Post Modernism Research, Genre Theory + Trailer Analysis.

1. POST MODERNISM
RESEARCH

2. POST MODERNISM AND
POSTMODERN MEDIA TEXTS
 Postmodernism is a theory that allows producers to challenge
conventions, forms and ideologies. This theory applies to the media in 3
different ways:
 1-To challenge metanarratives; to challenge the main ideologies in
societies
 2-To use pastiche/intertextuality; this offers ‘updated’ ideas from
‘old’ ideas.
 3-To make audiences aware of a hyperreality; to make audiences
aware of alternative realities that challenge our ideas

3. CHALLENGING METANARRATIVES
 Narratives that question whether modern progress is for the ‘ good’ of society. A critique of society/mass production.
For example, post apocalyptic movies are man made and a critique on society and focuses on issues within the media
such as animal testing, the overuse of technology etc.
 The Crow (1994) Despite not being registered under a postmodern movie, The Crow challenges ideologies in
society through justifying the brutal murders Eric Draven commits as the audience feels empathy for the character as
a result of his and his fiancé’s brutal deaths the year before. The purpose of the film is for Eric to seek revenge which is
portrayed through a dystopian setting where there is no justice and criminals roam the streets, allowing Erik to fulfil
his needs to kill the guilty in order for his soul to rest. The Crow explores super-natural abilities and hyperrealism
effects to exaggerate the societal chaos whilst being a critique on the justice system of todays society.

4. CHALLENGING METANARRATIVES
 I Am Legend (2007) Is a perfect example of scientist’s overuse of testing and exploring
as one scientist’s failure results in an epidemic virus causing world dehumanization, a fascist
government and a post-apocalyptic land which are all common themes featured in dystopian
films. It shows one mans struggle to survive and stay sane despite loosing his family and
fearing that he may be the last man on earth.
The Terminator (1984) The Terminator film is a combination of radicalized religion and
over use of technology as the plot is a dark retelling of the New Testament’s annunciation
story. It explores the potential danger of over using modern technology as it could be the
demise of the human race.

5. CHALLENGING META NARRATIVES
 Narrative themes that challenge conventional film narratives and feature unclear or
mixed representations- The Crow (1994)- As mentioned in the previous slide, not only
does The Crow challenge ideologies in society it also challenges conventional film
conventional film narratives by the misinterpretation of character Eric Draven portraying
Draven portraying both good and bad roles. In comparison to conventional heroes such
conventional heroes such as “Superman”, Erics heroic role stems from his need to seek
from his need to seek revenge for his demise. Adding on, unlike other “heroes” Eric isn't
other “heroes” Eric isn't alive and his attire has more conventions of a villain. Yet despite
a villain. Yet despite this, his role in murdering the ‘real’ villains he contributes to society
contributes to society by creating a less dangerous environment to live in, and to reduce
live in, and to reduce the crime rates therefore creating a mixed representation of Eric for
representation of Eric for the audience.

6. CHALLENGING META NARRATIVES
 Non-Linear narratives: challenge the 3 act conventions by disrupting the
chronology of the narrative sequence- Pulp Fiction (1994) By using the
controversial narrative it enables the audience to engage fully with the text as due
to the Non-Linear flow the only way to make sense of the film is to pay attention.
Tarantino uses the Non-Linear narrative to unravel a complicated event and
portray the events from different characters perspectives. By doing this not only
does it provide the audience with insight to the characters personalities but also
creates a dramatic effect.

