Horror genre
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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.
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Horror films hand out
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
Horror Films: Creating and Reflecting Fear
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.
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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.
15 horror films
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
Horror representation
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.
Horror Narratives
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 audience
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.
Conventions of the horror genre
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
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Horror films hand out
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
Horror Films: Creating and Reflecting Fear
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.
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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.
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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
Horror representation
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.
Horror Narratives
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 audience
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.
Conventions of the horror genre
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
Representation and genre
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.
The Horror Genre - Media Studies
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.
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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.
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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.
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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.
The Descent and Urbanoia
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.
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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 Conventions Mindmap
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.
Horror Film Forms and Conventions
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
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 Horror Genre
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.
Horror Genre Iconography
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.
Character types in horror films
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.
Horror genre coneventions
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
OCR A level media Q1b genre example answer A grade
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.
The horror genre
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.
Genre Analysis - Horror
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.
History and analysis of the Horror Genre
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.
Horror films
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
Horror sub-genres
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.
Film Studies Homework
Genre is an important concept in film studies. Genres are vague categories that films can belong to or cross between based on conventions. The Western genre is closely tied to the origins of cinema itself. Genre creates expectations in audiences and conditions their responses. It allows audiences to understand what type of film they are watching and compare it to other genres. Horror films can be identified by feelings of anticipation, settings, music, camera work and how the plot evolves over time. They appeal to audiences by letting them escape real life fears and anxieties by projecting them onto the characters in the film.
Conventions of horror pp
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.
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Representation and genre
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.
The Horror Genre - Media Studies
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.
3. representation
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.
Codes and conventions of a horror
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.
Killer in horror
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.
The Descent and Urbanoia
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.
Horror Genre
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 Conventions Mindmap
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.
Horror Film Forms and Conventions
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
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 Horror Genre
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.
Horror Genre Iconography
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.
Character types in horror films
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.
Horror genre coneventions
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
OCR A level media Q1b genre example answer A grade
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.
The horror genre
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.
Genre Analysis - Horror
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.
History and analysis of the Horror Genre
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.
Horror films
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
Horror sub-genres
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.
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OCR A level media Q1b genre example answer A grade
OCR A level media Q1b genre example answer A grade
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Film Studies Homework
Genre is an important concept in film studies. Genres are vague categories that films can belong to or cross between based on conventions. The Western genre is closely tied to the origins of cinema itself. Genre creates expectations in audiences and conditions their responses. It allows audiences to understand what type of film they are watching and compare it to other genres. Horror films can be identified by feelings of anticipation, settings, music, camera work and how the plot evolves over time. They appeal to audiences by letting them escape real life fears and anxieties by projecting them onto the characters in the film.
Conventions of horror pp
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.
Conventions of Horror
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.
Conventions of horror
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 escapism and experiencing situations outside of everyday life.
Genre Theories
The document discusses genres in film and their conventions. It defines genre as a category of art that helps classify films into groups to indicate their content. Genres create certain moods and audiences expect certain narrative elements and story developments based on the genre. Examples are provided of common genres like comedy, horror, thriller, and romance and their typical characteristics around characters, plots, music and more. Institutions aim to appeal to audiences by sticking to genre conventions so their films are easily recognizable and understandable.
Learning ObjectivesAfter reading this chapter, you should be abl.docx
Learning Objectives
After reading this chapter, you should be able to do the following:
· Explain the difficulty in defining genre, and contrast the advantages and disadvantages that genres offer film studios, filmmakers, and audiences.
· Describe the popular film genres of westerns, gangster, mystery, and film noir.
· Describe the popular film genres of horror, fantasy, and science fiction.
· Describe the popular film genres of romantic comedy, musicals, and documentaries.
· Categorize films into genres, recognize when films cross genres, and analyze films using genres.
· Trace the history of popular sentiments and social issues through the evolution of films inside genres and recognize various social functions of genres.4.1 What Are Movie Genres?
A genre is a type, or category, and genre films are usually easily recognizable as part of a certain genre. This is because they tend to use familiar story formulas, character types, settings, and iconography (visual imagery with symbolic implications), all of which lead viewers to have certain expectations about what the movie will be like before actually watching it. For various reasons, which we shall note, genre films are prime candidates for analysis to reveal significance far deeper than the surface stories. Many genres also have a variety of related subgenres with more narrowly defined formulas and expectations. For example, any film in the horror genre can be expected to produce fear or anxiety in the viewer; some of the many subgenres of horror films include the vampire film, the zombie film, the monster movie, the mad doctor movie, the insane slasher-killer movie, and the psychological horror film, among others.
