<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Analogue Horror - vo.rs</title><link>https://vo.rs/tags/analogue-horror/</link><description>Latest from the Analogue Horror desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Fri, 02 Aug 2024 13:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/analogue-horror/" rel="self" type="application/rss+xml"/><item><title>The Video-Shop Aesthetic and Why It Won't Quit</title><link>https://vo.rs/screen/the-video-shop-aesthetic-and-why-it-wont-quit/</link><description>&lt;p&gt;Tape has been a dead format for the better part of twenty years, and film keeps resurrecting it. Not the cassettes themselves, which mostly rot in landfill, but the &lt;em&gt;look&lt;/em&gt; of them: the horizontal tracking bar that judders up the frame, the smeared chroma that bleeds red past its own edges, the drop-outs that punch white confetti through a dark scene. A generation of directors who were children when the last video shop closed keep reaching for that texture, and they reach for it deliberately, at cost, because clean digital could give them a spotless image for free. The question worth asking is not whether the VHS aesthetic is a fad. It has outlasted every prediction that it was one. The question is why it works, and what it actually does to a horror or science-fiction film when a director drags a pristine 4K capture back down through a decades-old degradation.&lt;/p&gt;</description><pubDate>Fri, 02 Aug 2024 13:00:00 +0000</pubDate></item></channel></rss>