Film historian and ardent horror fan, Jim Knusch (Professor Kinema) steps into the closet to discuss his passion for the Cinema of the Fantastic. Be amazed. Be very amazed.
Tell us how your mysterious alter-ego, Professor Kinema, was born.
In the beginning (of the origins of the Movies, that is) the earliest functioning motion picture camera/projectors were named with words that began with the letter K. The K was for 'Kinesis' which translated to 'movement.' Kinematography was the creation of the synthesis of photographic movement with devices like the Kinetograph, Kinescope and Kino-Phonograph.
When the focus of the continuing development of Movies shifted to France at the end of the 19th Century, innovators Louis and August Lumiere reworked Edison's design for the Kinematograph and re-christened it the Cinematograph. This was simply because the French language doesn't contain many words that begin with the letter K - thus the Cinema was born. However, the Germanic countries continued to develop motion picture devices and named them Kine/Kinema-machines. To this day, theaters in Germanic countries (as well as a few left over theaters in the USA) are named 'Kinemas.' So, being an active Cinema Historian and Folklorist I decided to return to the roots and find a use for the word 'Kinema.' My last name begins with the letter K (although a silent one) and is of Germanic roots.
I occasionally teach on a college level and have functioned within the status of Professor. Combining these elements;I concluded that the nom de plume of Professor Kinema could be appropriate. The steady usage of the name truly began in the late 1980s when I launched my public access TV show, titled, appropriately; PROFESSOR KINEMA.
How did the monsterkid in you grow to such monstrous proportions? Give us all the sordid details.
Monsters, real and imagined, have always been a part of my being (yes, continuing to this day). As a kid I loved to see the horrors that the local movie theater had to offer, mostly during Saturday matinees. Other fond memories were at the drive-ins. But the true Monsterkid materialized during my initial viewing of THE SEVENTH VOYAGE OF SINBAD. This is the movie experience that truly instilled my interest in movies. The living skeleton, fire breathing dragon and, especially, the cyclops completely 'blew me away,' warped my 8 year old sensibilities and set me on the path that I am still treading to this day.
Around this time I discovered Famous Monsters of Filmland and Castle of Frankenstein. I simply had to discover how the magic on the screen was created as well as who were the auteurs. An 8mm camera came into my possession. As was described in FM and CofF, I started to experiment with stop frame animation. Bankrolled by a meager allowance, I started to collect home movie editions of select horror and sci-fi films (via Castle Films, et al).
The collection of monster magazines grew, as did other forms of fantastic literature. The (not yet named) Kinema Archives was born as classic film books, movie promotional material and all forms of cinema esoterica were being amassed. In the 1970s I attended my first Nostalgia Convention and, to my amazement, discovered that there were actually others on this planet who I could talk to as well as exchange goods and information with.
In time I seized the opportunity to link up with some of the people who added to my warped sensibilities as true (card carrying, yet) Monsterkid. These names included William K Everson (mentioned in both FM and CofF, as well as authoring two great books on Classics of the Horror Film), 'Unkka' Forry Ackerman, Special Effects Maestro Ray Harryhausen and the dean of TV Horror Hosts; Zacherley. More about Zach in the next answer. Mr Everson was my Film History teacher in college. I managed to form a lasting professional relationship with him for many years since.
Through his generosity I was given the opportunity to view and collect many classic (and rare) films. On many occasions I had the opportunity to speak with Mr Harryhausen, thanking him for instilling my interest in films (especially Fanta Films). Unkka Forry accepted me into his circle, introduced me to fellow Fanta-Film folk, traded collectibles from his esoteric pile that was the Ackermansion and even agreed to bestow upon me the unofficial title of 'Bat Packer' (third generation). Among the most requested PROFESSOR KINEMA shows are the 2-part talks with William K Everson and Forry Ackerman and the 3-part talk (plus two additional shows) with Ray Harryhausen.
Of course, these are just the 'Cream of the Crop' of horrifying associations I have made (and are yet experiencing) in my decades long quest for Monster Mania.
Which horror movies are your favorites and why?
