Online tickets for this event are now closed, but there are still tickets at the door! There are those who have formally studied their craft—at Universities, though mentorship tin pursuit of a vocation through the brush, the scalpel; the camera. There are others that hone the craft as an Outsider, picking up the tools of the Masters to endeavor their own marks, without training guided only by the need to express and to make—to overturn rocks by hand and discover the forbidden. Joe Coleman has been the Outsider—a Brooklyn artist, carny, once charged with harboring an “infernal device,” picked up these very tools of Creation—the pen and the brush—to create a maelstrom of images and words. He, possessed by arcane narratives, conjures his paintings as they unfold into tapestries of killers, sinners, self-portraits, counter culture saints and marytrs. His hand untrained but true. There is an intersection, by accident or intent, where the Master and the Outsider create symbols and works that mirror. There are places where The Master is unsure to go but the Outsider without the boundaries of convention walks into dangerous territory where the soul is confronted and everything is changed and what is a dream and what is real is combined and elevated. To understand this borderland we must compare objects and acts. And in this unique live conversation moderated by film writer and producer Heather Buckley, Joe Coleman will investigate a series of films and the ways that concepts of high and low art intersect in and around them. The first will be Gerald Kargl’s Angst (1983) and JohnParker’s Dementia aka Daughters of Horror (1955) —exploring the serial killer story. Godard’s Alphaville (1965) and Ed Wood Jr.’s Plan 9 From Outer Space (1959) —a comparison of cast and similar iconography over both works. Sam Peckinpah’s The Wild Bunch (1969) and Charles Brabin’s Beast of the City (1932) —a look at the depiction of violence; realism vs expressionism. And finally, an exploration of autopsy as performance and in cinema, the trained hand vs. the Outsider.

The Miskatonic Institute of Horror Studies and the Motel X International Horror Film Festival welcome Andy Nyman, co-writer/director of the chilling and unsettling new British film Ghost Stories, in a discussion moderated by Stephen Thrower. Ghost Stories began life as a stage play written by Nyman and The League of Gentlemen‘s Jeremy Dyson, which premiered at the Liverpool Playhouse in 2010 before transferring to London for a year’s run at the Duke of York Theatre. Their successful film version opened at the London Film Festival in 2017. The project sees the confluence of two artistic influences: the British ghost story tradition, and the Amicus portmanteau horror films of the 1960s and 1970s. From these elements, Dyson and Nyman have created a story that engages with some of the deeper currents of the supernatural tradition: belief vs. doubt, psychological explanations vs. supernatural explanations, and the role of traumatic guilt in shaping a person’s outlook and character. These rich themes are present in many of the best British ghost stories and find a vivid echo in Dyson and Nyman’s storytelling. Topics of discussion will include the process of adapting a stage play to the screen, the different challenges inherent in scaring a live audience vs. a cinema audience, and the personal journeys of the two writers in realising their project, first as a stage play and then as a movie. Discussion will also delve into the storytelling traditions from which the film draws, and the techniques employed by horror filmmakers to frighten or disturb the viewer. For instance, pivotal to Ghost Stories is the notion of scepticism, a feature of many classic ghost stories in which the protagonist is frequently someone who does not believe in the supernatural. Why is the sceptic such an important figure in ghost stories? How is it that one can scare or unsettle an audience who do not always believe in the premise of the fiction? Do psychological readings of classic ghost stories distort the text, or are the stories ripe for interpretation along such lines? What makes the short story (and the portmanteau film format) so well suited to the horror genre? And given the nature of cinema, in which the demand is for things to be seen, how can filmmakers retain the element of ambiguity or uncertainty, an element that is so important to the creation of uncanny moods in literary ghost stories? Since 2001, Andy Nyman has worked in close collaboration with psychological illusionist Derren Brown, conceiving and writing his hugely popular stage and TV spectaculars: these sometimes shocking and controversial shows gleefully manipulate the forces that shape an audience’s perception of reality. What is it that draws he and his collaborator Jeremy Dyson to dark and horrific subject matter? And in what way does their black sense of humour counterpoint their taste for the nightmarish and disturbing?            