In Evil Dead II, a freewheeling horror film directed by Sam Raimi, Ash, the protagonist, played by Bruce Campbell, experiences some genuine terror, including (but not limited to) cutting off his own possessed hand with a chainsaw. Audiences and critics alike found it intense and scary. They also found it hilarious. How can a movie that includes the following exchange not be?
Ash (talking to mirror): I'm fine . . . I'm fine . . . (Mirror Ash jumps out of the mirror and grabs Ash.)
Mirror Ash: I don't think so. We just cut up our girlfriend with a chainsaw. Does that sound "fine"?
Courtesy Everett Collection
Little Big Man is a revisionist western. It takes the genre's conventions and reverses them. The Indians are the heroes and General Custer is the villain.
With its violence, gore, and shocks, there is no question that Evil Dead II, considered a cult classic, is a horror movie. With lines like the foregoing, there is also no debating that it's a comedy. So is it a horror film or a comedy? Why can't it be both? Evil Dead II is an example of a movie that crosses genres. The word "genre" comes from the Latin genus, which refers to birth, family, race, or class, and by extension to any sort of categorization. However, as we will see, there is much debate over just what the term genr ...
Genre analysis a2
This document defines and discusses the horror genre of film. It notes that horror films aim to create fear and dread in the audience through portrayals of their worst fears and nightmares, often involving mythical creatures or violence. The document outlines several subgenres of horror, including slasher, supernatural, zombie, comedy-horror, teen horror and monster films. It provides examples for each subgenre and discusses some of the common themes and characteristics of horror films.
Genre analysis a2
This document defines and discusses the horror genre of film. It notes that horror films aim to create fear and dread in the audience through portrayals of their worst fears and nightmares, often involving mythical creatures or violence. The document outlines several subgenres of horror, including slasher, supernatural, zombie, comedy-horror, teen horror and monster films. It provides examples for each subgenre and discusses some of the common themes and characteristics of horror films.
Genre investigation
The document discusses media genres and the horror genre in particular. It states that genres are recognized by common codes and conventions, and that audiences expect certain elements based on the genre. Producers market products according to genre since the target audience is already known. It then defines the horror genre as aiming to create fear and dread by portraying audiences' worst fears and nightmares through unsettling films. Several theories about genre are also mentioned that relate to common elements, social messages, and genre-specific conventions that define the structure of a media text.
Research investigations a2
The document provides information about genre in media texts. It states that genre is a way of categorizing media based on its content and style, with genres having recognizable characteristics or paradigms. Examples of genres include horror, comedy, crime, and sci-fi. Media texts use genre to attract specific target audiences. There can also be hybrid genres that combine elements of multiple genres. The document then discusses several genre theorists and their perspectives on genre. [END SUMMARY]
AssessmentWeighting 60Deadline WEDNESDAY 12 November by 1.docx
Assessment
Weighting 60%
Deadline WEDNESDAY 12 November by 13.00
Word count 1800
Assessment criteria
1. Explain the types and roles of airlines
2. Anaylse the historical perspective pre e – commerce of airlines
3. Analyse the component of holidays and the trend towards more flexibility
4. Analyse how airlines and tour operators interact with each other and other intermediaries within the tourism industry
5. Evaluate how the nature of respective industry has changed over the last thirty years providing an explanation for airlines.
Movie Genres 4
I am a typed director. If I made Cinderella,
the audience would immediately
be looking for a body in the coach.
—Alfred Hitchcock
Still from Zack and Miri Make a Porno (2008). ©Weinstein Company/Courtesy Everett Collection
What Are Movie Genres? Chapter 4
Learning Objectives
After reading this chapter, you should be able to do the following:
• Explain the difficulty in defining genre, and contrast the advantages and disadvantages that
genres offer film studios, filmmakers, and audiences.
• Describe the popular film genres of westerns, gangster, mystery, and film noir.
• Describe the popular film genres of horror, fantasy, and science fiction.
• Describe the popular film genres of romantic comedy, musicals, and documentaries.
• Categorize films into genres, recognize when films cross genres, and analyze films
using genres.
• Trace the history of popular sentiments and social issues through the evolution of films
inside genres, recognize various social functions of genres, and use film genres to analyze
movies on a number of levels.
