<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Philip Glass - vo.rs</title><link>https://vo.rs/tags/philip-glass/</link><description>Latest from the Philip Glass 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>Sun, 19 May 2024 08:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/philip-glass/" rel="self" type="application/rss+xml"/><item><title>Candyman (1992): The Urban Legend as American History</title><link>https://vo.rs/screen/candyman-1992-the-urban-legend-as-american-history/</link><description>&lt;p&gt;Say his name five times into a mirror and he comes. It&amp;rsquo;s the cleanest premise in modern horror, and &lt;em&gt;Candyman&lt;/em&gt; knows exactly what it&amp;rsquo;s doing with it, because the film is about the summoning as much as the killing. Bernard Rose&amp;rsquo;s 1992 picture takes an urban legend and asks the question the campfire version never does: who does this story serve, who does it remember, and what real horror is it dressed up to carry? The answer it arrives at — that the legend is a vessel for two centuries of American racial violence — is why the film outgrew its slasher packaging and became one of the genre&amp;rsquo;s few authentic tragedies.&lt;/p&gt;</description><pubDate>Sun, 19 May 2024 08:00:00 +0000</pubDate></item></channel></rss>