Due to personal complications that came up last minute for for both the moderator and one of the speakers,  this event has been cancelled – however Xavier Gens will still be appearing in person at the Portuguese premiere of his film COLD SKIN at 9:15pm and will be participating in a Q+A following the film. Tickets for that event are HERE >> The Miskatonic Institute of Horror Studies presents Xavier Gens (Frontier(s), The Divide, The ABCs of Death, The Crucifixion) and Pascal Laugier (Martyrs, The Tall Man) in person for this live onstage conversation at Lisbon’s Motel X International Horror Film Festival. They will discuss the history of French horror cinema, New French Extremity and its influence on the horror genre (including on their own recent films – Laugier’s Ghostland, screening at this year’s Motel X ) inside and outside of France. The discussion will be moderated by Miskatonic instructor Jon Towlson, Starburst critic and author of Subversive Horror.

The Miskatonic Institute of Horror Studies, in association with The Fantasia International Film Festival and the Frontières International Co-Production Market, will present a live masterclass with movie legend Michael Ironside (Total Recall, Starship Troopers, Visiting Hours, Scanners). Titled Michael Ironside: Live in Conversation, the event will be moderated by producer, make-up artist and all-around horror aficionado Heather Buckley (The Ranger, We Are Still Here). It will be held at the York Amphitheatre at Concordia University in Montreal on Friday July 20 at 5:15pm with free admission for all. In recognition of Fantasia’s screening of Knuckleball, a project birthed from its Frontières International Co-Production Market, The Miskatonic Institute is proud to present a career talk with one of the most iconic character actors of our time, and a true legend of the genre film world. Over the course of an hour-long illustrated discussion of key films, directors, and collaborators in his life, Ironside will discuss his many film roles – which include work with David Cronenberg, Claude Jutra, Jean-Claude Lord, Tony Scott, Walter Hill, James Glickenhaus, Paul Verhoeven, RKSS, and more – his origins and approach to acting, how he captures his characters, and his command of voice and physicality.

There had been mass murderers before, and there have been since, but Manson is an enduring symbol of unfathomable evil. He transformed seemingly peaceful hippies—sons and daughters of the middle class—into 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 [1976]) to Claymation satire (Like Freaky, Die Freaky [2006]) and even as hardcore porn (Manson XXX [2015]) 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 [1970] and Russ Meyer (Beyond the Valley of the Dolls [1970]), the British period gothic tradition (Blood on Satan´s Claw [1970]), 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 [1979]) and found-footage horror (The Sacrament [2013]). 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).

This class will discuss the basic issues and challenges associated with film preservation, with a specific focus on issues most common to genre films. Topics shall include film decay and restorative processes, format specific preservation techniques, the role of home video (and specifically Vinegar Syndrome) in the preservation of genre films, viewer expectations in the digital age, as well as a general overview of the methodologies by which Vinegar Syndrome selects films for restoration and release. The first 2/3 of the class will be primarily taken up by lecture, with the final third reserved for discussion as well as any questions. NOTE: prior to the course date, if anyone had specific questions or topics of interest related to genre film preservation or Vinegar Syndrome itself, please submit them for potential inclusion in the general lecture.

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.