4.1 What Are Movie Genres?
A genre is a type, or category, and genre films are usually easily recognizable as part of a cer-
tain genre. This is because they tend to use familiar story formulas, character types, settings,
and iconography (visual imagery with symbolic implications), all of which lead viewers to have
certain expectations about what the movie will be like before actually watching it. For various
reasons, which we shall note, genre films are prime candidates for analysis to reveal significance
far deeper than the surface stories. Many genres also have a variety of related subgenres with
more narrowly defined formulas and expectations. For example, any film in the horror genre can
be expected to produce fear or anxiety in the viewer; some of the many subgenres of horror films
include the vampire film, the zombie film, the monster movie, the mad doctor movie, the insane
slasher-killer movie, and the psychological horror film, among others.
In Evil Dead II, a freewheeling horror film directed by Sam Raimi, Ash, the protagonist, played by
Bruce Campbell, experiences some genuine terror, including (but not limited to) cutting off his
own possessed hand with a chainsaw. Audiences and critics alike found it intense and scary. They
also found it hilarious. How can a movie that includes the following exchange not be?
Ash ...
01. horror intro
This document provides information about the horror genre for students taking a controlled assessment course. It discusses common conventions of horror films, including typical plots, events, characters, settings, and themes. It also lists several famous horror franchises and the number of sequels each has spawned. The document outlines the stages of an assessment involving researching, planning, producing, and evaluating an opening sequence for an original horror film, including treatment, character profiles, storyboards, and a written evaluation. Key conventions of horror films like mood, music, and settings are defined. The power and appeal of the genre for audiences is also examined.
Niche vs mass
Horror films appeal to niche audiences who have unique interests in specific subgenres of horror. Niche audiences are smaller and more passionate about certain subgenres like fanaticism films involving torture scenes or home invasion films that feel realistic. These niche audiences enjoy horror films that stay true to these subgenres and are excited to see creative interpretations of demons, hell, and other supernatural elements. Effective student trailers match the music, titles, and visuals to create an atmosphere that appeals to niche horror audiences.
Film studies 7th march
This document discusses horror films and genre conventions. It explains that horror films are meant to frighten audiences and invoke our deepest fears through the use of monsters. It discusses key elements of the horror genre including visual style, narrative structures, character archetypes like the "final girl", and the cultural context and societal fears that monsters represent. The document also examines the pleasures that audiences derive from the genre, such as emotional thrills, visceral reactions, and solving intellectual puzzles involved in the plots.
Summing Up Horror
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.
A2 media group research
Genre History and Distrubutuion
Code Conventions
Movie Statistics
Questionaires
Audience Profile
Identifying film genre
This document discusses the concept of genre in media. It states that genres have recognizable features and elements that define them, including protagonists, stock characters, common plots and situations, icons, and themes. It provides examples of some common protagonists, stock characters, and icons in different genres like science fiction, westerns, and news programs. The document also notes that while genres have predictable patterns, individual works may vary and genres sometimes combine elements, and it concludes with a recap of the core idea that genres are defined by shared conventions and characteristics across works.
Applying genre to your text
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
Types of horrors (sub-genre)
This document outlines several major sub-genres of horror films, including supernatural/paranormal horrors which feature ghosts, spirits, and possession; comedy horrors which spoof typical horror conventions; psychological horrors which aim to challenge viewers mentally with plot twists; slasher films featuring masked killers targeting teenagers; and body/gore horrors focusing on graphic torture. It also briefly mentions action horrors and gothic horrors involving vampires and werewolves.
Genre investigation
The document discusses genre in media texts. It defines genre as a way to categorize media based on content and style. Each genre has distinguishing characteristics that allow audiences to predict how the plot will develop. There are many genres, including horror, romance, comedy, thriller, and sci-fi. These genres sometimes combine to create hybrids. Genres are used to appeal to target audiences by including expected elements. The document then examines several theorists' perspectives on genre, including their views that genres provide frameworks for production and reading with recognizable conventions. It analyzes Tom Ryall's theory that genres have predetermined structures that producers follow as being particularly applicable to the horror genre.
Similar to Horror genre (20)
Learning ObjectivesAfter reading this chapter, you should be abl.docx
Learning ObjectivesAfter reading this chapter, you should be abl.docx
AssessmentWeighting 60Deadline WEDNESDAY 12 November by 1.docx
AssessmentWeighting 60Deadline WEDNESDAY 12 November by 1.docx
More from Tracey Spavins
Storyboarding
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.
As media studies lesson 1
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.
Colons and semi colons power point
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.
As intro lesson
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.
Micro Features Lesson
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.
8. editing and cinematography for mv
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.
7. theories for production
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.
5. digipak analysis
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 expectations
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.
