1. Horror films attempt to scare audiences through the use of techniques like atmospheric music, lighting, editing, and camera techniques. However, what truly creates fear is tapping into the real cultural fears of the target audience.
2. Different eras have different cultural fears, so horror films must change their monsters and threats over time to remain relevant. Early 20th century horrors featured external monsters like vampires that threatened communities from the outside, while modern horrors also depict internal monsters and threats from within communities.
3. By analyzing the type of monster in a horror film, one can gain insights into the specific cultural fears of the time period. Horror monsters have transitioned from purely external threats to include man-made
This document discusses the horror genre and its conventions. It defines genre as a method of categorizing films based on similarities in narrative elements. Sub-genres are identifiable subclasses within a genre that have distinctive subject matter and styles. Hybrid genres combine elements of two or more classic genres. The document provides examples of horror sub-genres and their defining conventions, as well as generic conventions expected in horror films regardless of sub-genre, such as isolated settings and indestructible monsters. It also examines why audiences and producers are drawn to genre films and how genres evolve over time.
Horror Films: Creating and Reflecting FearBelinda Raji
This document provides an overview of the horror genre in film. It discusses how horror is not a single genre but contains many subgenres. While horror films share the goal of scaring audiences, they utilize different iconographies and settings depending on the subgenre. Examples include the gothic mansion, suburban home, and isolated rural locations. The document also explores how horror films employ techniques like music, editing, lighting and camerawork to elicit fear in viewers. Additionally, it notes that to remain interesting to audiences, the genre must find a balance between familiar conventions and innovative elements. Horror is also analyzed as reflecting the cultural fears of different time periods.
The document provides guidance on summarizing and analyzing the narrative features, themes, and representations of gender in the horror films The Descent and Creep. It discusses common horror film conventions like isolation, entrapment, and monsters representing societal fears. For The Descent, it suggests the Crawlers represent a terrorist threat, reflecting anxieties about the Gulf War. Creep reflects harsh urban realities and the disconnectedness of its characters. Both films use lighting and settings effectively to unnerve audiences, while The Descent subverts expectations through its unconventional ending.
1. Horror films attempt to scare audiences through the use of conventions and techniques, but what truly creates fear is tapping into the real cultural anxieties and fears of the time period.
2. Different eras have produced different types of monsters that reflect the major fears of that society. For example, early 20th century horrors featured more external monsters like vampires that threatened communities from the outside, while modern films depict more internal monsters that arise from within, like Norman Bates in Psycho.
3. A key way horrors have remained engaging over time is by updating these monster representations and storylines to align with evolving societal fears, while still maintaining some familiar genre traits. This allows the films to scare audiences by
This document discusses representations in horror films and society. It defines representation as a construction that reflects societal attitudes rather than accuracy. Gender, social class, age, and national identities are often represented in traditional ways in older horror films. Carol Clover's "Final Girl" theory holds that the last surviving victim, who is often intelligent and virginal, takes on the role of investigating the threat. The document analyzes how representations have changed over time, with women increasingly shown as heroes rather than victims and the working class represented with more nuance. Feminism is seen as pushing for more adaptive representations while not fundamentally changing the dominant ideology.
The document discusses narrative conventions and structures that are common in horror genres. It explains that horror narratives typically follow a three-act structure of an onset phase where a disorder is introduced, a discovery phase where characters learn of the disorder, and a disruption phase where characters work to restore order by defeating the source of the disorder. The document also summarizes some key narrative theories that are relevant for analyzing horror films, such as those proposed by Todorov, Propp, Barthes, and Levi-Strauss.
Genre, narrative, representation and audienceLewisBrownMedia
This document discusses various theories related to genre, narrative, representation, and audience in the context of horror films. It defines genre and provides examples of common conventions in the horror genre, such as violent themes, spooky settings, and dark colors. Narrative theories discussed include Propp's character archetypes and Carroll's sub-types of horror narratives. In terms of representation, Mulvey's male gaze theory is described. Finally, theories on horror film audiences include Freud's theory of the uncanny, Mulvey's theory of sadistic voyeurism, and the snuggle theory regarding gender roles.
This document discusses conventions of the horror genre including common settings, characters, iconography, narratives, and subgenres. It also summarizes some key genre theories. Specifically, it notes that dark, isolated, or natural settings are commonly used to set the atmosphere in horror. Character archetypes include families, friends, and vulnerable characters. Iconography includes low lighting, weapons, and dark colors. Narratives often involve a group being persecuted by an antagonist with an unpredictable ending. Subgenres discussed are gothic, slasher, psychological, paranormal, gore, and found footage. Theories addressed are those proposed by Altman, Dyer, and Stacy regarding pleasures, escapism, and genre evolution over
This document discusses the horror genre and its conventions. It defines genre as a method of categorizing films based on similarities in narrative elements. Sub-genres are identifiable subclasses within a genre that have distinctive subject matter and styles. Hybrid genres combine elements of two or more classic genres. The document provides examples of horror sub-genres and their defining conventions, as well as generic conventions expected in horror films regardless of sub-genre, such as isolated settings and indestructible monsters. It also examines why audiences and producers are drawn to genre films and how genres evolve over time.
Horror Films: Creating and Reflecting FearBelinda Raji
This document provides an overview of the horror genre in film. It discusses how horror is not a single genre but contains many subgenres. While horror films share the goal of scaring audiences, they utilize different iconographies and settings depending on the subgenre. Examples include the gothic mansion, suburban home, and isolated rural locations. The document also explores how horror films employ techniques like music, editing, lighting and camerawork to elicit fear in viewers. Additionally, it notes that to remain interesting to audiences, the genre must find a balance between familiar conventions and innovative elements. Horror is also analyzed as reflecting the cultural fears of different time periods.
The document provides guidance on summarizing and analyzing the narrative features, themes, and representations of gender in the horror films The Descent and Creep. It discusses common horror film conventions like isolation, entrapment, and monsters representing societal fears. For The Descent, it suggests the Crawlers represent a terrorist threat, reflecting anxieties about the Gulf War. Creep reflects harsh urban realities and the disconnectedness of its characters. Both films use lighting and settings effectively to unnerve audiences, while The Descent subverts expectations through its unconventional ending.
1. Horror films attempt to scare audiences through the use of conventions and techniques, but what truly creates fear is tapping into the real cultural anxieties and fears of the time period.
2. Different eras have produced different types of monsters that reflect the major fears of that society. For example, early 20th century horrors featured more external monsters like vampires that threatened communities from the outside, while modern films depict more internal monsters that arise from within, like Norman Bates in Psycho.