7. CHALLENGING META NARRATIVES
 Anti-Narratives: Disruption of the narrative, i.e the use of freeze framing and time remapping-
https://docs.google.com/file/d/0BxwUzednrMI9LUR3cVlrRVB2ZzA/edit?pli=1 (19:10-20:40) American
Horror Story- Murder house (2011)- This scene uses hyperrealism and slow motion flashbacks to
emphasise the mental state the character Tate Langdon is in, the characters bipolar personalities are
bipolar personalities are presented through two different attires. Prior to Tate committing a crime, he
committing a crime, he visions himself in all black with a skull illustrated on his face through special
his face through special effects whereas when he is talking about his dreams he appears to be the
he appears to be the normal looking teenager. As a result of him talking and visioning himself in two
visioning himself in two different places it disrupts the narrative flow, along with the hallucinations,
the hallucinations, references to other characters stories within his speech and showing clips in his
showing clips in his mind, and also the use of non-diegetic sound. This is also an example of Meta-
also an example of Meta- Referencing.

8. CHALLENGING META NARRATIVES
 Mixing genres of a film in order to create new hybrids- Repo The Genetic Opera
(2008) The notorious ‘Goth Opera’ provides the audience with satire humour along
with a gore fest whilst singing throughout the duration of the film, RTGO creates its
RTGO creates its own genre of ‘cult-gothic-musical-horror-cartoon-comedy’ as it

9. INTERTEXTUAL REFERENCING
 Pastiche- a straight copy of another text- John Carpenter’s Halloween (1978)
http://www.youtube.com/watch?v=5unH8gOhydY VS Rob Zombie’s Halloween (2007)
http://www.youtube.com/watch?v=dtR9Fxz2lng While both films share the same mode of address, due
to Rob Zombie’s career of a metal musician his version of Halloween has more alternative conventions
alternative conventions in and a few noticeable changes within the film. Rob Zombie’s Halloween offers
Zombie’s Halloween offers an updated version as a result of the high technology, CGI and special FX
technology, CGI and special FX providing audiences with a higher scare tolerance in todays society.
tolerance in todays society. Despite this, Carpenter’s version is branded a classic horror and influential
horror and influential to films in the media today, therefore Rob Zombie decided to not make too many
to not make too many changes to the narrative. Both trailers support my statement that not many
statement that not many changes were made in Zombie’s film as the costumes stayed the same, the
stayed the same, the plot/characters stayed the same and they both included diegetic quotations from
diegetic quotations from Michaels physiatrist stating that Myer’s eyes were the “essence of pure evil”
“essence of pure evil” along with the notorious murder house in Haddonfield.

10. INTERTEXTUAL REFERENCING
 Bricolage- Stealing images/objects from different styles, usually high art to create new
meanings- The yellow jumpsuit worn by Uma Thurman in Kill Bill (2003) was also worn by
Bruce Lee in Bruce Lee’s Game Of Death (1978) as a result of Kill Bill featuring elements of a
featuring elements of a Kung Fu genre in and to make It more apparent in the film.
in the film.
 Homage- Used to show respect and to make the audience interact with the text. Also used to
parody other texts- The Scary Movie collections parody various horror films by including jokes
in todays media, for example this scene in Scary Movie 4 (2006) is playing homage to both War

11.  Another example is the ending of Hot Tub Time Machine (2010) playing homage
to the 80’s glam rock band Motley Crue. It portrays the main character, Lue, as the
replacement singer kicking the original vocalist (Vince Neil) out of the band. Due to
what occurs in the film involving time travel, Lue is aware of the songs Motley Crue
produced therefore when he travels back in the 80’s he records them as his own.
http://www.youtube.com/watch?v=EjP_NAIGmSQ vs the original Motley Crue
song/music video http://www.youtube.com/watch?v=3WAZ60xA9wo
INTERTEXTUAL R EFER ENCING

12. HYPER-REALITY
 High Art styles – film techniques that challenge conventional ideas. The idea to animate a square in
Pulp Fiction (1994) as a reference to the insult of calling one a “square” provides the audience with a
realisation that they are watching a film, as an animation wouldn't occur in reality.
http://www.youtube.com/watch?v=mi6tQthPDWc
Additionally this scene from American Horror Story- Asylum (2012) challenges viewers expectations and
expectations and exaggerates the mental stability of the patient, as she visions the bleak asylum to be
bleak asylum to be joyful and herself to return to the sane, beautiful singer she once was. More on, the use
once was. More on, the use of slow-fast motion enables the audience to differentiate between the mise en
differentiate between the mise en scenes- as the events which take place in this clip, in the actual
clip, in the actual programme are just a misconception of her mind.
http://www.youtube.com/watch?v=76y9tR4CY4U
 Simulacra or hyper-reality –Allows challenging themes and representations to be explored – The use of
anime in Kill Bill is a prime example, along with the use of cartoons in Repo The Genetic Opera
Genetic Opera

