Monday, May 16, 2011
It truly does seem that Hollywood has turned to children in a huge effort to make sure people are scared stiff in movie theaters. But this has been done for years. Some of the oldest and scariest films have introduced the ultimate horror via these creepy little guys and dolls. While it may seem that Hollywood is leaning a little too hard on “child labor,” there are some definite reasons why kids seem to scare grown-ups more than other grown-ups. In fact, I’ve got Five Good Examples to substantiate the declaration that Kids are in fact, scarier than adults in horror films.
They Have “The Sixth Sense”.
Because adults are so used to being in complete control of situations, it’s unnerving to think that a child is capable of doing things that adult cannot. Sure, grown-ups may be able to drive, buy alcohol, and see Rated-R films with no problem. But the fact remains that when it comes to more sensitive psychic abilities, we grown-ups just happen to fall short. In 1999, Haley Joel Osment wooed nine-year old girls everywhere with his innocently perfected declarations about the afterlife. In fact, his insight in the blockbuster film, “The Sixth Sense” was in many ways scarier than the dead people he proclaimed to see. Certainly, everyone in the theatre was aghast at viewing a teenage “ghost” walk around poor Cole’s apartment with the back of his head blown off. Truth be told, audiences were more aghast at the fact that Cole was privy to the sight instead of his mother. What’s really scary is having an innocent child look at you and reduce all of your complicated adult feelings to one sentence.
They Play "Hide and Seek"
Little Emily Callaway (otherwise known as Dakota Fanning) was fit to be tied by her imaginary friend, “Charlie.” 2005’s “Hide and Seek” starring both Fanning and Robert DeNiro (as her doting Daddy) did more than startle audiences with the heavy silences and foreboding set. “Charlie” in fact, remained invisible for about two-thirds of the film. His antics were terrifying. Opening windows and leaving foreboding notes in blood around the house is justifiably cause for alarm. But for some reason, it is Emily herself that causes audiences to freak out. Why? Because her delicate face is framed by a wig of dark hair. And that dark hair goes right along with the blank and disturbed expression that lingered on her face for much of the film. Dakota’s terse vocabulary and violent gazes made Emily’s character more ominous than the monster we couldn’t see. By the time we find out who has been playing Hide and Seek with Emily, it just doesn’t really matter anymore.
They Won’t Die
When children who have been drowned violently by their parents won’t seem to die, there is a problem. Such is the case with petite “Samara,” the Villainess Supreme whose image on a videotape suddenly came to life to scare her victims into the afterlife. “The Ring,” which starred Naomi Watts and David Dorfman (as equally creepy, “Aidan”), focused on a few subplots—but none of them more frightening than Samara’s. This child, in her videotaped interviews with Doctor, admits that she enjoys her self-imposed evil, and did not plan on stopping any time soon. This very vivid and concrete declaration is enough to give any adult the “willies.”
They Are Kin To The Anti-Christ
While most of these recent child ‘terrors’ were tangential in their brushes with evil, Damien WAS evil incarnate. Born the son of the Devil, he never even had a fighting chance. In watching "The Omen", I was always amazed that few of the adults present felt strange around the child, especially the parents. And why is it that no one thought to examine the tot’s skull earlier in life? Surely, the “666” they’d encounter would be a dead giveaway. Instead, the family had to take the long way in discovering that something was not quite right with their perfect little angel. In 1976, child actor Harvey Stephens II, had his blonde tresses dyed black in order to portray the wicked tyke. This did nothing but magnify his already sinister demeanor. His menacing smile into the cameras at the end of the film was actually quite innocently provoked, according to the director of the film: Little Harvey was told not to laugh (a reverse psychology ploy). As a result of trying to withhold his chuckles, a small devilish (pun intended) smile ensued—succeeding in scaring enough viewers to tune into the sequel two years later.
