Key Changes in Poster of Supernatural Horror Films

1973 2013
Georgia Pastos
Key Changes in Posters of Supernatural Horror Films
(1970’s – present)

Supernatural Horror Poster of
the 1970s
Analysis of the typography
used on the poster
Analysis of the colours used on
the poster
Analysis of the image/s used on
the poster
Film title: The Exorcist
Year of release: 1973
Certification: 18
Director: William Friedkin
Producer: William Peter Blatty
Budget: $12 million
Box office: $441,071,011
Official poster of the film:
The purple typography acts as a
connotation of power that may
be reflective of the power of the
antagonist, and therefore may
foreshadow the empowerment
of the antagonist in comparison
to the protagonist. In addition, it
may serve to be reflective of the
recurring theme of the horror
genre – good vs. evil. Whilst the
colour of the typography, purple
may symbolise ‘good’, the black
background is a connotation of
‘evil’ and therefore, the contrast
in colour between the colour of
the typography and the colour
of the background establishes
the contrast between good and
evil. Due to the fact that purple
(the colour of the typography) is
not conventional to the horror
genre, it will not be applied to
my product. However, the plain
font of the title may be applied
to the poster of my short horror
film, as it is similarly utilised in
other supernatural horror films,
including The Conjuring. From
the 1970s, a simple typography
has been adopted for the use on
a poster of a horror film and
continues to be used this day.
Throughout the years and over a
number of decades, the colours
utilised on a poster for a horror
film have remained similar to a
great extent. It is evident on the
poster for The Exorcist that dark
colours are applied, combined
with a minimal amount of bright
colours. This contrast between
both bright and dark colours is
effective, as it is symbolic of the
recurring theme within a horror
genre – good vs. evil. It can be
suggested that the colour purple
used for the typography mirrors
the ‘good’ within the narrative
of a horror film, whilst the black
background connotes the ‘evil’.
Meanwhile, the sinister contrast
between light and dark on the
poster is reflective of another
recurring theme of the horror
genre – the supernatural vs. the
natural. Although the colour
purple will not be applied to my
own media product, a contrast
between light and dark will be
applied to my short horror film
as it is conventional to the genre
and may act as a form of both
entertainment and escapism for
the target audience.
The image on the poster is of a
silhouette of a male character.
This silhouette highlights an air
of mystery that is conventional
to the horror genre; the image is
unknown to the target audience
– they are unaware of who the
image depicts and why they are
there. As a result, an enigma is
created, which is conventional
to the horror genre as it serves
to establish and inject fear into
the minds of members of the
target audience. Since horrors
rely on overwrought emotions
of terror in order to successfully
entertain the target audience.
Therefore, a similar image will
be applied to my media product,
in order to similarly achieve the
same effects that the poster for
The Exorcist did. Meanwhile, the
realistic setting adds an element
of verisimilitude to the product,
which allows the audience to
relate to and identify with the
product and, thus the appeal is
heightened. Images that are
similar to the the images on the
poster for The Exorcist continue
to be used in recent decades
and will be used in my poster.

the 1980s
Analysis of the typography used
on the poster
the poster
Analysis of the image/s used on
the poster
Film title: Poltergeist
Certification: 15
Director: Tobe Hooper
Producer: Michael Grais, Steven
Spielberg, Mark Victor
Budget: $10.7 million
Box office: $121,706,019
Within the poster for the horror
film Poltergeist, the typography
connotes innocence and purity,
which may serve to establish the
characters of the narrative as weak
and vulnerable, in comparison to
the antagonist. As a result, the
target audience may feel inferior to
characters and subsequently, feel
fearful of them. This terror may
take the form of escapism, as the
target audience are removed from
their comfort zone. Therefore, the
uses and gratification theory is
applied to the media product. A
similar white typography will be
applied to my own product, as it is
conventional to the genre and will
heighten the audience appeal.
Meanwhile, the target audience
may be able to relate to/ identify
with the typography of the poster,
as the simplicity it possesses is
easily relatable. In addition, the
white typography contrasts against
the black background and as a
result it reflects a recurring theme
that is conventional to the horror
genre – good vs. evil, which will be
applied to my horror film. The
spacing between each letter of the
typography for the poster is limited
and may reflect how the force of
the product latches itself onto the
characters.
Similar to the previous decade dark
colours are applied to the poster of
this supernatural horror product –
Poltergeist. The darkness is greatly
conventional to the horror genre,
as it creates a sense of foreboding
and impending doom. It provides a
form of insight into the narrative,
but does not reveal too much, thus
creating an enigma. The element of
mystery that is created as a result
of this enigma acts as some form of
entertainment for members of the
target audience and the application
of the uses and gratification theory
may heighten the audience appeal.
In addition, a minimal amount of
lighting is utilised on the poster of
the media product, and serves as a
stark contrast against darkness. It is
reflective of a recurring theme of
the horror genre – good vs. evil –
as the light source may be imagery
for heaven and therefore mirrors
the ‘good’ aspect of the narrative,
whilst the darkness is associated
with death and thus may symbolise
the ‘evil’ within the narrative. The
contrast in colours will be applied
to my own short horror film – the
typography will be white, whilst
the background will be dark. What
is more, the darkness consumes
any light within the product, which
will also be applied to my product.
The image on the poster depicts
girl who is drawn to the TV set. This
girl is wearing clothing that is often
associated with young children and
thus, this character is established
and vulnerable. Her vulnerability is
heightened by the composition, as
she takes up a minimal amount of
space of it. Similarly, the image of
the man on the poster of the film,
The Exorcist, the young girl is
placed towards the centre of the
poster. As the primary image, the
focus of the target audience is on
the young girl, with whom they
may be able to relate and identify
with and consequently, the uses
and gratification theory is applied
to the media product. Therefore,
the audience appeal may increase.
Moreover, due to the fact that the
images establish a clear sense of
familiarity between members of
the target audience and the film,
the emotions that the audience
feel may be similar emotions to
those felt by the characters. These
feelings may be developed of a
period of time, and therefore the
cultivation theory is applied to the
media product. Although during
the 20th century images were kept
fairly small on the posters, my aim
is to stand out and therefore, the
images on my poster will be large.