3. A key way horrors have remained engaging over time is by updating these monster representations and storylines to align with evolving societal fears, while still maintaining some familiar genre traits. This allows the films to scare audiences by
This document discusses representations in horror films and society. It defines representation as a construction that reflects societal attitudes rather than accuracy. Gender, social class, age, and national identities are often represented in traditional ways in older horror films. Carol Clover's "Final Girl" theory holds that the last surviving victim, who is often intelligent and virginal, takes on the role of investigating the threat. The document analyzes how representations have changed over time, with women increasingly shown as heroes rather than victims and the working class represented with more nuance. Feminism is seen as pushing for more adaptive representations while not fundamentally changing the dominant ideology.
The document discusses narrative conventions and structures that are common in horror genres. It explains that horror narratives typically follow a three-act structure of an onset phase where a disorder is introduced, a discovery phase where characters learn of the disorder, and a disruption phase where characters work to restore order by defeating the source of the disorder. The document also summarizes some key narrative theories that are relevant for analyzing horror films, such as those proposed by Todorov, Propp, Barthes, and Levi-Strauss.
Genre, narrative, representation and audienceLewisBrownMedia
This document discusses various theories related to genre, narrative, representation, and audience in the context of horror films. It defines genre and provides examples of common conventions in the horror genre, such as violent themes, spooky settings, and dark colors. Narrative theories discussed include Propp's character archetypes and Carroll's sub-types of horror narratives. In terms of representation, Mulvey's male gaze theory is described. Finally, theories on horror film audiences include Freud's theory of the uncanny, Mulvey's theory of sadistic voyeurism, and the snuggle theory regarding gender roles.
This document discusses conventions of the horror genre including common settings, characters, iconography, narratives, and subgenres. It also summarizes some key genre theories. Specifically, it notes that dark, isolated, or natural settings are commonly used to set the atmosphere in horror. Character archetypes include families, friends, and vulnerable characters. Iconography includes low lighting, weapons, and dark colors. Narratives often involve a group being persecuted by an antagonist with an unpredictable ending. Subgenres discussed are gothic, slasher, psychological, paranormal, gore, and found footage. Theories addressed are those proposed by Altman, Dyer, and Stacy regarding pleasures, escapism, and genre evolution over
This document discusses the history and conventions of supernatural horror fiction and films. It outlines that supernatural horror draws from folklore involving witches, ghosts, and demons. Gothic horror novels of the 18th century incorporated these elements. Supernatural horror films aim to frighten audiences and invoke fears through their use of music, locations like churches and farms, shots styles, and credits that follow the horror theme. They also follow standard plot structures involving victims, villains and the conflict between good and evil.
The document discusses common stock characters, plots, locations, and props used in horror films. Some key stock characters mentioned include the protagonist, antagonist, final girl, and children who are often used to connect the supernatural to other characters. Common plots involve a family moving to a haunted house/location and the father going insane. Isolated locations like cabins in the woods and haunted houses are frequently used due to their ability to create fear. Weapons are a common prop that illustrate vulnerability and are used by both antagonists and protagonists.
This document discusses concepts related to genre and representation in film. It begins by stating that macro-level features like genre require investigating films as a whole and in their social context. Genre is defined as a kind or category of film based on iconography, conventions, and audience expectations. The document then examines theories and criticisms of genre from scholars like Edward Buscombe, Steve Neale, Robert Stam, David Bordwell, and David Buckingham. It questions whether genre is a useful concept and how film trailers employ genre to promote movies.
This document discusses the backwoods horror genre and provides examples of films that fit this subgenre, including The Hills Have Eyes, Wrong Turn, and Deliverance. It prompts the reader to analyze the opening scene of The Descent, considering elements of genre iconography, character representation, landscape symbolism, and how binary oppositions are shown. The reader is also asked to consider how studied films are typical of the genre and what other scenes and theories could be used for comparative analysis.
The document discusses common conventions and representations in horror films. It outlines several character archetypes including the female victim, non-believer, hero/protagonist, hysterical character, villain/antagonist, and false hero. It also describes common elements of setting, costume, makeup, props, and lighting used to portray villains. Additionally, it notes historical gender stereotypes in horror and how more recent films have challenged traditional conventions.
This document provides information about the concept of representation that will be useful for analyzing a media production for a critical perspectives exam. It defines representation as how media re-presents or constructs meanings about the world. It discusses key questions to consider when analyzing representation, such as what concepts are highlighted, what representations are generated, and if there are any stereotypes. The document also discusses theories of representation, such as how gender is typically represented in media according to theorists like Berger and Mulvey. It provides several quotes about representation that could be cited. Finally, it discusses concepts like the "male gaze," the "final girl" trope in horror, and how different genres like zombies films can represent cultural ideas.
The document provides an overview of the horror genre, including what defines horror films, their history and conventions. It distinguishes horror from thriller films, noting horror plays on primal fears through supernatural or disturbing scenes. Key conventions of horror discussed include isolated settings, technical techniques like lighting and camera work, common character archetypes, and themes of good vs evil. The document also examines two horror film posters and their use of visual elements and text to convey horror themes and intrigue audiences.
Horror films commonly use certain conventions and tropes to establish mood and narrative. These include masks to hide the killer's identity, low key lighting and shadows to build suspense, mansions and forests as isolated settings, and narratives involving revenge killings or dumb blond victims. Common characters are the main murder victim, the killer who is often male, and a killer's friend who assists. Themes revolve around ghosts, vampires, zombies, and the last victim confronting death.
The document discusses various forms and conventions commonly found in horror films. It outlines common themes such as revenge, hauntings, demons, gore, and serial killers. It also describes subgenres like gothic horror, slasher films, and psychological horror. Narratives in horror films typically involve a protagonist confronting a monster or villain. Character archetypes include the heroine, sex appeal character, irritating character, unlikely hero, and antagonist. The document also discusses camera work techniques, found footage style, iconography, and common settings used to establish mood and tension in horror movies.
Horror films aim to elicit fear and terror in viewers. They frequently involve themes of death, the supernatural, or mental illness. The first horror film was made in 1896. In the 1960s, horror film budgets rose and films became more gruesome. While some argue horror films influence violence, research shows they allow viewers to confront fears. Horror films typically use certain techniques like music, settings, characters, and themes to create fear and suspense.
The document discusses the horror genre and its various subgenres. The purpose of horror is to scare viewers by playing on primal fears. It does this through techniques like jump scares. The genre is divided into subgenres that combine horror with other elements, such as action horror, body horror, comedy horror, gothic horror, psychological horror, sci-fi horror, slasher horror, and zombie horror. Paranormal activity is cited as a successful horror film that uses camera techniques to keep the audience engaged.
