A2 media coursework: annotating the forms and conventions of horror film posters.

1. EXISTING HORROR MOVIE
POSTERS

2. There is clear binary opposition within this poster as
the girl’s face is highlighted and brought out of the
mise-en-scene vividly with bright white lighting,
contrasting massively with the dark shadows
around her and particularly towards the bottom of
the poster. This represents the two opposing forces
within the story; light vs dark, good vs evil and
purity vs corruption.
There is a tagline on this poster which is a very
conventional feature of film posters. They allow
some insight into the narrative of the story. It is also
very conventional for a tagline to involve some kind
of pun; this is a stroke to the viewers intelligence
and makes them feel part of something.
The title of ‘SCREAM’ in itself shows clear
connotations of horror. For example, the white font
colour represents purity and it is against a grey
gradient into darkness, almost as if the letters
represent the victims as they are all spaced out
individually standing letters (symbolising their
isolated one-by-one homicides) with the darkness
(killer) creeping in on them; similar to the shadow
creeping behind the letters.Additionally, the ‘M’ in ‘SCREAM’ has a sharp
pointed mid-part which is noticeably unique
from the other letters. This refers to the sharp
instrument of murder which the killer will use
on their victims.
The words ‘highly acclaimed new’ followed by the
well-known director’s name serve as ‘buzz words’ as
they are words which create an excitement.
Having the clear mention of who directed the
film, alerts the audience to the fact that this film
has a certain status by having a well known,
well respected director tied to it. This therefor
helps with the audience appeal as they are
more likely to watch a film by someone they are
familiar with as they may have enjoyed their
past projects.
This poster is very formulaic as the principal cast
and crew are placed in a conventional diamond-
rectangular shape towards the bottom of the
poster. This serves the function of
acknowledging some of those involved in the
film, but most importantly, identifies this as a
film poster due to it’s conventional reputation.
The irises of the girl’s eyes are the only vivid
splash of colour we see on this vastly
monochromatic poster. This might allude to the
fact that she is the final girl and the light blue
colour symbolises innocents. Also, it has
connotations of freedom as it is reminiscent of
clear blue skies meaning she is the only one to
survive in the end; to be free. However, her
pupils have a spreading darkness effect,
appearing to spread the black into the irises.
This represents her transition from her normal
life to the one filled with terror.
The conventional placement of the company logos
at the bottom of the poster under the principal cast
and crew additionally identify this as a film poster.
Also, it demonstrates a level of synergy as the
website for the film is visible as well.

3. The lightning splits the chucky doll’s
face in half and presents a darker side
and lighter side. This visually fractures
the face and therefor depicts the
damage he is going to cause, but also
the two sides of Chucky. The sweet
lovable doll on the surface, but the
binary opposite of the deranged
murderer within, highlighted by the
shadow on half his face.
By having the killer’s face in the dark sky, he is given that
supernatural immortality which is conventionally conveyed
in slasher posters; they are feared because they cannot be
killed. Also, because the audience can project their worst
fears onto the ‘monster’ in the film; which is why his face
is kept mostly in the shadows with only his eyes showing -
playing on the ‘fear of the unknown’. He appears almost
God-like, omnisciently watching over though with
malicious intentions. The lightning helps to give him this
inhumane, unnatural sense of ‘another being’.
There are many elements of German
expressionism in this poster such as the
non-naturalistic angle of the building,
as well as the fractured shapes on the
mise-en-scene caused by the lightning.
The shadows also echo this. These
aspects disorients the audience and
thereby creates a sense of discomfort.
The flat building seems like an ordinary living place but it
has been morphed and placed ajar with the lightning glow
and irregular angle; this makes even the familiar fearful.
The film name is written in white which highly contrasts
the background and so, contrasts the ‘evil’ with the
appearance of good. The font is in a childlike style
which once again, plays on the idea of binary opposites.
Binary opposites such as things representing childhood
(Chucky doll), are particularly effective is slasher films
as the demonic take on something ‘pure’ makes it hard
to question what’s good anymore. For example, the
innocent title of ‘Child’s play’ is corrupted by a splatter
of blood which alludes to violence and death.
The company logos and the principal
cast and crew are formulaic film poster
features which are visible here.
However, they are placed in a slightly
non-formulaic way; rather than a
diamond shape spreading across the
bottom of the poster, it is on the
bottom left corner. This is to follow the
main shape and image in the poster, as
does the title and tagline.
The tagline conventionally involves a
pun – ‘make-believe’ referring to
children and their naivety. It also offers
insight into the narrative.
In having the woman falling out of the building, we are
expecting of the gore that will occur. This does not follow all
slasher conventions by making parents ineffective or absent
altogether as the usually are because the woman I a
mother. She is wearing a professional jacket suggesting she
works and provides for a child, and she is not sexualised by
the mise-en-scene. This makes it more horrific a mother is a
caring figure which would care more about.

4. Under her dress, we can see the slight
refection of it. Once again emphasising
how shiny and grand the event is.
However, it could also be a nod towards
Barbara creed’s ‘woman are monsters’
theory as there are essentially two of
her in this poster, the one we can see
and the reflection that is cut off; the
potential monster within her.
Synergy is visible as the website for the film is on the
bottom of the poster underneath the conventionally
placed, diamond shaped principle cast and crew.
The tagline reads “it must have been the best day of my
life”. This shows the juxtaposed expectation of what a
wonderful experience ones wedding day would be, with
the bloodbath it will actually be; it’s an ironic tagline
which in fact says “it will be the worst day of my life”.
There are obvious binary opposites within this poster.
The biggest one being the white of the background and
dress with the blood. Wedding dresses are traditionally
white to represent purity and innocence; like the Virgin
Mary. However, this purity becomes corrupted.
Polluted by the blood at the bottom of her dress and
the horror sow her wedding will actually represent.
This poster is very unconventional in
terms of slasher horrors. This is
because the colour palette is very non-
formulaic in the lack of dark colours.
However, this poster uses the red in
small yet impactful proportions to
shock the viewer and make them
uncomfortable by making such a
beautiful image frightening.
The patterned boarder on the poster
makes it looks like a wedding
invitation. The elegant corners
complemented by the calligraphic
fonts help to emphasis this angelic
goodness. In fact, the upper half of the
poster would not suggest horror or
violence at all.
The title is ‘REC’ which is short for ‘recording’ which we
see on the corner of a camcorder screen with the red
light when it is recording. The red light, however, is
replaced with a red blood splatter. This suggests
brutality and violence which will disrupt her special day,
as it has disrupted her dress. This is the third instalment
of a trilogy which is clearly stated with the number 3.
The title is written in a grey font which contrasts to the
whit somewhat as grey has connotations of masculinity
and strength whereas white connotes delicates and
femininity. This could symbolise the protagonist’s rise to
battle as it is conventional for the final girls to defeat
whatever monster hunts for her.
This foreshadowing of her heroism reflects how she is
looking into the camera lens; as if she is challenging the
viewer - all the white and innocence is just a façade.
The director’s name is placed under
the title in the same calligraphic font;
this poster therefore has the status of
being a ‘Paco Plaza film which his fans
will be interested in.