4. record labels and permission
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.
1. star image
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.
Introduction
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.
Open evening tv screens v2
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.
Section b technology
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.
Section b synergy
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.
Film 4 part 1
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.
Film 4 part 2
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.
Mldp information tp september 2012
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.
Theory
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.
Task 2 camera shots
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.
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Horror genre
- 1. Horror
- 2. Genre Sub-Genre Hybrid Genre The method of film categorisation based on similarities in the narrative elements from which films are constructed Identifiable sub-classes of the larger category of main film genres, with their own distinctive subject matter, style, formulas, and iconography. The elements from two or more classic genres combined to create a film Match the definition to the key word
- 3. TASK • List all of the sub genres of horror that you can think of • For each of the sub genres that you have found list the conventions that are specific to that genre and the rules that the sub genre have to follow e.g. Vampires are killed by a stake to the heart.
- 4. Defining the Horror Genre - Genres can be confused by hybrids and franchises - Genres evolve and change over time Just look at the timeline showing the changes in the horror genre!What factors do you think influence changes in the genre?
- 5. Generic Conventions of Horror Films TASK List all of the conventions of the horror genre that you would expect to see. These are general conventions that would appear regardless of the sub-genre
- 6. Audience Expectations As an audience of a genre film we expect certain things from the film. Film makers can however play on this assumption. For example before Scream we would expect that the apparent female lead we are introduced to at the beginning of the film will survive throughout the film, she is however killed in the first scene. Before Scream this was unconventional but this was repeated in the subsequent sequels and has now become a convention of many horror films.
- 7. Horror films are set in an irrational, supernatural world. This setting distinguishes films from other genres which exist in a believable world. This setting also differentiates the horror film from the thriller which has a rational explanation of events (e.g. if people die in a thriller they stay dead; in a horror film they could come back to life.) Despite taking place in an irrational world the horror film is governed by rigid rules - Vampires can only be killed by a stake to the heart and a werewolf by a silver bullet.
- 8. There is little moral certainty in the horror film; the audience may be encouraged to identify with or feel sympathy for the 'monster' and enjoy the deaths of innocent victims. there are certain conventions which the sub-genres share - the isolated setting, the indestructible monster, the themes of forbidden pleasures - but it is also the case that each sub-genre has its own definable conventions.
- 9. Why Do Audiences Like Genre Texts? Genre texts are reassuring to audiences due to their familiar promise of pa erns of repe on and varia on They know what to expect They easily understand and relate to the texts They develop a proficiency in reading texts within a genre which leads to their pleasure being heightened as they recognise familiar elements in a new framework
- 10. Why do production companies like genre films? ££££££££££££££££££££££££££££££££££ Genre enables produc on companies (whose priority is to make a profit) to exploit a winning formula and minimise risks Media producers rely on our ability to recognise genre when they promote new films, to arouse interest, expecta on & an cipa on Genres can provide a shortcut which saves audiences & producers me in developing a new set of conven ons each me they consume a new text within a par cular genre
- 12. TASK • List as many different types of monsters from horror films as you can. – I want you to list the TYPE not to name them e.g. Vampires NOT Dracula
- 13. Monsters in Horror • The ‘Monster’ in horror films can be a representation of the fears of society at that time. • This could be a reason why the horror genre remains so popular is is constantly evolving.
- 14. • In the 1950s the cinema was filled with mutant monsters and aliens • The giant ants from Them and the arachnids from The Black Scorpion are metaphors for the danger of nuclear war, a dominant fear of the time.
- 15. These are the top 10 grossing horror films of 2013 What monsters were most popular this year?
- 16. Task • On your PowerPoint/Prezi make 5 slides on horror monsters • Each slide should be for a different monster it should contain: – The name of the monster – An image – An explanation of the monster – An analysis of what social fear you think the monster is representing.
- 17. The Zombie • Zombies are humans that have come back from the dead. Humans become zombies from either catching a virus or being infected by another zombie by being bitten or coming into contact with their blood. • Zombies can represent many fears such as: – The moral breakdown in society – Resident Evil –The fear of a Military lead society – Mass of intellectually dead people EXAMPLE
- 18. TASK • Now map the key points in the horror genre over time. Create a timeline that leads up to the present day. • Consider why the changes have occurred and why • Try something like this http://wrhsasmediastudieshorrorfilmha.blogspot.co.uk/2010/ 03/timeline-for-horror-films-from-1980s.html
- 19. REFLECTION • How will you use this research into the horror genre to plan and create your own film opening?