The classics, from the silent to the early sound eras will always have a special place in my psyche (psycho?). These include DER GOLEM, THE CABINET OF DR CALIGARI, NOSFERATU, DRACULA, FRANKENSTEIN, THE MUMMY, THE WOLFMAN, et al. They all have a certain everlasting charm. What strikes me the most about the original NOSFERATU (1922) is that it was a pure original. No film had ever been made before that was quite like it. Even though it was produced in the early 1920s, it had the ambiance of the era in which the story was happening - sometime in the mid 19th century. The later remake and 'homages to' were interesting,but just brought attention to the fact that the original was simply the best. In more recent times, favorites include odd titles like PSYCHO, THE HAUNTING, TEXAS CHAINSAW MASSACRE, THE EXORCIST. The story doesn't have to be the most original, as long as it's involving, entertaining and provides a shock or two.
Now which horror movies do you dislike and why?
Nowadays, it's a task to define a true Horror Movie. In this high tech digital age with CGI running rampant, films appear more like video games than cinematic treatments. All genres are crossovers. Horror is merged with science fiction, merged with fantasy, merged with thriller. Vampire movies have become dark pseudo-supernatural love stories, with traces of Gothic overtones (i.e, the popular TWILIGHT series). There are no true Horror Stars any more in the vein (pardon the pun) of Lugosi, Karloff, Lorre.
What is it about horror hosts that make them so special?
The innovation of the classic SHOCK! Theatre package was in the description of how to market and present the classic Universal horror films of bygone days. In the mid-1950s, theaters (and drive-ins) studios like Hammer and AIP were permeating the screens with all sorts of reincarnated horrors. Blood and gore was assaulting the ticket purchasing viewers in vivid color while all sorts of mutants were being unearthed and/or descending upon their hapless victims from outer space. TV could not compete with that.
The classic FRANKENSTEINS, MUMMIES, WOLFMEN (and WOLFWOMEN) along with the sons and daughters-of (of the 30s and 40s) were almost benign compared to such theatrical fare. So the decision was made to present them on the tube as something to have fun with (definitely not make fun of). In the written copy of the original SHOCK! promotional package it was suggested that any TV station that subscribed to the syndicated package to hire a local personality to introduce these films. What these personalities were named, how they were costumed and made up were to be determined by the the TV station. What kind of routines they concocted became the stuff of legend. Some TV stations followed this advice while others chose not to. Midway through the run of the first season of SHOCK!, the hosts and hostesses were pulling in the viewers. Hundreds of fan clubs cropped up all around the country. National periodicals like TV Guide, Life and Saturday Evening Post featured major articles on the SHOCK! Theatre craze,emphasizing the phenomenal popularity of the motley casts of video creatures and creaturettes.
This all culminated in a redefining of this milieu called fandom. Classic horror, resurrected from a bygone age was an undefinable hit, when coupled with the way they were presented and the now highly eccentric personalities of who was doing the presenting. Of course, this is the story in a nutshell, filled with a concoction of brewing tana leaves.
But that was then, this is now.
In this modern age of cable/satellite TV with hundreds of channels to pick from, coupled with DVDs and the internet, the entertainingly horrifying effect of SHOCK! Theatre and Horror Hosts & Hostesses could never truly be re-captured. However, the current generation of TV Horror Hosts and Hostesses are making their presence known. They're in there trying, although their medium is mostly confined to Public Access outlets.
When I was in the 5th grade it was known that among my fellow pupils that I was actively interested in horror films and monsters in general. One day a classmate said to me, "You ought to watch this weird guy on TV on Friday nights. He shows horror movies. He's dressed like a monster, but he's not scary..he's funny." Therein lies the essence of the true cult status of the best known and remembered of TV Horror Hosts and Hostesses - Zacherley. I have been privileged to discuss this with the Divine Mr Z himself on a number of odd, er, very odd occasions.
