Recreational Terror by Isabel Cristina Pinedo

Innovative technologies are most effective both in educational activities and in physical education.

It is determined that innovative technology is a sign of a postmodern society, because innovation is one of the characteristic features of the postmodern. It is this principle that defined the research problem. The physical education of a person forms the idea of the value of health, both in the past and in the future. Postmodern trends in the formation of society are defined by new worldview manifestations, when people lose meaning in certain value aspects and realize that past achievements can be neutralized. Physical education contributes to the development of individual personality traits, as well as forming the health-saving foundations of the development of society in the perspective of evolution. The main features of innovative technologies as an effective way to develop personal competencies and the formation of value orientations are defined in the context of the study. The article highlights innovative technologies in the context of physical education as one of the main factors of postmodern society. This holds true as well for the postmodern horror film, of which Henry is emblematic. What makes it an innovative and daring film also makes it difficult to classify.

McNaughton's concern and the MPAA's judgment rested on the film's tendency to play with and against the conventions of the contemporary horror genre.

As he told Variety, ' may be too arty for the blood crowd and too bloody for the art crowd' (qtd. Even the director John McNaughton expressed concern over whether the film would find an audience. Fearful because an X rating means death at the box office for nonpornographic films, distributors lost interest. The reason? Its 'disturbing moral tone' (McDonough, 59). Among the obstacles the film faced was the unwillingness of the Motion Picture Association of America (MPAA) to give it an R rating. The film, which details the sanguinary activities of a psychotic serial killer, was ready for release early in 1986 but remained on the distributor's shelf until 1989, when Errol Morris, director of The Thin Blue Line, brought Henry to the Telluride Film Festival (Village Voice, 59). Henry: Portrait of a Serial Killer unfolds in this postmodern universe. The iconography of the body figures as the site of this collapse. This, together with the presentation of violence as a constituent feature of everyday life, the inefficacy of human action, and the refusal of narrative closure, produces an unstable, paranoid universe in which familiar categories collapse. The universe of the contemporary horror film is an uncertain one in which good and evil, normality and abnormality, reality and illusion become virtually indistinguishable.

Recreational Terror by Isabel Cristina Pinedo