13. HYPER-REALITY
 Meta-reference – when the audience is made aware they are watching a ‘film’- The Wayne's
World films unique selling point is that they both talk to the camera and play on the joke. This is
shown in a scene where the bar tender attempts to communicate to the camera until Wayne
camera until Wayne interrupts him and quotes that only himself and Garth are allowed to talk to
are allowed to talk to the camera. It is unknown who the camera-man is, therefore enables the
therefore enables the audience to be aware that it is not a realism film. This is also shown at the film
is also shown at the film when they include three different humorous alternative endings all
alternative endings all depending on how “happy” they can make the ending.
http://www.youtube.com/watch?v=vgJkLniLpfU

14. GENRE
 “I always hope that if one million people see my movie, they saw a million
different movies.” – Quentin Tarantino.
Genre is the French word for ‘type’ or ‘kind’ and are formed by conventions that evolve over time due to new
genres constantly being invented therefore discontinuing the older ones. It allows media products to be categorised
according to their similarities in order for the producers to meet the audiences expectations., in addition to enabling
producers to expand their ideas and challenge audiences by merging conventions of different genres therefore
creating a new hybrid.
 Genre definitions are predominantly split into two main segments:
 1) More rigid definitions: these are traditionally featured for mainstream commercial i.e. ‘Hollywood’
audiences
 2) More flexible definitions: this is for niche audience purposes therefore targets a more
independent/alternative audience.

15. GENRE
 More on, the audiences opinions contribute to the genre of a film as ‘Teen Cult’
is now its own classified genre due to generic high school rom-coms becoming
increasingly popular since the 90s. As a result, whatever is considered popular in the
mainstream society will be acknowledged by producers and then featured in the next
teen cult movie in order to engage with the specific audience. This also applies to an
older audience as some films can provide nostalgia sentiment which helps engage
with the audience.

16. GENRE THEORIES
 1) More rigid definitions
 - the concept of genre originated from the classification system created by
Aristotle in ancient Greek theatre to establish a ‘quality control’ over types of play
and literature.
 The American linguist Charles Sanders Peirce focused on the fixed meanings
or iconography in a text and concluded that genre follows strict codes and
conventions in order to establish the audience expectations.

17. GENRE THEORIES
 2) More flexible definitions
 -Adorno and Horkheimer are both renowned for their critique on Hollywood, claimed that mass
claimed that mass production of a film results in ‘standardisation’ of conventions dominated with one
dominated with one ideology (the American dream).
 -Nick Lacey stated that genre is a negotiation between producers and audiences therefore is forever
audiences therefore is forever evolving due to establishing ‘sub genres’, ‘mixed genres’ and new ‘hybrids.’
genres’ and new ‘hybrids.’
 This is seen throughout the film industry today due to the fact creating new hybrids challenges the
hybrids challenges the audience’s expectations of the film and has its unique selling point in comparison
selling point in comparison to films which only stick to one genre.
 - Postmodern theory allows producers to challenge genre conventions in a text by mixing or using a
by mixing or using a range of generic conventions or hybrid genres.

18. DYSTOPIAN POSTMODERN TEXTS
 Dystopia is the opposite of utopia, which refers to a place that is ideally
perfect in the aspects of laws, conditions and politics. Due the drastic
differences, dystopian films are often represented as an exaggerated idea of an
imperfect world. This is shown through the futuristic illusion of a perfect
society controlled through totalitarian control. Adding on, dystopian films are
often a reflection of a critique on the real world and the issues within political
fields or healthcare, therefore shown in an overemphasised production.

