![]() And yet there's a kind of "conceptual" white space surrounding the barbarity - it lives in its own art bubble. From its opening shot - a long, dreamy camera move around the corpse of a woman, lying all in a heap with a slight smile on her face - it's unrelievedly ugly. Half art film, half schlock-horror cheapie, "Henry" isn't quite sure what it wants to be. But "Henry" leaves us feeling more numbed than moved. It's precisely Henry's coldblooded affectlessness that is meant to shock and disturb us. And where we expect to see passion or violence or release, we see only the casual disengagement of an assembly-line worker. We watch horrified from a distance as Henry (Michael Rooker) goes about his murderous business, prowling, singling out his victims, making the kills. He and screenwriter Richard Fire restrict us to a cruel outside view. John McNaughton, the film's director, doesn't attempt to put us inside Henry's thought processes so that we can make sense of them. The movie, which fictionalizes the story of mass murderer Henry Lee Lucas, isn't a psychological study in the conventional sense. OL17391941W Page_number_confidence 86.05 Pages 174 Partner Innodata Pdf_module_version 0.0.14 Ppi 360 Rcs_key 24143 Republisher_date 20210623100012 Republisher_operator Republisher_time 215 Scandate 20210621021406 Scanner Scanningcenter cebu Scribe3_search_catalog isbn Scribe3_search_id 9780230297982 Tts_version 4."Henry: Portrait of a Serial Killer" is the portrait of a predator, pure and simple, and in that, its ambitions are scaled back almost to the bone. Modelling controversy Henry's legacy - Appendix A: Key details - Appendix B: Release, business and awards details - Appendix C: Notes - Appendix D: ReferencesĪccess-restricted-item true Addeddate 04:04:20 Boxid IA40140604 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier The third tableau 'Let's go shopping' Home invasion - The legacy of Henry : Portrait of a Serial Killer. Context Text Audience - Key scene analysis. UK film classification UK critical reception of the 1991 theatrical release UK 1993 video release US director's edition 1998 UK 2001 DVD release UK 2003 DVD and theatrical releases US 20th anniversary special edition and Blu-ray releases - Key themes and ideas. Development Pre-production Production Post-production US distribution US film classification US theatrical and video distribution US critical reception - Henry : Portrait of a Serial Killer since then. Introduction - Synopsis - Henry : Portrait of a Serial Killer then. ![]() Includes bibliographical references (pages 135-140) and index It also considers McNaughton's usage of the codes associated with documentary and realism, 'exploitation' approaches to publicity and marketing, and the polarisation of responses to the movie Taking into account the views of audiences, critics and academics, both at the time the film was released and in the years since, this study also looks at the changing political, social and economic contexts within which the film was produced and has subsequently been circulated and consumed. This book examines the controversies surrounding Henry and considers the history and implications of censors' decisions about the film on both sides of the Atlantic, revealing a range of cultural meanings and social fears relating to film violence. The film proved controversial, notably in the UK, where it confounded the British Board of Film Classification, which at one point during the film's tangled censorship history went so far as to re-edit substantially a crucial scene, in addition to cutting others. ![]() In 1986, director John McNaughton presented a film portrayal of the semi-fictional Henry's crimes, which include serial murder and the slaughter of a family captured and replayed on videotape by Henry and his accomplice Otis. Henry Lee Lucas was a serial killer convicted of eleven murders in the 1980s. ![]()
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