The document outlines several common character types found in horror films:
The Hero is typically a brave, masculine figure who leads the group without showing emotion. The Non-Believer is overconfident and convinces others not to worry but often dies first. The Female Victim is young, blonde, and vulnerable, requiring protection. The Loved Up Couple leaves the group to be intimate and one will die, distressing the other. The Hysterical Character breaks down after a death and refuses to leave danger, usually being killed or causing others to be hunted. The Evil Character takes forms like killers, demons, or monsters and is inhumanly difficult to injure or kill.
This document discusses common elements of horror films including typical synopses involving revenge, hauntings, demons, and serial killers. It notes that horror films often take place in abandoned buildings at night and feature props like weapons and masks. Common characters include victims, villains like serial killers, "stupid" teenagers, and possessed children. The camera work aims to induce fear through techniques like high and low angles, point-of-view shots, handheld footage, and disturbing sounds.
The document discusses the conventions of the horror genre. It begins by explaining that horror films seek to elicit fear in audiences by playing on their fears. The generic plot involves an evil force that is supernatural or paranormal, or the setting itself is evil. Horror films are most popular among 16-24 year olds. The history of horror films is then discussed, noting that the first was created in 1896. Subgenres like action horror, comedy horror, and psychological horror are also outlined. Common conventions in horror films include isolated settings, characters being stalked and killed, power outages, phone lines being cut, strange noises being investigated, characters hiding where they will be found, victims falling, vehicles not starting, and weather reflecting
The document discusses the horror genre in film. It defines genre and provides examples of subgenres like horror comedy hybrids. It also covers common elements of horror films, including isolated or abandoned settings, expressive camera work using extreme close-ups and point-of-view shots, iconic visuals like blood and weapons, narratives that cliffhang or have endless plots, character archetypes like "the protagonist" and "the antagonist", and recurring themes like revenge or religion.
The document discusses the key elements and features of horror films. It states that horror films aim to elicit negative emotional reactions in viewers by playing on fears like death, pain, and the unknown. Successful horror films rely more on what is not seen rather than elaborate effects. Common plots involve an evil force intruding on a character's life. Key elements that make horror films effective include fear, suspense, surprise, and mystery. Good horror films create a sense of reality and tension, while bad ones have predictable plots and poor acting, effects, and technical elements.
The document provides a history and analysis of the horror genre. It discusses that horror films are meant to scare audiences using primal fears. It then summarizes the origins of horror films in the late 19th century and traces the evolution of various horror subgenres over the 20th century including monster movies, slashers, sci-fi horrors, found footage films, and remakes of classic films in recent decades. Key conventions of the genre like settings, characters, themes, and visual icons are also outlined.
This document defines horror genre conventions and subgenres of horror films. Genre conventions are elements like characters and plot points that distinguish one genre from another. Horror aims to elicit a negative emotional reaction by playing on primal fears. The document outlines several horror subgenres including comedy horror, action horror, slasher films, zombie films, psychological horror, and science fiction horror. It provides examples of popular films that fall within each subgenre.
Horror films typically use certain settings, technical elements, and visual symbols to create fear and suspense. Common settings include isolated or abandoned places that enhance feelings of fear and isolation. Technical elements like editing, camerawork, lighting, and sound are used to startle audiences and build tension. Visual symbols like dark colors, shadows, and religious icons also contribute to the unsettling atmosphere. Narrative structures commonly follow a pattern of normality being disrupted by a threat, which is then resolved, though sometimes ambiguity is used to set up potential sequels. Character archetypes include the victim/hero, children, and various monsters representing threats from the past. Underlying themes involve the conflict between natural and unnatural forces, the hidden
OCR A level media Q1b genre example answer A gradehasnmedia
The student discusses their horror teaser trailer and how it relates to genre conventions. The trailer is set in the woods and uses techniques like handheld camera work and cross-cutting to create tension. While adhering to horror tropes like an isolated setting and darkness, the trailer subverts expectations by featuring a female psycho killer instead of the typical male role. Editing techniques like changes in pace and symbolic shots of blood and hanging were used to unsettle the audience. The open ending leaves viewers wanting more, demonstrating how the trailer effectively engaged with its target horror genre audience.
This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
There are several types of monsters represented in horror films that reflect different cultural fears. The external monster represents an outsider threat, like vampires invading a community. The man-made monster is exemplified by Frankenstein's creation, tapping fears about unconstrained science. Most modern horrors feature the internal monster, like Norman Bates, that show evil emerging from within normal human beings. This internal monster speaks to contemporary fears about psychology and the potential for human malevolence in a less religious society.
This document discusses the history and conventions of supernatural horror fiction and films. It outlines that supernatural horror draws from folklore involving witches, ghosts, and demons. Gothic horror novels of the 18th century incorporated these elements. Supernatural horror films aim to frighten audiences and invoke fears through their use of music, locations like churches and farms, shots styles, and credits that follow the horror theme. They also follow standard plot structures involving victims, villains and the conflict between good and evil.
The document discusses common stock characters, plots, locations, and props used in horror films. Some key stock characters mentioned include the protagonist, antagonist, final girl, and children who are often used to connect the supernatural to other characters. Common plots involve a family moving to a haunted house/location and the father going insane. Isolated locations like cabins in the woods and haunted houses are frequently used due to their ability to create fear. Weapons are a common prop that illustrate vulnerability and are used by both antagonists and protagonists.
This document discusses concepts related to genre and representation in film. It begins by stating that macro-level features like genre require investigating films as a whole and in their social context. Genre is defined as a kind or category of film based on iconography, conventions, and audience expectations. The document then examines theories and criticisms of genre from scholars like Edward Buscombe, Steve Neale, Robert Stam, David Bordwell, and David Buckingham. It questions whether genre is a useful concept and how film trailers employ genre to promote movies.
This document discusses the backwoods horror genre and provides examples of films that fit this subgenre, including The Hills Have Eyes, Wrong Turn, and Deliverance. It prompts the reader to analyze the opening scene of The Descent, considering elements of genre iconography, character representation, landscape symbolism, and how binary oppositions are shown. The reader is also asked to consider how studied films are typical of the genre and what other scenes and theories could be used for comparative analysis.
The document discusses common conventions and representations in horror films. It outlines several character archetypes including the female victim, non-believer, hero/protagonist, hysterical character, villain/antagonist, and false hero. It also describes common elements of setting, costume, makeup, props, and lighting used to portray villains. Additionally, it notes historical gender stereotypes in horror and how more recent films have challenged traditional conventions.
This document provides information about the concept of representation that will be useful for analyzing a media production for a critical perspectives exam. It defines representation as how media re-presents or constructs meanings about the world. It discusses key questions to consider when analyzing representation, such as what concepts are highlighted, what representations are generated, and if there are any stereotypes. The document also discusses theories of representation, such as how gender is typically represented in media according to theorists like Berger and Mulvey. It provides several quotes about representation that could be cited. Finally, it discusses concepts like the "male gaze," the "final girl" trope in horror, and how different genres like zombies films can represent cultural ideas.
