However, not only violence made those films so popular. The truth is that these film-makers showed virtually anything that had not yet been shown. Such approach lead to showing nudity, sex, drug use, but also many acts of sexual violence or gore that terrified the audience. Because of this diversity of themes, exploitation cinema is not connected exclusively to any particular genre. This term is more related to certain aesthetics and conventions, such as the use of taboos, the grittiness of the image
hell-like concept is entertaining to people because it is solely based on everything immoral and disgusting . For example, the Saw franchise is gruesome and horrific but they have made millions of dollars because everything in it repulsive. These films make them feel better about themselves because it reminds them that life could easily be worse and a living
audience to dread leaving or may relieve them when it is over. Even though people realize that they are watching a movie, their brain reacts by believing that they are in the situation happening on the screen, which causes dismay and fright. Horror films have been around for over a century and have evolved into several different sub-genres: Comedy-Horror, Teen-Horror, Supernatural-Horror, and Slasher. The sub-genre of comedy-horror aims toward scaring its audience, while adding spoofs and the use
slasher and splatter films in the latter 1970s period. Films such as Blood and Black Lace and Black Belly of a Tarantula are classified as early giallo due to their "distinctive characteristics" that will be explored in this essay. From emerging as a genre in the 1960s Italian filmmakers adapted
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
Sam Raimi’s Evil Dead II is the epitome of a splatter – comedy, psychological, slapstick, demony-hell, undead, monster (thing??), no-cohesive-genre, cult film. Made in 1987, Evil Dead II blurs the lines of genre through use of slapstick comedy, outrageous gore, and a horror – themed plotline; which is exemplified in the “dancing corpse” sequence. The sequence begins with a self – playing piano, the music being diegetic in contrast to the dancing portion of the sequence. The viewer assumes this trick
In fact, only 10 percent of the human population turns fear into pleasure (The Psychology of Horror- Why do we Watch Horror Films, 1). What other factors separate horror movie fans from those who don 't prefer horror movies? A few brains take dopamine and put it into pleasure and relief. Other’s brains will take the dopamine and experience anxiety and fear rather than pleasure
once again. But, there is one other predictable rite of autumn – the horror movie – that detracts from an otherwise favorite season of many. Today's horror movies are much different than when the genre was first born. The modern horror movie is a splatter-fest. Gore for gore's sake, with little, if any, redeeming qualities such as sensible story lines, plot development or characters of any depth. Granted, most of this same critique could be said of other movie genres, save for the gore. The question
inspired a new wave of meta stories across all genres of films, calling out stereotypical tropes and clichés amongst classic scary movies (Welk). Depending on who you ask, a slasher film is defined as a subgenre of horror films typically
And last but not least is the villain in these movies. Most of the killers in these films are portrayed as mentally deranged and/or has some type of facial or bodily deformation and who have been traumatized at an early age. Even though these characters terrorized and murder people they have taken on the persona of anti-heroes in pop culture. Characters like Halloween’s Michael Myers, A Nightmare on Elm Street’s Freddy Krueger and Friday the 13th’s Jason Voorhees have become the reason to go see
This film, Braindead by Peter Jackson features Lionel, a man living with his mom Vera, and continually being stuck in an unfortunate situation for his association with Paquita. A crazy rodent monkey, in any case, chomps his mom, which thusly, makes the whole town pretty much a zombie town. Since its release, it has acquired recognition from modern critics, with numerous movie producers and pundits calling it the scariest "splatter film" ever produced. In 1957, The "Sumatran Rat-Monkey" is a hybrid
Django Unchained: Violence and Racism with a Purpose? In Django Unchained, a freed slave and a bounty hunter team up to rescue the slave’s wife from a ruthless plantation owner; yet, while the plot description may suggest dramatic comedy, the film turns out to be an uncomfortably comedic exploration of race and violence. “Anybody bring any extra bags?” says a KKK member whose eye holes are a bit subpar. For Tarantino, creating moments of awkward humor seems to be a cinematic requirement. That
A Comparison of Film Techniques Used to Depict the Omaha Landing “Saving Private Ryan” & “The Longest Day” In this assignment I will be comparing two scenes of the landings on the Omaha Beach during the Second World War. The first film is “The Longest Day” and the second film is “Saving Private Ryan”. The Longest Day was shot in 1962 compared with the more recent filming of Saving Private Ryan which was shot in 1998. I will be focussing on the camera angles, special effects, sound effects
lights are low, everyone else is ready and the classic horror film Scream (Wes Craven 96) plays. The combination of horror and humor similar to the modern The Cabin in the woods (Drew Goddard 2012) has their unique message and some elements of a slasher film. In her essay “Her Body, Himself,” Clover writes a general description of a slasher film, “At the bottom of the horror heap lies the slasher (or splatter or shocker or stalker) film: the immensely generative story of a psychokiller who slashes
werewolves. One of the films which I am going to analyze is “Halloween” by John Carpenter which starred Jamie Lee Curtis and Donald Pleasence. This film was made in 1978; this was considered the film which started the “slasher film” genre. This genre was continued in dozens of violent movies throughout the 1980s. Halloween grossed over $60 million, and was a surprise hit; it was one of the most successful independent films ever made. The meaning in this film, I believe, is the idea that
regularly associated with the reaction it seeks from its audience; both emotional and physical. In cinema success is measured by terrifying chills, bloody deaths and the volume of the audiences scream. The appeal of horror narrative in literature, film and theatre lies in the pleasures it associates with fear, suspense and terror; no matter what it is trying to convey to the audience. Even when writers layer the genre with academic thoughts on psychology, theology and the world in which we live in
Within the "Slasher" Film Sub-Genre One of the most telling traits of a society is how it entertains itself. Although Americans of the late twentieth century have many choices for distraction, one medium has had a particularly significant impact upon the fabric of American culture: film. Through pandering to the ideas and beliefs of the audience, filmmakers parallel those ideas and beliefs in their creations. This correlation was demonstrated in the glut of so-called "slasher" films during the period
The Conjuring (James wan, 2013) and Texas Chainsaw Massacre (Tobe Hooper, 1974) are surprisingly different versions of horror genre of films. In texas Chainsaw massacre the director uses a lot more blood and gore to frighten the audience , while in the conjuring Wan used objects and darkness to contrast people’s fear of death. In the texas chainsaw massacre uses objects to kill people in the worst humanly painful way ,while in the conjuring uses such spirits as demons to possess people and kills
Cinema and Religion Entertainment media are contributing to the emergence of new and novel forms of spiritual and religious phenomena in our contemporary (and past) culture. The essays in this issue explore diverse facets of the morphing relationship between entertainment, spirituality and culture. Over the last century, the cinema has played a vital role in the expression and representation of Judeo-Christian religious practices and beliefs. Early cinema told the life of Christ in the Passion
My Media Life When I was growing up I was always taught that television was a privilege – one that could be taken away if I neglected other important things in my life. Some of my earliest memories of my mother’s control on my television watching consist of a small basket in which we would “deposit” our TV slips each time we watched a program or a movie. Each week she would give my brother, my sister, and I slips of paper with a certain amount of “time” available for us to watch TV written on