The document discusses the 1973 horror film The Exorcist, directed by William Friedkin. It provides context about the film's source material, production details, themes of demonic possession and religion. Key conventions of the supernatural horror genre are identified, such as possession, witchcraft, ghosts, and exorcism. The document examines the film's representation of gender, age, ethnicity, religion and social class. Scenes from the film are analyzed in terms of narrative, themes, sound, mise-en-scene, cinematography and editing techniques.

1. Supernatural horror films

2. Supernatural horror…
The demonic/supernatural film is not to be confused with the zombie film or the vampire
film which although have similar traits are not about demonic possession or the
supernatural.
• What are some of the key conventions of the genre?
• Demonic possession.
• Witchcraft and paganism.
• A ghostly presence.
• Religious devotion.
• The extraordinary invading the ordinary.
• Divine retribution and blasphemy.
• Exorcism.

3. ‘The Exorcist’
Dir: William Freidkin(1973)

4. The Exorcist-some notes
• ‘The Exorcist’ was released in 1973 and is based on a book by William
Peter Blatty.
• Blatty himself based the story on ‘real exorcism’ that took place in San
Francisco.
• The film was nominated for ten academy awards- them most for any
horror film. It is also still the highest grossing horror film of all time.
• The film was released to a wave of controversy with the catholic church in
America wanting the film banned.
• In the UK it was not allowed a video release in the 1980s.
• The film was re-released in 1998.
• The film is famous for its supposed curse…..

5. Horror in the 1970s-
• What differences in emotional responses did you have
when watching Halloween compared to The Exorcist?
• Both films are ‘dated’. Modern audiences have become more
desensitised to images of horror.
• H bursts of fear/adrenaline. Quick shocks that disappear. Use of
technical aspects, particularly music and lighting.
• H seems ‘real’ based on the possibility of real murder. More human
therefore less threatening.
• However for non-believers E is fantasy and not to be taken seriously.
• The use of a child in E is more disturbing than H.
• Use of sound in E is very disturbing as well as the visual effects-
projectile vomit, head spinning, levitating the bed.
• Regan’ hair and make up.

6. ‘The Exorcist’- Issues of representation
• How does the film represent:
• Gender- Age -Ethnicity- Religion- Social Class.
• Regan- the pre-pubescent teen
• Regan’s mother – single working mother.
• Father Damian and Catholicism.
• The white middle class, suburban lifestyle.
• The opening in primitive, foreign Iraq.

7. ‘The Exorcist’- The opening
• The macro aspects: Narrative and Themes
• The plot exposition.
• The exposition is quite long. Why? When does the plot actually start?
• Is the Iraq ‘prologue’ necessary?
• Why does the film spend so long on Father Karras’s back story?
• What can you say about the narrative structure?
• Linear or non-linear?
• What is the time frame of the film? One week a month. How long ago was the Iraq
prologue?
• How early can we predict what might happen to Regan.
• Can you identify key supernatural themes in the opening ?
• Extraordinary invading the ordinary
• Fear of the dark, religion (wrath of God), fear of foreigners…
• Crisis of faith.

8. ‘The Exorcist’- Exposition and the micro apsects.
• Sound(dialogue, music and sound effects)
• The chaotic diegetic street market sounds in Iraq- build to
crescendo
• The harsh, discordant sound of the demon in the loft.
• The naturalistic dialogue.
• The famous use of ‘Tubular Bells’ music (tracking shot). Now closely
associated with horror.
• Mise en scene (sets and locations, costume, props and
lighting)
• The primitive, chaotic Arab world.
• The ancient artefact and demonic statue in Iraq
• The suburban large townhouse with maids.
• Chiaroscuro lighting- in the loft
• Religious symbols- crucifix, nuns. The Ouija board?
• Father Damian’s priestly garments.

9. • Cinematography (shots, angles and movements)
• The two shot ‘face-off between the priest and
the demonic statue in Iraq.
• The long tracking shot of Regan’s mother walking
down ordinary suburban street.
• The low angles looking up at the loft- what is up
there?
• The slow track back at the dinner party to reveal
Regan – before she wets herself.
• Editing (positioning of shots, continuity editing,
transitions)

10. The Exorcist- ‘therapist scene’
• Constant undertone tremor
• Chiaroscuro – Magritte painting ‘ Empire of light’
1950, events happening in genuine place. They depict
the paradoxical image of a night-time street, lit only
by a single street light, beneath a daytime sky. Shown
and represented through the candle light
• Candles represent Jesus.
• Bedroom- safe and secure domestic setting?
• The room is always cold, evil dwells in the cold
(inhumane). Uncomfortable and disorientated in
relation to the sounds.

11. Therapist scene continued….
• Dialogue addressing in second person by therapist
• Monotone delivery of Regan.
• Growling animalistic sounds
• Make up- pale lifeless face
• Close ups and reaction shots of Regan and mother.
• Picture of Regan falls.
• Regan’s POV- emphasizes the pain of the man, also
emphasizes the pain Regan is causing and her
extraordinary supernatural powers.

12. ‘The Exorcist’ and emotional response
https://www.youtube.com/watch?v=6OtrZoqN-xo
• ‘The Exorcist’ is an iconic horror film. There is a myth surrounding
the film generated by the supposed ‘curse’ during its production.
• This was then reinforced by the reaction it received form
audiences when first released in 1973.
• The film itself was groundbreaking in terms of the way is used
visual effects and sound effects to create the horror.
• It also used a child actress in manner that shocked audiences.
• By the early 1970’s censorship laws had been loosened so that
graphic sex/nudity, explicit violence and course language were
permissible.
• What questions can we ask in regards to audience's
emotional response to The Exorcist?