The document provides an overview of the horror genre, including what defines horror films, their history and conventions. It distinguishes horror from thriller films, noting horror plays on primal fears through supernatural or disturbing scenes. Key conventions of horror discussed include isolated settings, technical techniques like lighting and camera work, common character archetypes, and themes of good vs evil. The document also examines two horror film posters and their use of visual elements and text to convey horror themes and intrigue audiences.
Horror films commonly use certain conventions and tropes to establish mood and narrative. These include masks to hide the killer's identity, low key lighting and shadows to build suspense, mansions and forests as isolated settings, and narratives involving revenge killings or dumb blond victims. Common characters are the main murder victim, the killer who is often male, and a killer's friend who assists. Themes revolve around ghosts, vampires, zombies, and the last victim confronting death.
The document discusses various forms and conventions commonly found in horror films. It outlines common themes such as revenge, hauntings, demons, gore, and serial killers. It also describes subgenres like gothic horror, slasher films, and psychological horror. Narratives in horror films typically involve a protagonist confronting a monster or villain. Character archetypes include the heroine, sex appeal character, irritating character, unlikely hero, and antagonist. The document also discusses camera work techniques, found footage style, iconography, and common settings used to establish mood and tension in horror movies.
Horror films aim to elicit fear and terror in viewers. They frequently involve themes of death, the supernatural, or mental illness. The first horror film was made in 1896. In the 1960s, horror film budgets rose and films became more gruesome. While some argue horror films influence violence, research shows they allow viewers to confront fears. Horror films typically use certain techniques like music, settings, characters, and themes to create fear and suspense.
The document discusses the horror genre and its various subgenres. The purpose of horror is to scare viewers by playing on primal fears. It does this through techniques like jump scares. The genre is divided into subgenres that combine horror with other elements, such as action horror, body horror, comedy horror, gothic horror, psychological horror, sci-fi horror, slasher horror, and zombie horror. Paranormal activity is cited as a successful horror film that uses camera techniques to keep the audience engaged.
The document outlines several common character types found in horror films:
The Hero is typically a brave, masculine figure who leads the group without showing emotion. The Non-Believer is overconfident and convinces others not to worry but often dies first. The Female Victim is young, blonde, and vulnerable, requiring protection. The Loved Up Couple leaves the group to be intimate and one will die, distressing the other. The Hysterical Character breaks down after a death and refuses to leave danger, usually being killed or causing others to be hunted. The Evil Character takes forms like killers, demons, or monsters and is inhumanly difficult to injure or kill.
This document discusses common elements of horror films including typical synopses involving revenge, hauntings, demons, and serial killers. It notes that horror films often take place in abandoned buildings at night and feature props like weapons and masks. Common characters include victims, villains like serial killers, "stupid" teenagers, and possessed children. The camera work aims to induce fear through techniques like high and low angles, point-of-view shots, handheld footage, and disturbing sounds.
The document discusses the conventions of the horror genre. It begins by explaining that horror films seek to elicit fear in audiences by playing on their fears. The generic plot involves an evil force that is supernatural or paranormal, or the setting itself is evil. Horror films are most popular among 16-24 year olds. The history of horror films is then discussed, noting that the first was created in 1896. Subgenres like action horror, comedy horror, and psychological horror are also outlined. Common conventions in horror films include isolated settings, characters being stalked and killed, power outages, phone lines being cut, strange noises being investigated, characters hiding where they will be found, victims falling, vehicles not starting, and weather reflecting
The document discusses the horror genre in film. It defines genre and provides examples of subgenres like horror comedy hybrids. It also covers common elements of horror films, including isolated or abandoned settings, expressive camera work using extreme close-ups and point-of-view shots, iconic visuals like blood and weapons, narratives that cliffhang or have endless plots, character archetypes like "the protagonist" and "the antagonist", and recurring themes like revenge or religion.
The document discusses the key elements and features of horror films. It states that horror films aim to elicit negative emotional reactions in viewers by playing on fears like death, pain, and the unknown. Successful horror films rely more on what is not seen rather than elaborate effects. Common plots involve an evil force intruding on a character's life. Key elements that make horror films effective include fear, suspense, surprise, and mystery. Good horror films create a sense of reality and tension, while bad ones have predictable plots and poor acting, effects, and technical elements.
The document provides a history and analysis of the horror genre. It discusses that horror films are meant to scare audiences using primal fears. It then summarizes the origins of horror films in the late 19th century and traces the evolution of various horror subgenres over the 20th century including monster movies, slashers, sci-fi horrors, found footage films, and remakes of classic films in recent decades. Key conventions of the genre like settings, characters, themes, and visual icons are also outlined.
This document defines horror genre conventions and subgenres of horror films. Genre conventions are elements like characters and plot points that distinguish one genre from another. Horror aims to elicit a negative emotional reaction by playing on primal fears. The document outlines several horror subgenres including comedy horror, action horror, slasher films, zombie films, psychological horror, and science fiction horror. It provides examples of popular films that fall within each subgenre.
Horror films typically use certain settings, technical elements, and visual symbols to create fear and suspense. Common settings include isolated or abandoned places that enhance feelings of fear and isolation. Technical elements like editing, camerawork, lighting, and sound are used to startle audiences and build tension. Visual symbols like dark colors, shadows, and religious icons also contribute to the unsettling atmosphere. Narrative structures commonly follow a pattern of normality being disrupted by a threat, which is then resolved, though sometimes ambiguity is used to set up potential sequels. Character archetypes include the victim/hero, children, and various monsters representing threats from the past. Underlying themes involve the conflict between natural and unnatural forces, the hidden
OCR A level media Q1b genre example answer A gradehasnmedia
The student discusses their horror teaser trailer and how it relates to genre conventions. The trailer is set in the woods and uses techniques like handheld camera work and cross-cutting to create tension. While adhering to horror tropes like an isolated setting and darkness, the trailer subverts expectations by featuring a female psycho killer instead of the typical male role. Editing techniques like changes in pace and symbolic shots of blood and hanging were used to unsettle the audience. The open ending leaves viewers wanting more, demonstrating how the trailer effectively engaged with its target horror genre audience.
This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
There are several types of monsters represented in horror films that reflect different cultural fears. The external monster represents an outsider threat, like vampires invading a community. The man-made monster is exemplified by Frankenstein's creation, tapping fears about unconstrained science. Most modern horrors feature the internal monster, like Norman Bates, that show evil emerging from within normal human beings. This internal monster speaks to contemporary fears about psychology and the potential for human malevolence in a less religious society.
