Saturday, 11 June 2022

Out with the Old, In with the New

One of the most frustrating things for me being a writer is not being able to write due to other commitments. I haven’t had a piece published since February, which was for print, and my last online article was published in January. I have another retrospective coming up in Scream at some point, and then I don’t know when I’ll be able to get more work out. I was hoping to rework old blog and unpublished work on the weekends for Diabolique, but I’m not even able to do this, because I have so much on my plate. It will all be worth it in the end, though, as I’ll be much better off by the end of the year, or by early next year. Therefore, my writing work has to go on the backburner, but I’m doing my best to get back to the keyboard as soon as I can.

I have ideas that I’m eager to realize. Cinematic Shocks has been dead for a long time now, and I’m dying to take it down to start a fresh. My new blog will be part portfolio for my contributing work, and part my thoughts on cult films with regular shorter reviews, which will allow me to cover other genres, as well as horror and exploitation. I won’t have to start over again due to this and the name of the blog I have in mind. I’m a self-taught writer that started in 2012, and this old blog, despite all my grammar and syntax errors, served me well to get website contributing work in 2016, which led to me being offered paid print work in 2019.

Despite some career setbacks due to personal problems, I’ve had some success, I’m proud that I’ve had seven large features published in Scream, four of these receiving front cover, and I want more success. My goals are to be published more in print in both magazines and books, as I want to become an author, to contribute essays to the booklets of disc releases, and to write a website column.

Dave J. Wilson

Sunday, 12 April 2020

Scream Magazine Issue #60 (April 2020)

I got to write about one of my favourite ‘80s horror films for Scream. The sub-genre pastiche of folk, witchcraft, backwoods slasher, and creature feature, the dark, mystic, grim fairy tale - Pumpkinhead. Plus there's a load of great content from various talented writers (see cover).

The new issue is out on April 25th, only from the Scream website’s online store, and is now available for pre-order.

Thursday, 30 January 2020

Scream Magazine Issue #59 (February 2020)

The next issue of Scream Magazine will feature my first print article ever - my retrospective on the making of Hammer’s classic 1960 Gothic vampire horror, The Brides of Dracula. Now available for pre-order on their website. The new issue will be sent out to subscribers and pre-order customers on February 18th, and will be available in stores the following week. 

Friday, 3 May 2019

Day of the Woman: Feminist Revenge Exploitation in I Spit on Your Grave (1978)

Independently distributed by writer, director, editor, and co-producer Meir Zarchi in 1978, 'Day of the Woman' drew little attention on its limited rural drive-in circuit run. Zarchi pulled it due to hardly making anything back on the marketing costs, and it was quickly forgotten. Then a few years later in 1981, legendary exploitation producer/distributor the late Jerry Gross gave the film a wide release. He re-titled it to 'The Rape and Revenge of Jennifer Hill', and 'I Hate Your Guts', before settling on the now notorious 'I Spit on Your Grave', named after Michel Gast’s 1959 film noir, an adaptation of Boris Vian’s 1946 crime novel J’irai cracher sur vos tombes ('I Spit on Your Graves'). Meir Zarchi hates this title. Its infamy then went through the roof, garnering the attention of mainstream critics and their scathing narrow-minded views. “A vile bag of garbage”, proclaimed the late, often great, but sometimes imprudent, especially when it came to genre cinema, Roger Ebert. He and partner in pomposity, but at times great as well, the late Gene Siskel, led a misguided campaign against films featuring women in danger, with this as its leading example and prime target. Ironically, this became positive publicity, as it generated even more box office revenue, because the horror crowds lap up this kind of controversy.