paying attention to the specifically technological aspects of cinema” (326). William Friedkin’s 1973 horror film The Exorcist uses the elements of sound, and special effects to emphasize the genre of horror within the film. Additionally, this film has influenced and created norms in thematic techniques used in the modern horror genre, such as public reception ... ... middle of paper ... ...s-%E2%80%93-the-exorcist>. Heimerdinger, Julia. "Music and sound in the horror film & why some modern and avant-garde music lends itself to it so well."
This period saw a resurgence of the horror genre, this time adapted to the new medium of film. However, the way horror was portrayed via film is the interesting part: it drew specifically on the struggles of the nation to instill horror. This is an exact reversal of the idea of cinematic escapism, since many Weimar era horror films used relatable struggles in order to both entertain and terrify (in this case, existing concurrently as well as dependently on each other). One of the clearest examples of this is through the film Nosferatu, a cinematic retelling of Bram Stoker’s novel Dracula directed by F.W. Murnau.
Driven by filmgoers’ fascination for thrills and chills, the horror genre has continued to scare, entertain and induce nightmares into all that succumb to the genre. Taking influence from the Victorian gothic novel, Mary Shelly’s Frankenstein (1819), horror is one of the most recognisable film genres thanks, in part, to the codes and conventions practiced during the production process of horror filmmaking. Film codes and conventions refer to ‘the rules by the which narrative is governed’ (Hayward, p 68), how film techniques are implemented to distinguish a films genre. This critical analysis aims to analyse one sequence from Sam Raimi’s 1982-film, ‘The Evil Dead’, and James Watkins 2012-film, ‘The Woman in Black’. Discussions will be made relating to the codes and conventions found in each film in which includes: iconography, mise-en-scene, cinematography, montage and sound, to emphasize that both films as fitting representations of the horror genre.
M (1931) and Frankenstein (1931) are two such films that do exactly this; they are filled with images of: shadow and darkness; death and fear; good and evil, and the monstrous id inherent in all of us. I will talk about these two absolutely classic and influential films that take their roots from German expressionism and Freudian psychoanalysis to present us with an unnerving comment about the dark side of humanity. M (1931) was directed by Fritz Lang, who is a German born-émigré working in the German-expressionism movement at the time. He is n... ... middle of paper ... ...t that in every corner lurks death and so that toys with our fears and anxieties and yet it suggests in Freudian typology, that within our own recesses of our minds is where true evil is hidden at. Alfred Hitchcock and John Carpenter were influenced by Frankenstein and M, as this film rightly ask us what lurks behind every corner and asks, us, just like one of the characters in Carpenter’s film, Halloween (1978), “Was It the boogeyman”.
The German expressionists film were highly stylized type of film with different styles of oblique camera angels, distorted bodies and shape that matched the incongruous settings that gave the gothic effects. The film The Bride of Frankenstein which was directed by the Englishhorror masters James Whale in 1935, the film was one of the best and most successful sequels ever made within the horror genre. James who also directed the first film Frankenstein (1931) was also a big success... ... middle of paper ... ...torius can sometimes be funny, when he utters his running gag line, "It is my only weakness.". In conclusion the film itself can easily be identified as a classic horror film. This is because of the use of oblique camera angels and the use of dark lightening and shadows within the film.
This as a result creates Gothic horror, similar to the horror genre but instead plays on the horrifying attributes of the radical human mind rather than the dread of the unknown and the irregular. In order to become more aware regarding the origins of the horror genre, it is important to understand the progress of the Gothic. It is notable to recognise the meaning of the term, its changing values, historical context and the varying archetypes of the Gothic novel in order to become acquainted with the horror genre’s development. Bibliography: http://academic.brooklyn.cuny.edu/english/melani/gothic/history.html http://www.wwnorton.com/nael/romantic/topic_2/welcome.htm http://cai.ucdavis.edu/waters-sites/gothicnovel/155breport.html
Horror movies throughout history reflect society; its fears, events and over all state. It’s no coincidence that after some devastating event in history happens, a strain of horror movies emerge in its path: “The fright genre has traditionally flourished in straitened times. Weimar Germany, the Great Depression and the 1970s oil crisis all coincided, not so coincidentally, with new waves of innovative, inventive nightmare visions that hold up a mirror to their eras just as much as the po-faced social-realist dramas of the day” (Billson). Horror movies thrive off the current events because it’s channeling the fears society. In the article “We’re All Dirty Harry Now”, Riegler says that “violent movie genres fed on political and social turmoil” (18), using societies fears to their advantage.
Considerable time is exhibited understanding, getting to know, and relating to the characters, forming a more dramatic perception for the audience. As character Mia Wallace would suggest, this film commands the audience to “not be square” and to step outside of the box. Pulp Fiction is an astoundingly thrilling masterpiece; a suspenseful crime drama, harnessing the elements of glorified crime, impactful scenes, immorality, and underworld settings. The film commences to another level, assisted by black comedy, to portray improbable coincidences and unconventional satirical and surprising humor. After the pl... ... middle of paper ... ....
Film Noir, a term coined by the French to describe a style of film characterized by dark themes, storylines, and visuals, has been influencing cinematic industries since the 1940’s. With roots in German expressionistic films and Italian postwar documentaries, film noir has made its way into American film as well, particularly identified in mob and crime pictures. However, such settings are not exclusive to American film noir. One noteworthy example is Billy Wilder’s film Sunset Boulevard, which follows the foreboding tale of Joe Gillis, the desperate-for-success protagonist, who finds himself in the fatal grips of the disillusioned femme fatale Norma Desmond. Not only does the storyline’s heavy subject matter and typical character structure suggest the film noir style, but also Wilder’s techniques of photography and empty, worn-down settings make for a perfect backdrop for this dark approach at filmmaking.
Psycho (1960) is filled with grisly shocks and disconcerting moments throughout this picture. A filmmaker’s film must give the ability to appeal to mass emotions and be an entertainer at the same time. Thus, famous director Alfred Hitchcock was the right individual for the direction of Psycho. Hitchcock is a veteran of adding disturbing images and frightening audiences by creating unique plot, characters, and tricking the camera. Hitchcock does this by establishing identification with characters like heroine Marion Crane (Janet Leigh) and a sensitive yet perplexing antagonist Norman Bates (Anthony Perkins).