19. DYSTOPIAN CHARACTERISTICS
 -Dehumanization, conformity and lack of freedom are all
characteristics of a dystopian text.
 - Complete control of society by one dictatorship or a concept
 -citizens are under constant surveillance therefore are unable to
be independent as anything other than uniform standard is
prohibited.
 -Due to the empowerment of technology and the banishment of
the ‘natural’ world, citizens live in fear of the outside world.
 - It is usually an ominous version of a ‘utopian’ world.

20. DYSTOPIAN MEDIA
 Most dystopian texts present a world in which oppressive societal control and the
 Illusion of a perfect society is maintained through these forces:
 • Corporate control: Large corporations dictate society through the use of modern technology. This is symbolic to the critic
technology. This is symbolic to the critic on the ‘real world’ that our generation is becoming dependant on computers and
generation is becoming dependant on computers and various other products. Example: Halloween 3- Season of the witch.
products. Example: Halloween 3- Season of the witch. Despite not being a postmodern movie, John Carpenter presents the
being a postmodern movie, John Carpenter presents the dangers of conforming to social trends and becoming g addicted to

21. DYSTOPIAN MEDIA
 • Bureaucratic control: Society is controlled by a bureaucracy through relentless
regulations and an incompetent government.
 • Technological control: Society is overrun by technology which is having a great
impact on the way citizens live their lives due to job loss to a robot, or other scientific
advantages which as a result, disrupt their normal lives. Examples- The Matrix, Terminator,
IRobot.
 • Philosophical/religious control: Often enforced through dictatorship or the
government, society is controlled through religious beliefs therefore live their lives on the
path set by others. This also reflects on a critic on society as religion has been the main cause
of human extinction over the years.

22. T R A I L E R A NA LY S I S
1 : R E P O T H E G E N E T I C O P E R A - DY S TO P I A N
 Repo the genetic opera is a hybrid of dystopian horror-musical with elements of generic
anime throughout the film, set in the year of 2056 in a world affected by a mass organ failure
epidemic. The only chance of the ill prolonging their lives is to purchase a new organ from the
company known as GeneCo.
Despite GeneCo’s organ replacements saving lives, it also can end them if you default a payment.
This results in a grim death assigned by GeneCo’s president, Rotti Largo, sending a ‘Repo Man’
to legally repossess your purchased organ(s).

23. NARRATIVE- CHARACTER TYPES
The Protagonist and Damsel In Distress: The
diseased daughter of a Repo Man yet isn’t
aware of her fathers career. Her mother was
killed by the jealous president of GeneCo
therefore since birth has been poisoned to stay
terminally ill. Throughout the film, Shilo is on
a quest to find a cure yet unlocks the mystery
to her past.
The Mentor : The godmother of Shilo,
forbidden to have any contact until now. Guide’s
Shilo into acknowledging the ways of this world,
and who she can't trust.
The Father- Attempts to protect
Shilo from the dangers of this
world. He is accused of the
murder of his wife/shilos
mother, however turns out to be
Rotti Largo. As a result of
thinking that he’s the cause of
death, he keeps shilo terminally
ill so she doesn’t find out- and
agrees to be a Repo Man for
that purpose also.

24. The dispatcher: The grave
robber is illegally selling the
numbing drug Zydrate on the
streets therefore his character is
slightly edgy. Despite this he's
constantly there when Shilo
finds herself in danger and
provides her with information.
The Villain- Jealous of the marriage
between Shilos mother and father, he kills
her and blames it on the father. He then
continues to brain wash Shilo, whilst
inflicting gruesome murders on innocent
people.
All three of Rotti Largos descendants are
all competing to take over the GeneCo
business as Rotti’s health is deteriorating.
They are self obsessed, violent and
provide no purpose.