First and foremost, the Dean of TV Horror Hosts (and Hostesses) is the divine Zacherley - hands, er, claws down. Through extensive viewings of a vast cross section of TV Horror Hosts and Hostesses, past and present, his act is simply the best. In the talks I've had with current active TV H&Hs, his name always crops up and is acknowledged as the King. Even though Vampira is truly the premier TV Horror Host(ess) (even being mentioned in a few articles on the current SHOCK! madness) from an LA TV studio a few years previously, Zach will forever be associated with the beginnings, tenure and yet to be topped milieu of the TV Horror Host and Hostesses.
You've explored 'worst' direction in movies. Tell us about your findings.
There are basically three types of films on the Professor Kinema scale (of Turkeys?); Funny/Entertainingly Bad, Embarrassingly Bad and Insultingly Bad. Ed Wood (who is not the worst director ever, but he definitely is in the top 50) made Entertainingly Bad films. Essentially, I love 'bad' movies, that is the Entertainingly Bad films. A list could go on virtually forever; FRANKENSTEIN'S DAUGHTER, TEENAGERS FROM OUTER SPACE, CAT WOMEN OF THE MOON, it's 'even worse' remake - MISSLE TO THE MOON, FROM HELL IT CAME (and To Hell IT Can Go), to mention a few.
The ultimate study of the Cinema of the Bad is ongoing and yet to be chronicled. Bad directors range from 50s B movie auteurs like Lee Sholem, Richard Cuhna and Arch Hall, Sr to bigger name directors like Michael Cimino and even CB DeMille. The list definitely includes dishonorable mentions to women directors like Susan Seidelman and Martha Coolidge (the two were far worse than Ed Wood, even at his lowest point). PLAN 9 FROM OUTER SPACE was determined to be the worst film ever. However, even worse films include THE EXORCIST PART II, THE HERETIC, PAINT YOUR WAGON, DESPERATELY SEEKING SUSAN, as well as two of the absolute worst films imaginable; EEGAH! and THE CREEPING TERROR.
Entries in the PROFESSOR KINEMA series also include subjects such as 'The Worst...Casting Choices' and 'The Worst...Plot Elements (see list of shows at the end of this article).
I'm a movie buff: what should I be reading or seeing to broaden my appreciation of the cinema?
Being from the 'old school,' I cherish my personal library and ever growing files of pressbooks, clippings, monographs and stills. Excellent books on the horror film are Carlos Clarens' An Illustrated History of the Horror Film, William K Everson's Classics of the Horror Film & More Classics of the Horror Film, Lotte Eisner's The Haunted Screen, Cinematic Hauntings (Midnight Marquee Press), Siegfried Kracauer's From Caligari to Hitler, Dennis Gifford's A Pictorial History of Horror Films, Nigel Andrews' Horror Films - to mention a few.
One can also benefit by such bios like The Count by Arthur Lenning, The Films of Bela Lugosi and The Films of Boris Karloff, both by Rich Bojarski (just a few of the dozens of fine bios of these two horror stars). Watch any and all classic and contemporary horror films on cable channels like Turner Classic Movies and video companies like Kino (especially recommended). Much is available on the 'net. Seek out and read reviews of contemporary films. Online newspapers like The New York Times are constantly running reviews of classic films. Wikipedia lists just about every film ever produced.
The online sites of The New York University, Cinematheque (of Paris, France) along with Cahiers du Cinema, Sight & Sound magazines all provide info on vintage and contemporary cinema. Visits to research facilities like The Cinematheque (I'm a 'regular' there), Library of Lincoln Center, The Academy of Motion Pictures Arts and Sciences, The Film Archives of Berkeley California, The Museum of the Moving Image in Bradford England and the facilities of the Astoria Queens Studios are all willing to aid and provide the researcher with a wealth of information and material. I've dealt with all of thee facilities (among others). I could go on and on.
All this is the tip of the iceberg. If one seeks info and material on any and all genres of the Cinema, it's out there. The Public Domain internet sites are a rich source for accessing many films (viewing and downloading) free of charge.
What's the one question you'd love to be asked, and what's your answer?
Q: If you had to start over, what would you do differently?
