Saturday, June 24, 2017

Working with Lovecraft’s racism and gothic sexism


One of the difficult things with adapting other people’s stories for films is the baggage that comes with some of them. Many times it’s just odd plot machinations or maybe older references modern people have completely forgotten. Sometimes, it's much more delicate.

H.P. Lovecraft was notoriously racist. There isn’t much of a debate about that. He wasn’t pulling an Eminem, saying he was just writing characters who happened to be racists. He was saying Italians are a filthy race living in squalor (as just one example) in stories, correspondences and personal interactions. I would argue it’s much less present in his literary work than his personal life and some of the offensive stuff in his writing might be us putting our modern sensibilities over those of a time where  racism was open and common - but I wouldn't argue it’s not in there or acceptable.

Gothic horror stories and many stories from that period in general, including Lovecraft’s, have an inherent sexism as well. The protagonists are almost always male, and often there are no women at all! When women are present they are often victims, or sickly or at the mercy of some guy she married. To be fair, that was the case for many women at the time so it’s no surprise that’s how they were represented in fiction.

So, why would I choose to make films from such problematic source material? For one thing, the stories themselves are fun, amazing, scary and have attracted me since I first learned to read. They are not about being racist or sexist, they are just trained by those elements. Since the authors are dead and the stories are for the most part in public domain, they are a rich source of ideas a poor filmmaker like me can actually make use of. As time goes by and immortal corporations have begun to own everything for forever and a day, making freely adaptable material more and more rare.

In the case of my Lovecraft films, I easily can cut the stuff I like out. In fact, it never has anything really to do with the basic story so it’s never missed. I am also not lining the pockets of some bigot with cash in order to make them. Despite his influence on the horror genre, he is still relatively unknown in the world at large and, face it my little films won’t change that. His stories are also simple enough at their root to cut down to 2-4 characters and a few settings. This is vitally important when you are a one man show making an animated film by yourself with no budget.

Sexism in gothic horror in general is little harder to get around and I haven’t been able to do what I would like to change them in a way I think would work. I have exchanged some men’s parts for women but then I can’t get a woman voice actor to record the part. The doctor in Cool Air would have been a woman if I could have found someone is one example. I added a mention of a sister in Staley Fleming’s Hallucination just to have the mention of a women, even though in that mention she is the grieving fiancé.

In conclusion, I guess I still have some way to go to combat the problems in the stories of others I am telling. like many things, some of it because of budget, resources etc is beyond my control - but I do try.
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