They Vomit Pea Soup
Without a doubt, the all time scariest child of the century is “Regan”, the focal point of hit 1973 blockbuster, “The Exorcist.” Voted by Entertainment Weekly as the Scariest Film of All Time, one does not have to wonder why. More likely than not, Linda Blair’s (“Regan”) subsequent acting career came to an abrupt crawl after this role. Rumored to have made some audiences faint during the film’s release, “The Exorcist” succeeded in commanding the attention and respect of every adult viewer. Further giving credence to the horror is the fact that episodes in the film are reported to be based on real events. Knowing that somewhere in America, there really was a child who vomited pea soup at the command of the Devil, is the official stamp of Terror.
Tinku, an Andean tradition, began as a form of ritualistic combat. It is native to the northern region of Potosí in Bolivia. In the language of Quechua, the word “tinku” means encounter. In the language of Aymara it means “physical attack". During this ritual, men and women from different communities will meet and begin the festivities by drinking and dancing. The women will then form circles and begin chanting while the men proceed to fight each other; rarely the women will join in the fighting as well. Large tinkus are held in Potosí during the first few weeks of May.
Because of the rhythmic way the men throw their fists at each other, and because they stand in a crouched stance going in circles around each other, a dance was formed. This dance, the Festive Tinku, simulates the traditional combat, bearing a warlike rhythm. The differences between the Andean tradition and the dance are the costumes, the role of women, and the fact that the dancers do not actually fight each other. The Festive Tinku has become a cultural dance for all of Bolivia, although it originated in Potosí, like the fight itself
The Andean tradition began with the indigenous belief in Pachamama, or Mother Nature. The combat is in praise of Pachamama, and any blood shed throughout the fighting is considered a sacrifice, in hopes of a fruitful harvest and fertility. Because of the violent nature of the tradition there have been fatalities, but each death is considered a sacrifice which brings forth life, and a donation to the land that fertilizes it. The brawls are also considered a means of release of frustration and anger between the separate communities. Tinkus usually last two to three days. During this time, participants will stop every now and then to eat, sleep, or drink.
Groups Who Participate
Tinkus occur "between different communities, moieties, or kin groups". They are prearranged and usually take place in the small towns of southern Bolivia, like Macha and Pocoata. Tinkus are very festive, with a numerous audience of men, women and children, who bring food and beverages. Alcoholic drinks are also brought and sold along with food during the tinku.
Methods of Combat
During the brawl itself, men will often times carry rocks in their hands to have greater force in their punches, or they will just throw them at opponents. Sometimes, especially in the town of Macha in Potosí, where the brawl gets the most violent, men will wrap strips of cloth with shards of glass stuck to them around their fists to cause greater damage. Slingshots and whips are also used, though not as much as hand-to-hand combat. The last day of the fight is considered the most violent and police almost always have to separate the mass of bloody men and women.
Men attend tinkus wearing traditional monteras, or thick helmet-like hats made of thick leather, resembling helmets from the Conquistadors. These helmets are often times painted and decorated with feathers. Their pants are usually simple black or white with traditional embroidering near their feet. Often times the men wear wide thick belts tied around their waist and stomach for more protection.
Festive Tinku Dance
The Festive Tinku, a much more pleasant experience than a ceremonial tinku, has many differences. It has been accepted as a cultural dance in the whole nation of Bolivia. Tinku music has a loud constant drum beat to give it a native warlike feel, while charangos, guitars, and zampoñas (panpipes) play melodies. The dancers perform with combat like movements, following the heavy beat of the drum.
For men, the costumes are more colorful. Their monteras are usually decorated with long colorful feathers. Tinku Suits, or the outfits men wear during Festive Tinku performances, are usually made with bold colors to symbolize power and strength, instead of the neutral colors worn in ceremonial tinkus that help participants blend in. Women wear long embroidered skirts and colorful tops. Their costumes are completed by extravagant hats, painted and decorated with various long and colorful feathers and ribbons. Men and women wear walking sandals so they can move and jump easily.
The dance is performed in a crouching stance, bending at the waist. Arms are thrown out and there are various kicks, while the performers move in circles following the beat of the drum. Every jump from one foot to the next is followed by a hard stomp and a thrown fist to signify the violence from the ceremonial tinku. Many times the dancers will hold basic and traditional instruments in their hands that they will use as they stomp, just to add more noise for a greater effect.