This document discusses techniques for creating fear in horror films, including through camera work, sound, editing, and mise-en-scene. It also analyzes common audience fears that horror films play into, such as darkness, isolation, and strange noises. Additionally, it examines how the type of "monster" in a film depends on the subgenre and is meant to represent different societal fears, such as external threats, man-made creatures, or internal human corruption. Overall, the document analyzes how horror films manipulate various cinematic techniques and play on underlying societal anxieties to frighten audiences.
This document discusses the purpose and themes of horror movies. It suggests that horror movies reflect the anxieties of their time and deal with threats that were initially from monsters but later came from within communities. While some films retell old stories, the focus and techniques change over time. Key themes in horror include the confrontation of repressed desires, tensions, and fears through a "safe" experience of catharsis. Horror implies a critique of social repression of unconscious desires.
The document discusses researching the horror genre in order to create opening titles. It summarizes that the author will research stock characters, plots, locations, props, music and sounds, and conventions of the horror genre. It provides examples of commonly used stock characters, plots involving killers stalking and killing victims, and locations like forests and abandoned buildings. It also lists examples of typical props like axes and signs like storms. Musical elements like violins and distorted sounds aim to create discomfort. Technical conventions include shaky camera work and lighting to generate fear.
Research was important throughout the project. Studying genre conventions helped the filmmakers understand what elements make a horror film scary. However, they also wanted to be unique. Research on settings, technical codes, iconography, narrative structures, characters, themes, and audience feedback impacted decisions for their horror trailer. It was set in a creepy marsh at night with scary camerawork, lighting, props, and a plot involving a female victim, evil teacher character, and unique female hero.
Research was important throughout the project. Studying genre conventions helped the filmmakers understand what elements make horror films scary. However, they also wanted to be unique. Research on settings, technical codes, iconography, narrative structures, characters, themes, and audience feedback impacted decisions for their horror trailer. It was set in a creepy marsh at night with scary camerawork, lighting, props, and a plot involving a female victim, teacher villain, and hero who subverts typical character roles.
This document summarizes the author's research into conventions of the horror genre for their opening titles project. It discusses common horror elements like stock characters (nerds, jocks), plots (killer stalking victims), locations (forests, asylums), props (axes, cars), sounds (distorted music), and narrative structures (hero on a quest). The author provides examples like the plot of the film Mirrors and explains how genre conventions establish settings, camera work, editing, iconography, and other technical aspects to create fear and suspense for the audience.
The horror genre originated in the late 1700s as a genre of Gothic literature. One of the first horror films was made in 1896 by French filmmaker Georges Melies. While the term 'horror' was not used to describe films until the 1930s, the genre has evolved significantly with advances in technology. Famous directors like Alfred Hitchcock and George Romero helped establish conventions for camera work, editing, settings, characters, and themes that are still common in modern horror films. Subgenres have also emerged like slasher, psychological horror, and zombie films.
Horror films follow common patterns in their iconography, or visual symbols, that help identify the genre for viewers. Examples include haunted houses, symbols of death, masks, screaming victims, weapons, and depictions of good and evil. Settings also play an important role, with most horror films taking place at night in dark, isolated locations like abandoned buildings. Character archetypes that commonly appear include monsters, murderers, victims, and those who help rescue victims. Finally, horror films often explore common social themes through their villains, such as fears of the time period when the film was made, and focus on the conflicts and dilemmas faced by main characters.
This document discusses conventions of fear and representation in horror films. It begins by listing common fears such as spiders, death, clowns, and isolation. It then examines conventions that create fear, such as antagonists wearing masks, isolated locations, groups being persecuted, and recognizable costumes. Specific films like It, The Others, and The Crazies are discussed. The document also covers Neale's theory of three types of monsters - outsiders, man-made monsters, and insiders. Finally, it analyzes films like Nightmare on Elm Street where the antagonist crosses between two monster types.
This document discusses analyzing film stills from four horror sub-genres: Gothic, Psychological, Slasher, and Zombie films. It provides details on the key conventions of each sub-genre, including common settings, characters, plot elements, camera techniques, and themes. Students will study stills from films like Psycho, The Shining, Frankenstein, and 28 Days Later to identify conventions and learn about the different horror sub-genres.
The document provides a history of the horror genre in cinema from the early 1900s through the 1970s-80s. It notes that early films adapted literary classics as Frankenstein and Dr. Jekyll and Mr. Hyde. The silent film era of the 1920s-30s is considered the finest. The 1970s-80s saw a focus on religious evil and possession films inspired by The Exorcist and The Omen. It also lists some early French and British horror films from 1896 and provides details on common horror movie narratives, character types, settings, sounds, costumes/makeup, props.
The document discusses the horror genre and the 1996 film Scream. It provides context on conventions of horror films, such as frightening settings, ominous camera work, narratives of disruption and restoration of order. It analyzes how Scream employs these conventions while also commenting on and playing with audience expectations through self-aware dialogue and references to other horror films, representing a postmodern approach. The postmodern aspects include borrowing from previous works, delighting in references to other films through characters, and spelling out "rules" of horror.
The document discusses the horror genre and the 1996 film Scream. It provides context on conventions of horror films, such as having a final girl, frightening settings, and themes of death/destruction. It argues Scream is postmodern as it references these conventions while also commenting on and subverting expectations of the genre through self-aware dialogue and characters discussing horror film tropes. The film establishes conventions like the final girl but updates them for a modern audience familiar with these tropes.
The document discusses several common conventions and tropes found in slasher films. It notes that there is usually a sole female survivor called the "final girl" who is less promiscuous than her peers. It also describes the presence of an ineffective male authority figure and how locations can create fear for the audience. Common character archetypes seen in slasher films are also outlined.
The document provides an overview of the highest grossing horror films of 2013. It summarizes the top 5 films, which include remakes of Carrie and Evil Dead, as well as original films like Mama, Insidious: Chapter 2, and the top grossing film The Conjuring. Each summary includes the film's plot, director, worldwide box office gross, and a link to the official trailer.
The document outlines several key conventions of horror genre films. It discusses common character archetypes like the protagonist who survives and the antagonist villain. It also explores iconic visual elements such as masks and weapons worn by memorable villains. Additionally, it examines themes, narrative techniques, visual styles, and common settings that horror films employ to frighten audiences.
The document discusses the conventions of the horror genre. It identifies key elements such as narratives involving groups being persecuted by antagonists, isolated locations like abandoned houses, and teenage characters. It also examines conventions for specific horror subgenres like gothic, slasher, paranormal, found footage, and gore films. Theories about why audiences enjoy horror focus on the genre providing an escape from reality and experiencing situations outside of everyday life.
