That concept is used to induce more fear into the audience through a more realistic plot. Another famous element of a Hitchcock film is the use of an enigmatic villain. Hitchcock was one of the first directors to ... ... middle of paper ... ...ese films to categorize Arlington Road as a classic thriller. I believe the few changes that were made only enhance the film. For example, the tasteless perfect ending is eliminated and replaced with an unconventional one which only adds more suspense to the film.
The film uses many Hitchcockian elements, but while imitating it, Arlington Road simply does not live up to the standards of an iconic thriller as established by Hitchcock, such as Rear Window. Alfred Hitchcock has forever left his mark on not only the thriller genre, but the entire movie industry with a list of thematic and stylistic elements that he regularly employed. Primary among these are: the restoration of moral order, the charismatic villain, the clever undermining of institutions of social order, divulgence of suspense heightening information, relatable protagonists, and POV editing. A perfect example of the Hitchcock thriller is Rear Window; and as previously stated, Arlington Road falls short in matching this. However, Arlington Road does utilize some of these Hitchcock characteristics well.
Revenge of the Killer Genre After years of repeated thematic motifs and unchanging, stereotypical characters, films within a genre often lose their vitality. The conventions become predictable and the underlying myth becomes boring and banal. The innovative director will seek to revitalize a popular myth through a "generic transformation" (Cawelti 520). This essay shall demonstrate how Quentin Tarantino borrows a traditional myth from the gangster genre, subverts it and subsequently installs a new, unorthodox myth in its place. The end result is a new type of film that reaches beyond the established confines of the gangster genre.
Hitchcock uses either conscious or sub conscious symbolism, concentrating on the story, we get the feelings Hitchcock wants us to have, based on the symbolism, without even properly realising it, for example one I didn't notice while watching psycho for the first time was that Marion's underwear changed from white to black after she decided to steal the money. Knowing that showing a girl in her underwear was going to shock people, Hitchcock knew that this is what the focus would be on, he used this to show th... ... middle of paper ... ...ast between silence and the screaming stringed music plus the screaming Lila is massive and scares the audience to death. Hitchcock did exactly what he wanted to do to the audience. After this, Norman runs in wearing his mothers clothing, with the scream still ringing through the room. He tries to stab Lila, Sam stops him and Norman almost melts to the floor in a spasm, the suspense of this scene deflates and the audience is left in shock.
Some say that Arlington Road can be compared to Rear Window because it effectively used Hitchcock’s elements in the film. In my opinion, Arlington Road does not live up to its Hitchcockian roots. Although I believe Arlington Road does not prevail as a Hitchcock worthy film, there are many similarities in the thematic and stylistic elements between the two films. One of Hitchcock’s repetitive elements is that the villains in the films are appealing. In Rear Window, Thorwald is a normal looking fellow.
Even when writers layer the genre with academic thoughts on psychology, theology and the world in which we live in, horror remains the primary outlet to examine the notions of dread, uncertainly, mysterious and the abject. Psycho (Hitchcock 1960), with its shocking bursts of violence and provocative sexual explicitness, tested the strict censorship boundaries of the day as well as audiences' nerve. This filmed changed the way the horror genre was seen. Prior to 1960 the genre was dominated by monsters and mythical creatures with Hammer productions dominating the market with Frankenstein and Dracula films. Hitchcock was known as being the ‘master of suspense’ and in Psycho decided to make the horror villain human rather than monster.
He cements this as his view as he uses the example of ‘Scream’ and the films made in its wake (such as ‘Scary Movie’ (2000)), Tudor claims “It is films such as these that have so often attracted the designation ‘postmodern’, if only superficially, because of their studied self-consciousness and their use of pastiche.” (Tudor, p.107) Tudor’s view is that films such as these bear only surface-level post-modernism that the term is used too liberally and the films would be better suited towards the term parody than a post-modernism. Tudor argues that their “studied self-consciousness” disqualifies them from being labelled as postmodern, however it can be argued that parody and self-consciousness elements of these films are what make them postmodern at
Movies are a favorite past time recreation among individuals. The following two authors Gianluca Di Muzio (2006) and Stephen King (2007) present opposing views towards the horror genre and its impact on society. Di Muzio article on “the immorality of horror films” and King’s article on “why we crave horror movies” are great examples on ways the horror genre affects society. Di Muzio (2006) presents the negative messages placed in horrific cinema, whereas King’s (2007) communication is about the positives. Di Muzio (2006) emphasizes dark themes, plot and ways society’s consumption to gore can lead to a sadistic lifestyle in one of his studies and critiques on the horror film Texas Chainsaw Massacre, whereas views conveyed by King (2007) towards the genre are simply recreational and meant for adrenalin addicts.
Norman Bates is arguably the most unforgettable character in the horror genre. His movements, voice and aura at first radiate a shy young man but transform into something more sinister as the movie Psycho (Hitchcock, USA, 1960) progresses. How has the director, Alfred Hitchcock, achieved this? Norman Bates was a careful construct: the casting, body language, lighting and even the subtle use of sound and mise-en-scène created the character. Anthony ‘Tony’ Perkins was well known for his roles in romantic comediess.
It’s hard to argue that 1994 didn’t have two of the most influential and iconic movies to date. Both “Pulp Fiction” and “Forrest Gump” are movies that some would say are the best ever. Now, if you were to compare these two movies, it would seem absurd with each being on completely opposite spectrums of the moral ethics scale. However, on the surface Pulp Fiction may seem like another gangster, action, crime flick, but if a closer look is taken and the content really analyzed it can be seen that Pulp Fiction is really about redemption and how the characters seem to find it regardless of their actions. Through each separate story that Pulp Fiction tells, redemption runs at the core of the dynamic characters.