25. NARRATIVE STRUCTURE
Part 1: Introduces the equilibrium themes:
In traditional comic book aesthetic, the
trailer begins with mentioning the mass
organ failure epidemic then promptly leads
onto GeneCo being able to elongate the
lives of the ill and provide new Organs.
Part 2: Mentions the principle that
if you default an organ payment, a
Repo Man will find you and
repossess your organs. Scenes of
theatre are added to reinforce the
‘goth opera’ element whilst briefly
introducing the audience to
significant characters.
Part 3: The audience is now fully aware of
the proximity between shilo and her father
and the ‘dark secret’ he's keeping from her.
It also illustrates that this world is a world
where “Your Life Can Be Repossessed”
and provides formidable scenes to support
that. It then finishes with fully introducing
the characters in anime style, film
producer’s and previous films.

26. CAMERA/MISE EN SCENE
-Simulacra or hyper-reality- The
erratic transitions from normal
scenes to cartoon imagery,
enables the audience to be aware
they are watching a film as this
wouldn’t occur in ‘real life’.
Costume helps to establish
the characters and
reinforce the gothic theme
of the film, testing
postmodern notions of
challenging representations
through the perversion of
costumes. For example, the
‘GeneCo nurse’ uniform is
fetish PVC lingerie style,
deliberately purposed for
over sexualisation.
Camera shots from both a plan view
and behind the character looking out
to the horizon depicts authority and
the idea of being lost in a world.
It also establishes to the audience the
dystopian theme as scenes of
futuristic buildings are frequently
shown.

27. FURTHER CAMERA/MISE EN SCENE
Variety of camera angles are used for
different purposes: for example, extreme
close ups of facial features to determine the
characters emotions. When focused on Rotti
Largo, the audience is aware that this man is
miserable and not to be liked. However
when focused on the RepoMan, despite his
career occupation, his eyes depict sorrow
therefore the audience feel sympathetic for
him.
Shots in threating locations which elongate
the area by gradually zooming out can give
off an intimidating affect. This is
supported by the character, Repo Man,
aggressively pacing towards the camera.
The uniform dehumanizes him and when
compared to the intimate scenes of him
and Shilo it almost appears like a new
character. This personality defect is
popular amongst films such as Halloween,
the idea that when the killer puts on their
‘killing attire’ they invent a new side to
them- the side that is able to carry out
these crimes.

28. E D I T I N G
The blurred sepia editing accentuates the
Goth aesthetic as it compliments the
excessive makeup and attire, whilst
making the audience aware that this isn’t
produced as a “real life-reality” film
implying that its an entire new world.
Dark purples, blues, reds and blacks
are frequently used within the film’s
colour schemes. This can vary from
Make-Up/Hair/Costumes to the
buildings/props also the overall final
colour tone edited over the footage.
The purpose for these colours are not
only to connote the ‘Goth’ element
that the film states, but also as it’s a
colour often associated with authority,
nightmares and horror.

29. SOUND
Initially, ominous sound effects play during the opening scene of the establishment of the
film company, Lionsgate/Twisted Pictures, this then allows the audience to be aware of the
genre of the film.
Non diegetic British male, narrating the synopsis of the film, emphasised with loud sirens
during the description of an organ failure epidemic. The tone of this voice is intentionally
motionless and slightly robotic, to dehumanise the characters in this film.

30. TE X AS CHAINSAW MASSACRE
(2003)
The Texas Chainsaw Massacre (2003) is a remake of the original version from
1975, it explores the journey of 5 teenagers road-trip to Texas in 1973, and the
fatal collision with a cannibal family that occurs. In the depths of forgotten
towns in Texas, a murderous family resides waiting for their next meal- “Who will
survive, and what will be left of them?” Although the film claims it is based on a
true story, it is merely slightly referable to the two murders Ed Gein committed
and his sadistic hobby of making outfits of human flesh/bone.

