1. The Basement
This is the current working title of the horror film I am creating within my promotional package, as well as being my first idea for
a film title. It follows a very conventional pattern amongst supernatural horror films, with a ‘the’ being the first word of the title,
lending significance to the next word and demonstrating a sense of sophistication. A ‘basement’ is also a conventional source of
evil in many horror films, and it can therefore be said that this title will immediately signify the subgenre to the target audience.
Its simplicity and short length is misleading, however – although I am creating an atmosphere-driven horror film, a complex
narrative and unique premise will turn the conventions of the title and all they imply into something entirely new. By keeping it
this ambiguous, audiences will be compelled to go and find this out by themselves.
2. A Door in the Dark
I like this idea for a title for several reasons.
Firstly, it differs from the standard
conventional film title, as it uses alliteration to
convey memorability and disregards the
typical ‘The’ at the beginning. It is also more
ambiguous, and encapsulates the uncertainty
of the characters as they stumble through the
series of events that lead to their demise.
However, the issue with this film title is that it
serves as too ambiguous and daring for a film
that is part of a promotional package. Abiding
to the more conventional title of ‘The
Basement’ satisfies audiences’ ideas about
the genre of film immediately, and will
therefore be likely to entice them to watch the
3. THE DEVIL IN THE
This idea further opens up associations
with conventions of the supernatural
genre by referring to ‘the devil’, a
common antagonist in horror films.
However, this idea was disregarded
quickly, as I feel it provides too much
of an insight into the narrative as well
as giving the audience a ‘set’ idea of
what the film will be like – which may
lead to their disappointment upon
viewing the trailer. It also ruins the
unique scare at the end of the trailer,
depicting the silhouetted devil in the
4. A Breath on your
This is the least conventional of all the
titles available, and similar to ‘A Door in
the Dark’ in the strong feelings of fear it
evokes. I feel it is less successful than ‘A
Door in the Dark’, however, as it fails to
give any indication as to the unique
premise of this film. Although the title
clearly resonates within the genre of
horror, it is too ambiguous to serve as the
title of my film.
FILM TITLE FONTS
The Basement – Times New Yorker: This font is perfect for this title as it is
reminiscent of the Hammer horror films of the past, while retaining a serif font to elevate it above
this status and root it within the supernatural genre. This shows how the film will replicate the
more atmosphere-driven horrors of the past in a more modern setting, with a completely unique
narrative. Blotchy, clouded letters are reflective of the characters’ slow descent into madness as
the film progresses.
A Door in the Dark – Arial: This font encapsulates the supernatural genre,
lending the unconventional text of the title a firm placement within familiar territory for an
unsure target audience. More modern horrors such as The Conjuring and Jessabelle use this font,
and its sans serif typeface reflects an ominous simplicity and ghostly presence.
The Devil in the basement – nightbird: The nightbird font here is more
attuned to the chaotic climax of the film, further insinuating the narrative.
This is also reflected within the extended length of the title itself.
A Breath on your Neck – Mongolian Baiti: This font is more reminiscent
of gothic horror films, and this interlinks with the idea of a ‘breath on your neck’ – a common
staple of gothic/supernatural films that hooks the unconventional title into a subgenre. The
elegant, serif font is likely to insinuate a high level of sophistication, an idea supported by the
ambiguity of the title itself.
1. Don’t look
Although I initially didn’t want a slogan for my horror film, I eventually thought of ‘Don’t look’, and to me, it perfectly encapsulates the spirit of the film, and
the utter reluctance to enter the basement that is displayed by Joel. It is also an effective imperative in regards to getting audiences to watch the film –
the emphasis on ‘don’t’ implies that the content of the film will be especially shocking, and it is this that will drive audiences to ignore the advice and
watch it anyway. Indeed, it is likely that such a slogan will resonate within the target audience, as they struggle to look or try to hide their eyes during
some of the more intense scary scenes within the film. This slogan manages to retain the mystery and sophistication of my film, without injecting too
much complexity into the narrative to overcomplicate it and beguile potential viewers.
2. Stay away from the dark
This applies a similar logic to ‘Don’t look’ in
urging viewers not to engage with the film,
when it will entice them to do exactly the
opposite. However, it is much more specific in
it’s approach, lessening the effect of the horror
and remaining too conventional to be scary. It
is also unnecessarily wordy, thus reducing its
chance of being remembered – the most
important feature of a slogan. It does stay true
to the premise of the film, however, and would
have served to give a good impression of what
viewers could come to expect from going to
watch it. However, the ambiguity of ‘Don’t
look’ forces audiences to question what they
shouldn’t be looking at, and it is much more
powerful in this regard.