The document discusses the conventions of the horror genre. It identifies key elements such as narratives involving groups being persecuted by antagonists, isolated locations like abandoned houses, and teenage characters. It also examines conventions for specific horror subgenres like gothic, slasher, paranormal, found footage, and gore films. Theories about why audiences enjoy horror focus on the genre providing an escape from reality and experiencing situations outside of everyday life.
This document provides a template for storyboarding a film or video project. The template includes sections for describing shots such as close-up or long shot, whether elements are diegetic or non-diegetic, if there is dialogue or music, and details of what is happening. Each storyboard drawing would note the shot length, if it takes place interior or exterior, during the day or night, and from a starter, eye level, low or high camera angle.
This document provides information about an AS Media Studies course. Students will complete coursework consisting of a 2 minute film opening and blog posts, worth 50% of the grade. They will also take an exam on representation in TV and the film industry, worth the other 50%. The blog and VLE will be used to share resources, homework, and deadlines. Students are instructed to set up their own blogger blog to submit assignments, including 21 planning posts with specified tags. Examples of past student film openings are shared, and conventions of film openings are discussed. Homework involves analyzing the timeline of a film opening title sequence.
This document provides information about colons and semi-colons, including their proper uses and what they look like. It explains that colons can be used to add information to a sentence and semi-colons are mainly used to combine two related thoughts. Examples of each punctuation mark are given. The document concludes by having the reader explain to a partner what they've learned about colons and semi-colons.
This document introduces an AS Media Studies course, outlining coursework requirements and setting a summer project. Students will create a horror film opening and blog posts, and 50% of their grade will come from coursework and 50% from an exam. The document discusses conventions of film openings, provides an example from a previous student, and instructs students to set up a blog. It then lists "Top 10 horror shots" as a starting point for students' horror film openings and allows time for students to practice recreating the shots.
This document provides an overview of micro features in film including mise-en-scene, cinematography, editing, narrative, and sound. It discusses key elements of mise-en-scene like setting, decor, props, costumes, and figure expression. Cinematography techniques covered include shots, angles, camera movements, depth of focus, lighting, color, and special effects. The document also distinguishes between diegetic and non-diegetic sound.
This document discusses editing and cinematography techniques for music videos. It analyzes award-winning music videos from 2012 to identify editing styles like cuts, transitions, and effects. It also examines camera shots, angles, and movements in nominated music videos. Students are tasked with analyzing the techniques in these examples and applying them in a one-minute lip syncing music video project edited in Adobe Premiere. The goal is for students to learn skills specific to editing and shooting music videos rather than films.
This document discusses theories of modernism and postmodernism and how they relate to media production. It provides context on modernism as a rejection of realism from the 1890s-1960s, noting modern art was self-reflexive. Postmodernism emerged in the 1970s, characterized by blurred genres, fiction/reality, and hyperreality where mediated reality is preferred over real reality. Jean Baudrillard's theory of simulacra and hyperreality is explained, where the real is replaced by simulations until the distinction collapses. Characteristics of postmodern music videos are identified, including bricolage, pastiche, intertextuality, breaking the fourth wall, parody, and homage.
This image depicts a group of people gathered together outdoors. It uses warm colors like yellows and oranges to convey a sense of community and togetherness. While the details are vague, the composition and colors work together to represent people coming together in a pleasant setting.
3. genre research and audience expectationsTracey Spavins
This document provides instructions for a genre research assignment involving creating a music video. It outlines four parts: 1) Creating a word cloud of genre conventions; 2) Answering questions about the genre's origins, evolution, artist representations, and ideologies in music videos; 3) Conducting a vox pop to get audience expectations; 4) Reflecting on what was learned from the genre research and if audience expectations matched conventions. The goal is to understand a genre's conventions to appropriately craft an original music video that meets those expectations.
A record label coordinates the production, distribution, and marketing of music recordings and videos. There are two main types: major labels and independent labels. Most recording artists rely on record labels to broaden their audience, promote their albums, and market their music and videos through various media outlets. The document provides tasks for researching record labels and their responsibilities, determining whether an artist would sign with a major or independent label, choosing the best existing label for an artist, and considering copyright implications when using music in media productions.
Richard Dyer's star theory proposes that pop stars are constructed images rather than real people. They are manufactured by the music industry to appeal to audiences and make money. Pop stars represent cultural values and ideologies that enhance their appeal. Their persona is based on characteristics like gender, race, and generation as well as the meanings expressed through their music, image, and cultural discourse. To maintain their status, pop stars must continually develop and nurture their constructed character and personality over time through new music and engagement with fans.
1) Students must create a third blog for their A2 Media Studies coursework, separate from their AS Media blog.
2) The coursework will involve creating a music promo video, digipak, and magazine advertisement to promote an album release.
3) The structure is similar to last year, with research and planning worth 20 marks, production 60 marks, and evaluation 20 marks. Music video is 40 marks, digipak 10 marks, and magazine ad 10 marks.
This document provides information on various departments and subjects at St. Thomas More Catholic Teaching School. It discusses the Religious Education department's OFSTED ratings, A-Level and GCSE results, and course offerings. It also summarizes departments and achievements in Business Studies, Physical Education, Sociology, Music, Art, Modern Languages, Mathematics, English as an Additional Language, History, Food Technology, and Media/Film.
The document discusses the concept of proliferation in media which refers to the increase in available hardware, content, and platforms for both audiences and institutions. It gives the example of how the success of the iPhone led to many similar touchscreen smartphones flooding the market. Proliferation can occur when new technologies enable many companies to enter a market. Technological convergence, where different technologies merge into new combinations, has contributed to proliferation through digital technologies that combine functions like smartphones that play video. This has changed how films are distributed, accessed, and discussed online through various media platforms.
Here is a short paragraph explaining synergy:
Synergy refers to the way that different elements of a media company work together to promote related products across multiple platforms. When a film is released, the studio aims to capitalize on synergy by promoting things like the soundtrack, video game, theme park experiences, and merchandise that are tied to the film franchise. Each distinct product is meant to promote the others through cross-promotion, creating an interconnected web. This allows the media company to maximize profits from a successful property by expanding it across different business divisions and media.
The document discusses several aspects of the British film industry, including its reliance on co-productions with Hollywood studios for funding and distribution. It notes that while British films can find an audience abroad, films focusing too narrowly on domestic themes may struggle. Successful British films like Trainspotting, Four Weddings and a Funeral, and Slumdog Millionaire have utilized marketing strategies and universal storylines to appeal to both UK and international audiences. FilmFour is highlighted as an important producer of lower-budget British films that explore social and cultural issues.
