{"id":10712,"date":"2022-03-21T12:15:46","date_gmt":"2022-03-21T17:15:46","guid":{"rendered":"https:\/\/ragtagcinema.org\/blog\/?p=10712"},"modified":"2022-06-01T13:44:20","modified_gmt":"2022-06-01T18:44:20","slug":"a-word-from-our-programmer-03-16-22","status":"publish","type":"post","link":"https:\/\/ragtagcinema.org\/a-word-from-our-programmer-03-16-22\/","title":{"rendered":"A WORD FROM OUR PROGRAMMER 03\/16\/22"},"content":{"rendered":"\n<p>At the height of Oscar-frenzy, I ask once again,\u00a0<em>why horror?<\/em><br><\/p>\n\n\n\n<p>For those amongst our readership who need no cajoling to wade waist-deep into the\u00a0<em>darker<\/em>\u00a0realms of projected entertainment, I apologize. For the terror-averse, the cajoling begins now. March 17 at 10pm, we open\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2057\" target=\"_blank\">X<\/a>, a deliciously gory (and funny) slasher set in 1970s Texas where a dirt-cheap adult film production aiming to elevate the artistry of the pornographic genre find themselves fighting for their lives. The obvious thematic nod to\u00a0<em>The Texas Chain Saw Massacre\u00a0<\/em>runs deeper than surface elements though, as American independent filmmaking broadly owes a staggering debt to the wild inventiveness from outside of the studio system that\u00a0<em>Massacre<\/em>\u00a0ran away with.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/ragtagcinema.org\/blog\/wp-content\/uploads\/2022\/03\/x-newsletter.jpeg\" alt=\"\" class=\"wp-image-10713\"\/><\/figure>\n\n\n\n<p>This inseparable bond between horror and independent cinema has been at the core of director Ti West\u2019s career for over a decade (with 2009\u2019s\u00a0<em>House of the Devil<\/em>\u00a0and the\u00a0<em>mumblegore<\/em>\u00a0anthology\u00a0<em>V\/H\/S),\u00a0<\/em>but\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2057\" target=\"_blank\">X<\/a><em>\u00a0<\/em>in particular puts the process of making indie films and their sometimes-salacious negative receptions under the knife in glorious fashion. If I\u2019ve failed to convert the horror non-believers,\u00a0<em>fear not<\/em>\u00a0\u2014 as the rapidly approaching Academy Awards see us still rolling shows of\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2012\" target=\"_blank\">Belfast<\/a>,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2051\" target=\"_blank\">The Worst Person in the World<\/a>,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2042\" target=\"_blank\">Drive my Car<\/a>, and this year\u2019s<em>\u00a0<\/em><a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2053\" target=\"_blank\">Animated &amp; Live Action Oscar-nominated Short Films<\/a>. Lastly,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/series\/83\" target=\"_blank\">Science on Screen\u00ae<\/a><em>\u00a0<\/em>returns next Tuesday with Steven Spielberg\u2019s\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2048\" target=\"_blank\">Minority Report<\/a>\u00a0screening on glorious 35mm and opened with a lecture from Dr. Chi-Ren Shyu, Director of the Institute for Data Science and Informatics at the University of Missouri.<br><\/p>\n\n\n\n<p>Don\u2019t get scared now,<\/p>\n\n\n\n<p>Ted<\/p>\n","protected":false},"excerpt":{"rendered":"<p>At the height of Oscar-frenzy, I ask once again,\u00a0why horror? For those amongst our readership who need no cajoling to wade waist-deep into the\u00a0darker\u00a0realms of projected entertainment, I apologize. For the terror-averse, the cajoling begins now. March 17 at 10pm, we open\u00a0X, a deliciously gory (and funny) slasher set in 1970s Texas where a dirt-cheap [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":10713,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14,50,53],"tags":[],"class_list":["post-10712","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-word-from","category-news","category-news1"],"acf":[],"_links":{"self":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/10712","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/comments?post=10712"}],"version-history":[{"count":1,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/10712\/revisions"}],"predecessor-version":[{"id":10778,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/10712\/revisions\/10778"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/media?parent=10712"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/categories?post=10712"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/tags?post=10712"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}