3. It lives there.
I like this slogan for a variety of reasons.
Firstly, it is ambiguous enough to retain the
mystery of the narrative, while forcing the
audience to question what ‘it’ is – another
reason to push them to go and watch the
film. It also resonates with the title of ‘The
Basement’ more than any of the other
slogans, lending the title meaning and
generating further fear as to what could
possibly ‘live there’. Despite this, the tone
of such a slogan is too casual and
conversational, as though uttered by
another human being, and I feel this
detracts from the sophistication of the film.
Don’t look – Arial: This font encapsulates the supernatural genre, which
will assist audiences in recognising the subgenre as it takes a more conventional
approach than the clouded font of its corresponding title. More modern horrors
such as The Conjuring and Jessabelle use this font, and its sans serif typeface
reflects an ominous simplicity and ghostly presence that reminisces with the
simplistic shots and scenery within the film.
Stay away from the dark – Rockwell: Another
conventional font, this would also serve to anchor the title to the subgenre.
Furthermore, as this is a bold and hard-edged serif font, the placement of
this slogan against the background darkness of the poster would lend it
more clarity than any other font – giving even more meaning to the advice
to ‘stay away from the dark’ – as even the font is trying to escape it.
It lives there. – FrankRuehl: The font used here is interesting as it
manages to look like the stereotypical ‘serif’ font, with no unique style or
distinguishing factors. This, in the context of the slogan, is an advantage, as it adds
further adds ambiguity to the statement that ‘it lives there’ – anything could live there.
It would also provide a noticeable amount of contrast with the title.
1. The Overlook/Overlook
This was my number one choice for a film magazine title as soon as I began creating my
promotional package. As I am creating a magazine specialising in the horror genre –
akin to the premise of Fangoria – I have opted for a title that will signify the genre
as well as provide a summarisation of the magazine’s ethos. ‘The Overlook/Overlook’
does just this, as it references the famous, haunted hotel in the widely known and
acclaimed ‘The Shining’, as well as showing how the magazine will provide an
‘overlook’ of all subgenres within horror, appealing to a greater variety of horror
fans. It also brings to mind associations of being watched by some dominant presence,
This was a pun on the word
‘Amityville’, another famous
location within a horror film,
but I chose not to use it as it
fails to capture the
sophistication and professional
coverage of the magazine. This
is because the Amityville
horror is a gory, overblown
film subjected to bad remakes
and numerous documentaries,
and horror fans are likely to be
aware of this.
which will further draw the audience into the genre and make them appreciate the
Although this title definitely signifies the genre
that the magazine will be covering it implies that
it will be mainly focused on the more ‘intense’
magazine’s dedication to covering scares and frights.
horrors. This is because the word ‘hell’ is
associated with various extremities and is likely to
be used more in conjunction with monster based
horror films. Again it also fails to capture the
sophisticated element of my film magazine.
This was my second
choice for a magazine
name, as it clearly
signifies a mysterious,
dark sound associated
with the paranormal. It
is also a common used
sound effect in horror
films across the ages,
signifying how the
magazine will cover
films new and old.
MAGAZINE NAME FONTS
The Overlook/Overlook – Euphorigenic: This font
is dramatic and elegant in its style, with long flowing letters
reminiscent of the horrors of the 1930s and 1940s on their large,
bold posters. Generally, this provides a contrast with the more
modern associations with the ‘overlook hotel’, further enforcing
how the magazine will cover all ages and subgenres of horror. It is
also a unique font, with few other magazines boasting one even
AMITYVIEW – Rockwell: A bold and hard-edged serif font, Rockwell is
bold, brash and ‘loud’ – reminiscent of the film it puns upon in the title. Its use of serif
firmly anchors it within the horror genre.
HELLWATCH – Black Asylum: The total chaos of this font is perfectly representative of the chaos and
horror of ‘Hell’ and fits the dynamics of the text with ease. The watch over hell that is promised here is also emblematic of a ‘watch’
over the various ages of all horror, generating a broader scope for the magazine that still remains faithful to its horror orientated
Foghorn – Euphorigenic: This font is dramatic and
elegant in its style, with long flowing letters reminiscent of the
horrors of the 1930s and 1940s on their large, bold posters. The
stark contrast with the isolated, colourless imagery and sound
associated with a foghorn, therefore, reflects the unique brand
identity of the magazine.