FilmFour has struggled to compete for cinema space against large multinational film studios whose films make up over two thirds of UK box office takings. FilmFour blames their poor box office results on a lack of influence in the distribution market rather than the quality of their films. The company originally operated as a subscription channel but later relaunched as a free channel supported by advertising in order to earn more money and reach more homes.
The document outlines a middle leader development programme consisting of 4 stages over 10 months. It includes 12 twilight sessions to be held at 2 schools focused on various leadership modules. Participants will work with a learning coach and complete a leadership challenge project to present at the end. The programme aims to support middle leaders' development through self-reflection, collaboration, continuous improvement processes and establishing a learning community to ultimately raise standards.
The video discusses music genres and conventions from society but does not follow a clear narrative structure. It mentions picking a genre and analyzing it using genre theories but does not develop a situation, disruption, recognition, attempt to repair, or return to equilibrium as outlined in Todorov's narrative theory. The summary is in 3 sentences as requested.
This document analyzes how different camera shots are used in opening sequences to set the tone and provide meaning. An extreme close up of a character's stern eyes establishes him as an important but unfriendly character. A close up shows another character deep in thought and unhappy, setting a somber tone. Medium and long shots provide context of the urban winter setting and hint at the genre through characters' costumes. High and low angle shots are used to convey a main character's vulnerability but also strength and dominance over a scene.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
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at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
1. 1
Number 015www.curriculum-press.co.uk
Horror Films: Creating and Reflecting Fear
M tudiesSedia
Horror – Not a single genre
The most common way to consider genre is through the identification
of its most commonly used visual and aural characteristics. These
characteristics, sometimes called iconographies or codes and
conventions, are used by media audiences to identify the genre of
text being accessed. Once recognised, these iconographies ‘frame
the audience’s expectation’ (Chandler) of the type of story the text
will tell and the way the story will be constructed. The horror genre
can be considered in this way and there are some iconographies
that are often associated with horror films.
Activity
Make a list of the codes and conventions that you associate
with the horror genre. Would all these conventions appear in
all horror texts or does your list contain conventions from
different types (sub genre) of horror?
Within the general term ‘horror’there exist many different sub-genres.
Some horror films are dark and gothic and include iconographies
such as large country houses and misty graveyards. Some horrors
are set in a familiar suburban location – perhaps a high school or a
suburban town whilst other have an isolated rural location. The
different sub genres of horror may appear on the surface to have
little in common in their mise en scene.
The aim of this Factsheet is to provide an overview of the horror
genre in terms of:
• The problems in attempting to deal with horror as a single
genre
• Audience pleasures created by the genre
• The methods used to attempt to create fear
• The importance of context in the analysing horror texts
The content of this factsheet is suitable for A2 Level studies of
the genre.
http://www.dvdtimes.co.uk/images/others1.jpg
Three different mis en scene – all recognisable as codes of horror:
the gothic mansion (The Others: 2001), a suburban house
(Halloween: 1978) and an isolated rural location (The Descent: 2005).
Chandler says that texts are grouped by genre when they have a
number of ‘shared characteristics’. Given the variety of
characteristics that could identify a text as horror, this approach is
not wholly useful when attempting to define the genre. However,
the one thing that all horrors share to a greater or lesser extent is the
audience reaction they are trying to generate. All horrors are
constructed in an attempt to scare the target audience.
http://upload.wikimedia.org/wikipedia/
en/thumb/a/a2/Halloween2.jpg/180px-
Halloween2.jpg
http://www.cinematical.com/media/2006/01/
The_Descent.jpg
Activity: Being Scared: A pleasurable experience?
What pleasures do you think the genre offer its audience?
Why is being scared so pleasurable?
Uses and gratification theory offers some possible pleasures
that might be experienced when watching horror films. For
example,
••••• Identification
••••• Entertainment
••••• Diversion
••••• Escapism
••••• Social Interaction
However, horror offers more than just these simple pleasures.
The following does not offer all the potential pleasures offered
to audiences by horror – you may have had other equally
valid experiences and ideas. It is worth considering how
horrors you are studying may provide some (or all) of the
following:
••••• Physical effects – adrenaline etc - the visceral
••••• Empathy
••••• Intrigue/mystery/suspense/problem solving (Enigma)
••••• Catharsis/Vicarious experience
••••• Perception of anti-mainstream activity / sub cultural
belonging
••••• Exploration of taboo subjects
••••• Voyeurism
••••• Preparation for death
••••• Playing out cultural/personal fears
••••• Confirmation of dominant ideologies and values
••••• Masochism (&/or sadism)
••••• A sense of community / belonging
••••• Communicating repressed desires
••••• ‘Acting out’ – challenging enforced values and repressions
2. 2
015.HorrorFilms:CreatingandReflectingFear Media Studies
www.curriculum-press.co.uk
Horrors Create Fear
There are many techniques used by horror films to attempt to scare
the audience. Some are relatively simple to identify such as the use
of atmospheric music or sounds to create a feeling of unease or
uncertainty. Jump cuts in editing, camera techniques like extreme
close-ups and low key lighting can create a similar impression. All
sub-genres of horror use a range of deliberate media language
choices to promote the appropriate audience response for the text.
It is a good idea to think carefully and note the way that texts you
are analysing are using media language choices to attempt to
frighten the audience.
However, horror films have been around for a long time and when
watching texts from other eras often we, as modern audiences, find
that horrors loose their impact. Clearly then, creating fear is more
than just a collection of eerie and creepy media language choices.
In addition, audiences get bored. Whilst it is important for a genre
to be recognisable from its use of iconographies, if these codes and
conventions are overused, audiences may find the genre too
predictable and clichéd. One of the main challenges that film makers
have to deal with is how to find a middle ground between a
recognisable genre text and one that offers something new and
unique to its audience.
An Example – Vampires
The vampire is a familiar monster in
horror films. Nosferatu (1922) (image 1)
is an early example of a vampire and the
monster has been made to look rat-like.
Image 1
http://radgeek.com/gt/2005/04/21/
nosferatu.jpg
By the 1931, however (image 2), the
vampire in Dracula is represented as a
sophisticated, aristocratic figure.
http://www.draculas.info/_img/gallery/
bela_lugosi_as_dracula_75.jpg
Image 2
In the 1990s (image 3 and 4) both
visual ideas of the vampire are used
in Bram Stoker’s Dracula (1992). In
each version of the vampire some
similarities are shared, such as the
elongated teeth (we need to know he
is a vampire after all), but these images
show how the representation has
changed throughout the history of
the genre.
Image 3
Image 4
Image 3 http:/www.the_lucards.blogger.com.br/
dracula_gary_oldman.jpg
Image 4 http://www.hobrad.com/oldman.jpg
More recently still in Underworld
(2003) (image 5) the vampire is
represented with some similar
characteristics to the ones of
previous eras, but there have
been some significant changes.
