From “Doom House” to “Mood House”: How Simple Aesthetic Strategies Can Create Experimental Films, part 2

Part 1 of this little series saw us looking at two short films from 2003, “Doom House” and its follow-up, the much, much stranger “Mood House.” We analyzed the former film, noting the ways in which it plays with but ultimately obeys standard Hollywood genre conventions. Now, let’s re-watch the latter piece, keeping an eye out for how it both draws on and departs from its predecessor:

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Art as Inheritance, part 3: Reverse Chronology

I’ve been doing some research into reverse chronology (for the follow-up to my post “From ‘Doom House’ to ‘Mood House'”), and I thought I’d compile the results here.

Reverse chronology is probably as old as narration itself. Once one has the idea of telling a story forward, it’s a simple enough matter to tell it backwards:

There was an old lady who swallowed a cow.
I don’t know how she swallowed a cow!
She swallowed the cow to catch the goat…
She swallowed the goat to catch the dog…
She swallowed the dog to catch the cat…
She swallowed the cat to catch the bird …
She swallowed the bird to catch the spider
That wiggled and wiggled and tickled inside her.
She swallowed the spider to catch the fly.
But I dunno why she swallowed that fly
Perhaps she’ll die.

How far back does this idea go?

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From “Doom House” to “Mood House”: How Simple Aesthetic Strategies Can Create Experimental Films, part 1

Yesterday I found myself thinking about a short film I first saw in 2005 or so—”Mood House”:

It’s a very curious video, and it’s stayed with me ever since (especially the line, “You’re not garbage, and I don’t know why you were treated like garbage!”). I admire it and have long wanted to write something about it. Well, today’s the day. (Actually, this week is the day; this will take me more than one post.)

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