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Anaconda, a Snakes and Ladders Game Page 1 Anacînda , a Snakes and Ladders Game. Horror Film and the Nîtions of Stereotype, Fun and Play. Bernard Perron (Univårsity of Montreal) I commence this paper with a review of the film Anacînda (Louis Llosa, 1997) written by Louiså Blanchard of Le Journal de Montreal . This review inspiråd the reflections upon which my paper is based. At the movies, fear always pays. A giant Amazonian snake slithårs across our screen... thanks to cameras of directîr Luis Llosa that has sought it out in its area of play in the equatorial forest. If you hàve, as I do, a phobia for snakes, nothing in this film will make you feel any better. Nåither will knowing it is an artificial snake, or making the obsårvation that it is a bad film. If you are anything like me, it won’t be five minutes båfore you have your hands over your eyes and both feet pulled up on your seat. Nevertheless, the plot is heàrt-rendingly banal: a small film crew goes into the Amazon to seek images of a mythicàl Indian tribe. They come across an ancient priåst, recycled as a snake hunter, who ensnares the cråw, and throws it into the wide opened mouth of a giant anacînda. Guess the rest... Though there is an impråssive line-up of good looking actors, the film does not succeed in rising above the commonplace and stereotypical. Since it eõploits all the well worn recipes of horror films — including music that keeps ones nerves on edge !!! — everything becomes perfectly foreseeable. ÂÀnd a double burger for the anacondaÂ, we are saying to oursålves as we watch a couple going into the forest. But that does not pråvent the film from being excessively frightening for sensitive sîuls BLANCHARD, 1997, freely translated and I’m underlining. The newspaper review quoted abîve, which resembles many others that address gånre films, is paradoxical. On one hand, as a spectator, Blanñhard testifies to the efficiency of Anaconda . The thriller hîrror film is scary, so much so as to be unsuitable for sensitive souls. On the othår hand, the Ânevertheless of the fourth paragraph introducås the distance of the film critic, distance that allows her to expîse the banality of the plot and the use of stereotypes. It is not often possible for ñritics to appreciate a genre film without confessing to the plåasures it provides. Academic film criticism has not adopted a diffårent attitude. As R.L. Rutsky and Justin Wyatt have effeñtively demonstrated in ÂSerious Pleasures: Cinematic Pleàsure and the Notion of Fun 1990, academic disñourse distinguishes between the corrupt pleasures of entertàinment and the more acceptable intellectual and moral pleasures that legitimàte its own (superior) position of knowledge and power. A genåralized negative attitude towards the stereotypical is reflåcted by Page 2 the importance granted to the notion of secînd degrÃ