A: If I were to start all over again, I would take more chances, trust fewer people, travel more and be a little more 'choosey' with projects I would get involved with.
1 001A - Interview With Robert Parrish, Part I
2 001B - Interview With Robert Parrish, Part II
3 002A - Finding and Preserving Our Vanishing Film Heritage – Interview With William
K Everson, Part I
4 002B - Interview With William K Everson, Part II
5 003 - FAHRMANN MARIA and STRANGLER OF THE SWAMP – Two Films of
Frank Wysbar
6 004 - A Walk Around the Chiller Expo
7 005A - Interview With Kenneth Anger, Part I
8 005B - Interview With Kenneth Anger, Part II
9 006 - ‘Scream Queens,’ Deanna Enoches and Barbara Leigh at Chiller
10 007A - Interview With Mr ‘Sci-Fi,’ Forrest J Ackerman
11 007B - A Walk Around the ‘Ackermansion.’
12 008 - ‘Scream Queens,’ An Interview With Debbie Rochon
13 009 - Random Thoughts on NIGHT OF THE LIVING DEAD
14 010 - Making Monsters on a Low Budget – An Interview with Harry Thomas
15 011 - Two Cult ‘Faves;’ CARNIVAL OF SOULS and INVASION OF THE BODY
SNATCHERS
16 012A - A Visit to the ‘Monster Bash,’ Part I
17 012B - A Visit to the ‘Monster Bash,’ Part II
18 012C - A Visit to the ‘Monster Bash,’ Part III - Three TV Horror Hosts
19 013 - Early Cinema Auteurs – Ferdinand Zecca and Pathé Fréres
20 014A - Celebrity Gravesites – Hollywood, Part I
21 014B - Celebrity Gravesites – Hollywood, Part II
22 015A - Celebrity Gravesites – New York Area, Part I
23 015B - Celebrity Gravesites – New York Area, Part II
24 016A - Celebrity Gravesites – European, Part I
25 016B - Celebrity Gravesites – European, Part II
26 017 - Unique and Unusual Celebrities’ Final Resting Places, Part I – incl Orson
Welles, Elsa Lanchester, Aaron Copland, Lon Chaney, Jr, Leslie Howard, Ingrid
Bergman, Ward Bond
27 018 - Unique and Unusual Celebrities’ Final Resting Places, Part II – incl Bud Abbott,
Harpo and Zappo Marx, Bobby Darin, Damon Runyan, Janis Joplin, Rex Harrison,
William Powell, Jay Silverheels
28 019 - Unique and Unusual Celebrities’ Final Resting Places, Part III – Andy Devine,
Gene Roddenberry, Ted Cassidy, Walter Pigeon (1), Robert Mitchum
29 020 - Unique and Unusual Celebrities’ Final Resting places, Part IV – incl Steve
McQueen, Vincent Price, Spring Byington, William Holden, Veronica Lake, Alan
Reed
30 021 - Unique and Unusual Celebrities’ Final Resting Places, Part V – incl Hans
Conried, Richard Boone, Lionel Atwill, H B Warner, Thomas Mitchell, Edmund
Gwenn, Helen Chandler
31 022A - The Cinema of DRACULA – An Interview With Bob Madison
32 022B - The Cinema of DRACULA – An Interview With Bob Madison, Part II
33 023 - Early Cinema Autéurs – George Méliès
34 024A - The Films of George Sidney – An Interview With Eric Monder, Part I
35 024B - The Films of George Sidney – An Interview With Eric Monder, Part II
36 025 - Early Cinema Autéurs – William S Porter
37 026A - ‘Permanent’ Resting Places- An Interview With Tom Randall and Judi
Culbertson, Part I
38 026B - ‘Permanent’ Resting Places – An Interview With Tom Randall and Judi
Culbertson, Part II
39 027 - Collecting Monster Magazines – An Interview With Steve Dolnick
40 028A - Movie Palaces, Past and Present – An Interview With Orlando Lopes, Part I
41 028B - Movie Palaces, Past and Present – An Interview With Orlando Lopes, Part II
