by Martin Unsworth
We’re used to seeing films being shot on video (albeit digitally) these days. As such, there’s not as much stigma toward these low-budget movies anymore from horror fans. Vincent A. Albarano’s book takes us back to a time when the murky images of these pioneer filmmakers were treated quite differently.
In his introduction, Albarano takes us through the history of these shoestring productions and contextualises them with the contemporary climate. He guides us through the major players on the scene and credits the fanzine publications that gave the films some much-needed exposure to be eager horror fans.
Taking an academic approach to films, the author treats films such as Devil Dolls, Video Violence, Splatter Farm, and Alien Beasts, as well as the work of Todd Cook, Carl J. Sukenick, and the like, with the same respect as you would a Swedish arthouse movie. It’s an intelligent approach that keeps things engaging but doesn’t get stuffy or too impenetrable.
Albarano’s book is a fascinating and enlightening look at the heyday of this much-maligned form of filmmaking. It’s an honest assessment of the subgenre that doesn’t merely fawn over the titles and perpetrators or revel in the depravity of some of the films. It’s great to see these SOV gaining some attention, regardless of their quality or artistic merit. It’s a brilliant text that any fan of indie exploitation will love.
Aesthetic Deviations: A Critical View of American Shot-On-Video Horror, 1984-1994 is available from Headpress.