31. NARRATIVE - CHARACTE R TY PE S
The usual convention of 5 teenagers is portrayed in TCM,
especially with the inclusion of two couples and the ‘dopey’
friend.
Although it is expected that the females are the first to show
weakness (Damsel In Distress) leaving the heroic roles to the
male cast, this generic stereotype is reversed; the one most likely
to die ridiculed- the feminine, sexualised character- is actually the
remaining female victim who over powers the cannibalistic family
and attempts to save the day.
The Donor: Although this character is only in a few minutes worth
of footage, it was the fact she killed herself which lead the
teenagers to the ‘Deputy officer’ therefore leading the characters
into the Hewitt residence. More on, it could be argued that this
character, although being evidentially a victim, prepared the teens
for the horror that would await them as she urged them to drive in
a different direction before telling them bluntly that they “were all
going to die”.

32. NARRATIVE -CHARACTE R TY PE S
The Villain(s): Although it is apparent that are numerous
villains throughout TCM, the character Leatherface is perceived
as the main one.
However, all these characters equally share similar menacing
qualities, even more so in Leatherface’s family members as
although their appearance is normal in comparison to
Leatherface himself, they’re unhuman- they have no sense of
morality.
There are inclusions of the False Hero- being descendant's of
leatherface, although it is apparent these two females send off a
disturbing vibe, in comparison to the eccentric Hewitt family,
they appear more humanized. This is contradicting when the
captured teen discovers that they had fed her sleeping pills.

33. NARRATIVE STRUCTURE
Part one: Scenery of
romance and laughter,
similar to generic teenage
films yet with elements of
uneasiness. Abrupt shot of
establishing the date and
location- August 18 1973,
Texas- Presented in
menacing font/colour, aiding
the equilibrium as after this
things deteriorate.
Dramatic change in atmosphere and
representation of location, misty scenes
prior to allowing the hitch hiker into the
vehicle. The group are starting to
recognize danger, reinforced by the
hitch hikers bloody state and quote
“You’re all going to die.” Montages of
the Hewett’s ‘decorations’, slowing
introducing the audience to the fateful
house.
The purpose of the film
has been revealed as the
group finally cross paths
with the Hewett’s, scenes
of fear as the group
attempt to survive. The
chainsaw sound has been
muffled for dramatic
purposes.

34. CAMERA/MISE EN SCENE
Pastiche is used throughout both
the trailer and the film as the
2003 TCM is supposed to be
the aftermath of the original
1974 version, however some
scenery is near identical to the
original yet adapted to present a
shock factor. When comparing
the 1974 TCM to the 2003
version, it is apparent that
audiences have become more
accepting of violent movies as
the 2003 trailer features more
graphic imagery than the whole
content of the original.
2003 adaption:
Slightly sexualised angles are
used within both trailers,
predominantly on the main
female character. In the 2003
trailer, the camera is featured
on the lower half of her body
and almost allows the audience
to enter the villain’s house with
her. This engages audience
interaction as from the viewers
perspective, it is a bad idea to
enter the house.
The Hewett’s residence is
similar structure in both
versions, although the 2003’s
depiction makes it apparent that
its an evil environment whereas
the original just looks like the
average Texas house, a potential
factor contributing to the fear
of the storyline. The camera
elongates the house,
accompanied with ominous
tones which reinforce the
horror genre.
Original 1994 TCM:

35. CAME RA/ MISE E N SCE NE
In the 1974’s TCM, the only
disabled cast is used to portray
one of the teenagers. The use
of a crippled person in the
2003’s adaption was altered to
play the role of Leatherface’s
uncle, despite clearly being an
amputee reliant on a
wheelchair still has significant
power when compared to the
victims, which is apparent due
to the choice of camera angles
and the gritty filters.
The trailer features claustrophobic
imagery which in effect makes the
audience feel threatened and
uncomfortable. Similar to usual horror
conventions, it becomes apparent in the
trailer when a bad event is likely to
occur as the camera purposely captures
‘key-hole’ shots. The purpose of this is
to distract the villain from the potential
danger lurking behind them, which only
the audience can determine.
Open-spaced scenery
reinforces the
‘claustrophobic’ mode
of address as the
characters are perceived
to be trapped in a hell-
like environment, even
more so when the
scenes include the
iconic chainsaw, which
also easily distinguishes
the villain.

