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HORROR BUSINESS Episode 97: THE TEXAS CHAINSAW MASSACRE & THE FLY

HORROR BUSINESS Episode 97: THE TEXAS CHAINSAW MASSACRE & THE FLY

Published 5 years, 3 months ago
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Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys.  We’re talking about 1974’s The Texas Chainsaw Massacre and 1986’s The Fly. We apologize for some slight audio issues.

First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Thank you also to Essex Coffee Roasters, our newest sponsor. Head to www.essexcoffeeroasters.com to check out their fine assortment of coffee, and enter CINEPUNX in the promo code for ten percent off your order! And as always thank you to our Patreon subscribers. Your support means the world to us and we are eternally thankful. If you would like to become a Patron, head to patreon.com/cinepunx. Thanks in advance!

We start by talking about what we’ve done involving horror recently. Liam talks about the film The Dark And The Wicked. Justin talks about rewatching The Lord Of The Rings saga and how as an adult certain elements of the films are now scary. We then talk about the films Synchronic and St. Maud.

Up first is The Texas Chainsaw Massacre. We talk about how the film, despite being a linchpin of modern pop culture perception of horror films, is actually far better and far more upsetting than even caricatures of the film present it as. We talk about how despite being undeniably violent, there is almost no gore in the film.

We talk about the set design and the camerawork of the film and how it lends the film a rather “psychotic” feel. We talk about the voyeuristic aspect of the camerawork and how it lends a sense of transgressiveness t

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