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The Horror Films
Structure
Basic structure = Order, Chaos & Reconstruction
Purpose = Show a society (or microcosm thereof) dealing with
catastrophic change, usually inflicted by a monster
Opening Act = Depicts an ordered society unaware of impending
disruption, e.g.
Normal Town= Halloween, Gremlins, A Nightmare on Elm Street
Isolated Group = The Thing, Evil Dead, Alien
Individual = Carrie, The Exorcist, Rosemarys Baby
Monster = Threatens stability, is the chaotic element that breaks
down the social order. The core of the film that establishes it as
horror
Reconstruction = A return to stable (not necessarily good) form.
The process of reconstruction provides the genres basic narrative
drive
Natural
Nature represents primal fear. Its chaotic,
unpredictable & violent. Mans insignificance in the
universe is epitomised by futile attempts at
controlling its forces.
The ecological horror film shows the effects of the
planet on humankind, either as punishment for
meddling (The Host, Tremors), the primitive attacking
the modern (Jaws, Grizzly) or man as insignificant to
the greater purpose of natures cycle (Volcano, Long
Weekend)
This sub-genre often crosses with the scientific
monster (Piranha, Jurassic Park).
Resolution is often achieved by scientific means (The
Supernatural
The supernatural monster is usually a fantastical bogeyman
that cannot rationally exist. This monster often attacks both
the body and the soul.
Many supernatural creatures are based on religious
mythologies and folklore. Associated with these are prescribed
methods of dispatch, although the cinematic form will often
expand, develop or defy them.
The psychotic killer is based in the real world. Subgenres from the thriller to the slasher have relied on
the evil or madness of a vicious perpetrator to elicit
their thrills.
Sometimes they are given an excuse or a reason for
their actions; abuse at the hands of the father
(Peeping Tom), a frightening Oedipal complex (Maniac,
Psycho), or noisy neighbours (Driller Killer).
Occasionally there is no obvious motive for a killers
crimes (Henry: Portrait of a Serial Killer).
Stories can be taken from the news (Wolf Creek) or
claim to
be based on true events to provide extra chills (Texas
Chainsaw Massacre). Sometimes the psychotic killer is
crossed with the supernatural
creating such memorable
horror icons as Michael
Myers, Freddy Krueger &
Jason Voorhees.
Psychologi
cal
Scientific
A popular staple of the genre is the
mad scientist, with a brilliant mind
yet fanatically driven, blinkered vision
that can lead to all kinds of evil,
accidental or intentional.
Voyeur
Victi
m
Violator
The camera as a killer is a popular component of the horror
film from Peeping Tom to Halloween & Wolfen. The viewer
sees as the killer does & becomes implicated in the
perpetration of the atrocity. It has been argued that this
type of viewing somehow encourages the spectator to align
with the killers way of thinking.
Associating with the killer through POV can create
paradoxical reactions & meanings for the viewer; on one
hand empathetic thrills on the other revulsion at being
complicit in the violent act themselves. This technique is
also commonly used to help hide the identity of the killer.
The history of
the horror film is
tied up with
censorship.
Horror is
considered
lowbrow
entertainment &
calls have
always existed
for the
establishment to
curtail excesses
or impose a
code of morality
designed to curtail the
decadent excesses of
Hollywood at a time of
authoritarian
Puritanism) was
implemented in 1934
& effectively restricted
depictions of sex &
violence. Compare the
difference in tone
between Frankenstein
(1931) with its sequel
Bride of Frankenstein
(1935).
You cant
kill the
Boogeym
an
Repetition
,
Remakes,
Recycling
&
Reinventi
on
A prominent
aspect of any
genre film is the
familiarity of the
concept, the
repetition of
ideas that
provide a shorthand for
audience tastes.
Cinema is a
commercial artform so proven
storylines
inevitably
generate
imitations and
sequels. What is
unusual about
Reinvention: Purists
would disagree, but it
makes sound business
sense to rejuvenate
past successes. Horror
films are most popular
with 15-24 year olds,
so if a story works,
why not make it again,
but update it for the
next generation? A
popular story can
easily accommodate a