36. E DITING
Gritty realism filters are used to emphasise various
factors within the trailer, mainly the Texas humidity,
however are also used to accentuate both the excessive
gore and the filth within the Hewett's home. More on,
a montage of clips of both the interior of the
Hewett’s house and both on ‘their land’ abruptly fade
to black in under a second, connoting usual horror
film conventions of darkness representing evil. This is
heightened by the disturbing toy doll, potentially an
item from previous victims, which is now stained and
shattered with missing eyes. Thus being a visual
representation of the torture the cannibal clan inflict
on their victims, as they almost see the act of murder
as a hobby, treating their victims like ‘toys’. Low angle
shots are also effective in exaggerating the
vulnerability of the victims, especially in contrast with
the gloomy location as it denotes a claustrophobic
mode of address.
Fast pace cutting is used part way through the
trailer when the disequilibrium and suspense occur.,
emphasising the panic depicted in the mise en
scene.
Accompanied with sound effects with the purpose
to separate scenes and build suspense, a camera-like
shot is presented, a potential representation of
both a police identification photograph or forensic
examination of the diseased. In addition, contrary
to the previous half of the trailer, these scenes fade
to white evoking curiosity on the audiences behalf
along with showing frightened facial expressions.
The technique of the aforementioned is supported
by the fast paced continuous camera shutter, and
the gritty image of a camera lens’s peephole
advertising the producer, the font used being a
gothic-horror film aesthetic.

37. SOUND
The trailer features both non-diegetic and diegetic audio throughout the duration, initially beginning with a non-
diegetic soundtrack of soothing female vocals, presenting a happy vibe marking the start of the equilibrium, which is
then clearly disrupted when interacting with the lonely hitch hiker. This disruption is depicted through the
hitchhiker’s dialogue quoting “they’re all dead”, altering the atmosphere completely, also the sound effects of a
heavily beating heart. This sound effect is accompanied with montages of the Hewett’s abnormal ‘decorations’, the
sound exaggerating when the characters walk on ‘their’ land. Thus representing the characters emotions, as the
audience would imagine the character’s hearts to be beating in a similar irregular manner. Heavy breathing and
footsteps become a regular occurrence at this point, creating tension and fear of the unknown. This is supported by
the characters inquiries such as “What is that?” and “I just saw something!”. By now the audience are aware of a
disturbance as the main man shows signs of insecurities as he mentions calling the authorities (Cop’s). The idea of
the killer preying on the victims is illustrated through the transition of camera effects once entering the house,
reinforced by the main woman looking through a fisheye lens representing a keyhole, whom the audience
acknowledge the villain being on the other side. The fact this idea is portrayed through camera shots also connects
with the Police Identification Photograph, but also the idea of being captured in an image being adapted into being
captured by the villain. Furthermore, the peephole presents the audience with an unstable feeling as eyes are usually a
popular theme within horror conventions due to the significance of this sense organ.
After this, the screen goes black with only audio guiding the audience into what's occurring. This technique was also
used in the original Texas Chainsaw Massacre (1974), as the sound of footsteps, most likely running to/from the
attic leatherface performs his killings in, are heard yet the audience can only visually see black. Not only does this
engage the audience with the text, it also emphasises the claustrophobic Unique Selling Point this film provides.
After a few seconds of darkness and an attempt of silence from the victim, the chainsaw is exaggerated to increase
the fear factor. As a result of the film title revolving around the film, the chainsaw being the significant USP, its
apparent that the chainsaw’s sound was edited purposely for that reason. Potentially this could have been to build up
anticipation for when the audience watch the actual film, as they hadn’t heard the actual sound of the chainsaw in the
trailer therefore could have taken them by surprise.