Don't lie, you laughed at how horrible it is! But wasn't it kind of entertaining? Movies like this cast doubt on any objective, essential feature of a film that would make it enjoyable or 'good.' Perhaps they even cut across medium essentialism, or film content essentialism (for none of Troll's content is what might be deemed 'essential.').
Friday, September 13, 2013
The "So Bad it's Good" Phenomenon
I wanted to briefly comment on the phenomena of the "so bad it's good" film, or "B" movie if you will (though some 'B' movies retain a higher quality than that of the films I am thinking of). What is it about these bad films that makes us enjoy them? Furthermore, does it suggest something about the judgment of films and taste, and how the aesthetic relation between a view and a film is fundamentally distinct and subjective. Sure, we can usually have a general consensus as to what films are groundbreaking, important, or culturally significant. We can detect cinematic garbage when we see it. But what do we make of the phenomenological experience of a film that's so bad it's good? Here's an example par excellence that demonstrates what I'm thinking of. Let's take Troll 2, a film that has garnered a huge cult following for its terrible acting, editing, directing, writing, effects, you name it. Despite this, it remains wildly hilarious and surprisingly enjoyable. It's probably the best worst film I've ever seen. Take a look at this scene (I know the title is ridiculous but trust me it's worth it).
Don't lie, you laughed at how horrible it is! But wasn't it kind of entertaining? Movies like this cast doubt on any objective, essential feature of a film that would make it enjoyable or 'good.' Perhaps they even cut across medium essentialism, or film content essentialism (for none of Troll's content is what might be deemed 'essential.').
Don't lie, you laughed at how horrible it is! But wasn't it kind of entertaining? Movies like this cast doubt on any objective, essential feature of a film that would make it enjoyable or 'good.' Perhaps they even cut across medium essentialism, or film content essentialism (for none of Troll's content is what might be deemed 'essential.').
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Regrettably, I have seen Troll 2 in its entirety. Along these lines I would recommend Zardoz, which does at least have some beautiful cinematography featuring the Wicklow mountains of Ireland. I am not sure about what the "so bad it's good" phenomenon says about medium essentialism, as I imagine that classic film theorists like Bazin and Arnheim might be hard to convince regarding the artistic virtues of the likes of Troll 2. Noel Carroll, on the other hand, would probably dig it. In The Philosophy of Horror Carroll discusses many such films, and even admits to having a book called "Crabs on the Rampage" on his bookshelf (no doubt alongside his Hegel and Nelson Goodman).
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