This event is co-presented by Miskatonic Institute of Horror Studies and will kick off with an expert speaker!  Samm Deighan will introduce the film with a discussion of female adolescence as a source of horror and the uncanny, from its origins in fairy tales and eighteenth century gothic literature to films about the terror of female sexual awakening like Cat People (1942), The White Reindeer (1952), Picnic at Hanging Rock (1975), and Company of the Wolves (1984). Read Mashable‘s article connected to Samm’s talk HERE >> NYC PREMIERE When Mia (Luna Wedler) moves with her parents to a new town, she is forced to adapt to a new home and school midway through the year. Though she’s desperate to make new friends, she doesn’t let herself be intimidated by the cool kids at her new school. Soon enough she becomes a part of their world, bonding with their leader, Gianna (Zoë Pastelle Holthuizen), and their rulebreaking ways   shoplifting, older boys, smoking, drinking and drugs. But Gianna’s more than just a rebel. She’s magnetic and fearless and seems to have no boundaries. And one sunny afternoon, while they’re playing a game, she chokes Mia so hard that the new girl passes out. Something mysterious starts to form, and nothing will ever be the same again. We’ve searched the world for films for What The Fest!?, seeking out movies from daring filmmakers who go beyond genre to add another layer to their films – movies that have some kind of wtf element, and BLUE MY MIND is a perfectly fitting fantastic tale. What might sound like a familiar set up for a coming of age film turns into something seriously surprising, executed with power and love for the subjects and theme of the film: a wild friendship between two girls in the most unexpected circumstances. Even more exciting is the fact that this confident, full-bodied portrayal of adolescence is not just director Lisa Brühlmann’s debut, it’s her  film school thesis. She leads both of her stars to exceptional performances, and the result is stunning – a stark, emotive, beautiful tale that will leave no one cold. – Maria Reinup GENRE: DRAMA | FANTASY Director: Lisa Brühlmann Producer: Stefan Jäger; Katrin Renz Cinematographer: Gabriel Lobos Editor: Noemi Katharina Preiswerk Music: Thomas Kuratli Running Time: 97 min. Language: Swiss German Country: Switzerland Year: 2017 What The Fest!? is a four day event taking place March 29 – April 1, 2018 at the IFC Center, bringing cerebral genre films to the big screen in the heart of Manhattan. Showcasing a small range of carefully selected films from the wild side of cinema with guests and special events to highlight the films in a new way, it is the weekend not to miss for cinema lovers who are looking for the next cool thing.

Expected to Attend: Directors Jeremy Dyson and Andy Nyman This screening is co-presented by IFC Midnight and The Miskatonic Institute of Horror Studies, which will kick off the screening with an expert speaker! ++++ NYC PREMIERE Already lauded as one of the best British horror films ever, writer-directors Andy Nyman and Jeremy Dyson’s spooky, entertaining GHOST STORIES was adapted from a major stage hit into a seriously cinematic creep-out. Professor Phillip Goodman (Nyman) is a lecturer, TV celebrity and paranormal debunker, an atheist and a rationalist who’s ready to expose hoaxes and frauds at any time of the day.  His skepticism is partially due to his mentor, a famous TV host from the 70s, who stuns Philip when he turns up to tell him that the supernatural might be real after all. He urges Philip to reopen three of his cases that were never resolved by a rational explanation: a night watchman (Paul Whitehouse) who experienced a horrible vision; a schoolboy (Alex Lawther) terrified on his drive home; and a retired trader (Martin Freeman) who encountered a poltergeist. Philip seeks all of them out, but as he buries himself in the cases of these three strangers, he begins to sense that they may have some terrible, collective significance for him personally. GHOST STORIES’ eerie atmosphere and strange happenings crawl under your skin without asking permission–one of the traits of a truly fine horror movie. Add in the hair-raising moments that make you anxiously search for the exit sign so you won’t have to run into any of Goodman’s discoveries, and you have a truly terrifying delight of a film! – Maria Reinup Co-presented by The Miskatonic Institute of Horror Studies, the Official Educational Partner of What The Fest!?  What The Fest!? is a four day event taking place March 29 – April 1, 2018 at the IFC Center, bringing cerebral genre films to the big screen in the heart of Manhattan. Showcasing a small range of carefully selected films from the wild side of cinema with guests and special events to highlight the films in a new way, it is the weekend not to miss for cinema lovers who are looking for the next cool thing. GENRES: DRAMA | HORROR Official Site: http://www.ifcfilms.com/films/ghost-stories On Twitter: @IFCMidnight On Instagram: @ifcmidnight On Facebook: https://www.facebook.com/IFCMidnight/ Director: Jeremy Dyson, Andy Nyman Producer: Peter Balm, Will Clarke, Graham Begg, Hugo Heppell, Andy Mayson, Mike Runagall, Barry Ryan, Niall Shamma, Charlotte Walls, Claire Jones, Robin Gutch Cinematographer: Ole Bratt Birkeland Editor: Billy Sneddon Music: Haim Frank Ilfman Running Time: 98 min. Language: English Country: U.K. Year: 2018