cabin in the Woods (Joss Whedon) Awake (NbC) The credits of Cabin in the Woods, the revisionist horror movie co-written and produced by Joss Whedon, begin with bloody Aztec sacrifices. We cut to middle-aged white guys, engaged in a mysterious media project and discussing child-proofing their home. The camera then cranes up into a suburban house where a nice girl is packing for a trip. Soon we meet more collegiate stereotypes: the hot blonde, the dumb jock, the comic stoner (babbling about alternate realities), and the sympathetic black guy. As the kids drive off into the forest, they seem to be also traveling back in time, entering the lost territory of the slasher movie, a genre that would appear, post-Scream, to be exhausted. But it’s no spoiler to say that the middle-aged operatives (puppeteers, according to the farseeing stoner) are pulling the strings here. Indeed we see them before we are introduced to the young victims, who are so disposable that the actors themselves seem generic. Cabin’s teasing tag line (“You think you know the story … think again”) is thus confirmed from the very start. And the most conventional motifs http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press
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