Image 5
http://blogs.knoxnews.com/knx/brown/
archives/UnderworldSMALL1.jpg
Activity
What are the most significant differences you can identify
between the most modern representation of a vampire and the
older ones? Why do you think the modern representation is
the way it is?
Horrors tap into cultural fears
In addition to the audience needing changes to genre codes to
maintain its interest, society changes. Different eras have different
ideas and values and experience different problems, fears and
concerns. Successful horror films are ones that tap into specific
cultural fears and exploit them to meet the needs of the genre.
The best way to create fear for the audience in a horror text is to
play on the fears that already exist. Tudor identifies this as he says
that horrors provide a ‘monstrous threat’ and this threat is ‘based
on notions…from the producing society’. Horror films won’t meet
their primary objective of scaring the audience if they do not in
some way represent the fears of the people watching them.
Different Monsters for Different Fears
A useful way to identify the type of fears being identified by horror
texts is for analyse the monsters within the films.
Neale identified that horror texts have different types of monster.
The monster is the source of the fear.
••••• The External Monster – an
outsider. The external monster
will be one who comes from
‘somewhere else’ and brings the
threat to a community.
Vampire films are good examples
of this as traditionally they come
from Transylvania and were
shown terrorising a British
community.
They are outsiders as they are
not (and never can be) members
of the community and they
invade a previously safe and
peaceful environment.
http://imagecache2.allposters.com/images/
pic/54/039_13061~Christopher-Lee-
Posters.jpg
3. 3
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••••• The Man-made Monster – man’s
creation. The archetypal man-made monster
can be found in Frankenstein (1931).
A collection of body parts is put together
and Dr Frankenstein brings the creature to
life. The creature then brings death and
danger to the community. Like the vampire
he could never be part of the community,
the difference is, he is a creation of a member
of the community.
••••• The Internal Monster – man gone wrong.
Here the monster is human.
The human may come from within the
community but they are thinking or behaving
in a way that creates a threat from the inside.
The archetype for this kind of monster is
Norman Bates in Psycho (1960). He is a mild
mannered ‘boy next door’ character on the
surface but the film reveals that he is
murderously insane. http://content.answers.com/main/content/wp/en/e/ed/
Normanbates.jpg
http://nalts.files.wordpress.com/2006/07/frankenstein.jpg
Some monsters have traits of more than one of Neale’s categories.
Frankenstein’s monster for example is ‘man made’ but when he goes
to the village he brings in violence and death as an ‘outsider’ to the
community. Norman Bates is an internal monster but the implication
is that his flawed psychology has been caused by bad mothering.
This way of looking at the monster in horror can be very useful. In
the first half of the 20th
Century the external monster dominated the
genre. Vampires, mummies and ghosts are outsiders who threaten
communities. There were early examples of the man-made monster
during this period and this is often where horror and sci fi intersect.
In these films, scientific advancements often backfired and created
monsters from giant insects to deadly robots. This convention of
horror became more dominant in the post-war period. It is often
observed that these monsters can be seen to represent specific
cultural fears of the time. For example:
• The threat of invasion generated by global political uncertainty
between the two wars (1918-1939) is reflected in the external
monster
• The fear of the way science could be used in a destructive way
in the post war ‘atomic-age’ (post 1945) after the dropping of
nuclear weapons on Japan at the end of World War II reflected
in the man made monster
The idea of the internal monster dominates modern horror. The shift
away from the external to the internal may allow us to identify some
of the fears and preoccupations that dominate contemporary
society:
• World War II demonstrated that mankind was capable of
horrific acts, for example, the genocide of the Holocaust.
Rather than fearing outsiders, this has caused the culture to
fear other humans – even those within their own communities
• Since the 1950s, public understanding of psychology has
increased, particularly what has been known as ‘abnormal
psychology’ – adding to the culture’s fear of other people
within the community who could look ‘just like us’ but think
and behave in dangerous ways
• Modern society has become less actively religious. ‘Evil’ is
therefore often perceived as a possible human trait rather
than something that comes from elsewhere
Scream (1996) – the monstrous
boyfriend – apparently a good guy
but in fact a psychologically
deranged killer. He was shown to be
a product of bad parenting and a
culture which has access to too
much media violence
http://www.moviepropking.com/billy2.jpg
Saw III (2006) – a monstrous
hospital orderly dishing out
gruesome punishment for people
who he perceives are morally
lacking in an shallow, selfish world
http://www.worstpreviews.com/images/
saw3.gif
Different Locations for Different Fears
Early horror often used distant locations for their settings. Typically,
monster movies and Hammer Horror was based on the middle
European world of the fairy tale which distanced the audience even
further from the monster. The Victorian era was a common setting
for early horror too, whereas today, most horror tends to be set
close to home (with an American bias in Hollywood films) and in
mundane environments such as high schools, suburban homes
and university campuses. This reflects the close proximity of the
internal monster – many modern horror monsters are school friends
or people we could meet at any time. These familiar locations bring
the horror closer to the audience.
Some modern horror, especially since the late 1960s, uses a
countryside location for its setting. A common plot deals with a
group of town dwellers who find themselves stranded in the
countryside. Here they can meet all manner of monsters
• external monsters in the caves in The Descent (2005) or in the
woods in The Blair Witch Project (1999)
• man made monsters in The Hills Have Eyes (1977/2006)
• internal monsters in The Texas Chainsaw Massacre (1974/2003)
The rural location is often used to symbolise a wild and dangerous
place where monsters can stay hidden. Modern horror often uses
this location to show what dangers exist outside the safety of the
civilised towns and cities where most of us live.
Conclusion
Whatever the monster represents and wherever the monster is
located, ‘normality is threatened by the monster’ (Wood). Horror
texts can be seen as metaphors for things perceived as different or
outside the cultural norms. The monsters are ‘difference made flesh’
according to Cohen and this difference can be ‘cultural, political,
racial, economic [or] sexual’ (Cohen).
By analysing the types of monsters presented to us in horror texts
and identifying what fears they represent we can identify the
behaviours and ideas that the producing culture perceived as
different, frightening or that represented the ‘abnormal’. This
approach is far more useful than a simple media language
identification of horror conventions as it allows you to analyse the
values and ideologies presented by the text and can give you an
insight into the context of production.
Acknowledgements: This Media Studies Factsheet was researched and written by Steph Hendry
Curriculum Press. Bank House, 105 King Street, Wellington, TF1 1NU. Media Factsheets may be copied free
of charge by teaching staff or students, provided that their school is a registered subscriber. No part of these
Factsheets may be reproduced, stored in a retrieval system, or transmitted, in any other form or by any other
means, without the prior permission of the publisher. ISSN 1351-5136