42 029A - Low Budget Filmmaking – An Interview With Keith Crocker, Part I
43 029B - Low Budget Filmmaking – An Interview With Keith Crocker, Part II
44 030 - Early Filmmakers in New Jersey – An Interview With Dr Richard Lenk
45 031 - PROFESSOR KINEMA’S Choice For the Worst – Direction
46 032 - Interview With Gahan Wilson
47 033 - PROFESSOR KINEMA'S Choice For the Worst...Casting Choices
48 034A - A Talk With Conrad Brooks, Part I
49 034B - A Talk With Conrad Brooks, Part II
50 035A - Film Gimmicks, Part I - William Castle
51 035B - Film Gimmicks, Part II
52 035C - Film Gimmicks, Part III
53 036A - Cinema of the Surreal, Part I - Dali and Bunuel
54 036B - Cinema of the Surreal, Part II - Cocteau and Magritte
55 037 - The Prague Connection, A Talk With Veronika Belova
56 038 - ‘Scream Queens,’ A Talk With Traci Mann
57 039 - A Talk With Jerry Saravia
58 040 - A Random Walk Around the Classic Film Fest
59 041 - PROFESSOR KINEMA’S Choice For the Worst...Plot Devices
60 042A - Island Cinema, Movies Using Long Island Locations, Part I
61 042B - Island Cinema, Movies Using Long Island Locations, Part II
62 042C – Island Cinema, Movies Using Long Island Locations, Part III
63 042D – Island Cinema, Movies Using Long Island Locations, Part IV
64 043A - SHOCK!, an Overview of SHOCK! THEATRE
65 043B – TV Horror Hosts and Hostesses-Openings and Closings
66 044A - Special Effects Maestro and Creator of the Fantastique, Ray Harryhausen
-Part I
67 044B - Ray Harryhausen – Part II
68 044C - Ray Harryhausen – Part III
69 045 - From KONG to JOE YOUNG, Harryhausen and O'Brien
70 046 - The 7th Voyage of Sinbad and Jack the Giant Killer, a Comparison
71 047 - Early Cinema Pioneers, Lumiére and Others
72 048 - Early Cinema Auteurs, Méliès and Guy-Blaché
73 049 - Production Design, a Talk with Billy Jett
74 050A – Inside the SF Actors’ Studio Panel, Part I
75 050B – Inside the SF Actors’ Studio Panel, Part II
76 051 – Unique and Unusual Celebrities’ Final Resting Places, Part VI – incl Luis
Bunuel, Hedy LaMarr, Capucine, Peter Cushing, George Sanders
77 052 – The Cameo Performance of the Decade, a Talk with Gaby Rodgers
78 053 – Three Dimensions in the Cinema
79 054A – Bathroom Cinema, Part I – Stanley Kubrick Films
80 054B – Bathroom Cinema, Part II
81 055A – Psychic Cinema-Clairvoyants
82 055B – Psychic Cinema-Séances
83 055C – Psychic Cinema-Communing With Spirits
84 056A – Film Shorts (Part I)
85 057 – Unique and Unusual Celebrities’ Final Resting Places, Part VII - incl Fats
Waller, George McReady, Bobby Driscoll, Hugh Beaumont, Colin Clive
86 058A - The Saga of Captain Celluloid and the Film Pirates, Part I
87 058B - The Saga of Captain Celluloid and the Film Pirates, Part II
88 058C - The Saga of Captain Celluloid and the Film Pirates, Part III
89 059A – Ygor & Company, a Talk with Michael R Thomas, Part I
90 059B – Ygor & Company, a Talk with Michael R Thomas, Part II
91 059C – A Talk with Ygor
92 060A – A Talk with Tom Reese, Part I
93 060B – A Talk with Tom Reese, Part II
Sure, what can we help you with?
Posted by: zoc | October 17, 2010 at 08:01 AM
Hi there ,
I'm a media and film student studying the art of horror films and I was wondering if you could help by answering a few questions on the subject.
Ill be very grateful,
Thank you,
Natalie
Posted by: natalie | October 17, 2010 at 06:40 AM