Integral to any art that has its central concern the 'visual' or a thing we may 'see' - is the outline. The outline is the slight suggestion of what is contained within it; as such, this property of it manifests most potently in the silhouette. The human face is one of the most easily recognisable shapes, second perhaps, only to the human body on which it is resident. The central policy behind 'body horror' or any such engagement of the 'grotesque' is the disturbance of this easy identification - a sudden transformation in the shape of the outline, or even worse, in its contents.
Some faces, below,
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| I was a soldier (1970)/ Krystof Kieslowski |
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| Irma Vep (1996)/ Olivier Assayas |
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| Altered States (1980)/ Ken Russell |
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| Pratidwandi (1972)/ Satyajit Ray |
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| Pratidwandi (1972)/ Satyajit Ray |
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| Bigger Than Life (1956)/ Nicholas Ray |
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| Hara-Kiri (1962)/ Masaki Kobayashi |
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| Onibaba (1964)/ Kaneto Shindo |
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