the 1990s
on the poster
the poster
Analysis of the images used on
the poster
Film title: Candyman
Certification: 18
Director: Bernard Rose
Producer: Clive Barket and Steve
Golin
Budget: $8 million
Box office: $25,792,310
Similar to the posters of films from
the 70s and 80s, the title is placed
towards the bottom of the poster.
This serves to capture the attention
of the audience on other aspects of
the poster, including the images
and the slogan, which is placed on
the top of the poster of the film,
Candyman. The black typography is
used to create a strong sense of
foreboding and impending doom,
as the colour is often associated
with death. The connotations of the
colour black are conventional to
the horror genre, and may act as a
form of entertainment for some
members of the target audience.
Meanwhile, the simplicity of the
typography establishes an element
of realism and verisimilitude, that
allows the target audience to relate
to and identify with the product. As
a result, the audience appeal may
be heightened. What is more, the
90s witnessed an introduction to
the use of slogans – in this case, the
typography of the slogan is black
and serves to further foreshadow
the sinister events of the product.
Additionally, the typography of the
poster is conventional to the horror
genre, since the black connotes evil
and the supernatural, which are
both recurring themes of the genre
and will be applied to my product.
Three primary colours are used for
the poster of the film, Candyman –
red, white and black. Each colour is
conventional to the horror genre,
and therefore, similar colours will
be applied to my short horror film.
The red acts as a clear connotation
of blood and danger, and therefore
creates a sense of foreshadowing.
It may serve to provide some form
of insight into the narrative of the
film, however; it does not reveal
too much information and thus,
creates an enigma. Meanwhile, the
shades of black further create a
sense of foreboding and impending
doom, due to the fact that black is
often associated with death. What
is more, the colour black may act as
a connotation of both evil and the
supernatural, which are recurring
themes that are conventional to
the horror genre. Furthermore, the
colour white and its connotations
act as a stark contrast against the
connotations of red and black. As a
result, the theory of binary opposit-
ions is applied to the film. Also, the
contrast between the colour white
and shades of red and black mirror
an additional theme of the horror
genre – good vs. evil. It may be
suggested that the colour white is a
connotation of ‘good’ and the reds
and black connote a sense of ‘evil’.
The silhouette of a man that is seen
in the centre of the media product
creates an air of mystery and the
unknown, which is conventional to
the horror genre. Due to the fact
that the target audience is unable
to see the features of the man as a
result of the obscure image, an
enigma is created as they question
who… or what the man may be. In
addition, members of the target
audience are immediately fearful of
this character, and therefore the
hyperdermic needle theory is used
within the media product. What is
more, the image of the bumblebee
entering an eye is an unusual image
and therefore, provides a form of
escapism for the target audience.
In addition, the images within the
poster of Candyman may remove
members of the target audience
form their comfort zone, and thus
fear and dread is immediately
injected into the minds of target
audience members. The application
of a bee onto the eye demonstrates
the development and progression
of technology as the decades pass.
Since a bee would not have been
able to physically be placed on an
eye, CGI was utilised in order for
this to be possible. Therefore, the
images demonstrate the changes in
technology over recent decades.

the 1990s
on the poster
the poster
the poster
Film title: The Blair Witch
Project
Certification: 15
Directors: Daniel Myrick
Eduardo Sanchez
Producers: Gregg Hale
Robin Cowie
Budget: $25,000
Box office: $248,639,099
The white typography of the poster
of The Blair Witch Project is similar
to that of previous posters of films
of the genre and can be dated back
to the 1920s when it was utilised
for the highly influential horror film
– Nosferatu. It acts as a connotation
of innocence and purity, and it may
be suggested that this can serve to
demonstrate the vulnerability and
weakness of various characters in
the narrative. Thus, the typography
may foreshadow the fact that the
characters may be in a weakened
and vulnerable state. In addition, it
may serve to establish a number of
the characters as relatable, and as a
result may enable members of the
target audience to identify with
them. The uses and gratification is
subsequently applied to the media
product, which may heighten the
audience appeal. Moreover, the
distance between each letter of the
typography is a connotation of the
isolation and desolation that the
characters may experience, and as
a result, the target audience may
similarly feel isolated. Since this
idea develops over a period of time,
the cultivation theory is applied to
the product. A similar typography
will be applied to the poster of my
short horror film, due to the fact
that it is conventional to the genre.
Whist a white typography is used in
the poster, a black background that
contrasts against it is also adopted.
The stark contrast between black
and white may demonstrate the
application of the theory of binary
oppositions, and may further mirror
a recurring and conventional theme
of the horror genre – good vs. evil.
The white acts as a connotation of
the ‘good’ and the shades of black
act as a connotation of the ‘evil’ of
the narrative. Since the colour black
consumes the minimal amount of
white that is utilised on the poster,
it may be suggested that the sense
of evil within the narrative triumphs
over good, and thus creates a sense
of foreboding and impending doom
genre. The darkness of the poster
may enforce feelings of discomfort
onto the target audience, which is
vital for a supernatural horror film
as they rely on such emotions to act
as a form of entertainment for the
target audience. Meanwhile, even
though not a large amount of red is
used within the poster, the bit of
red that is used creates a sense of
foreboding and impending doom as
the colour connotes both blood and
danger. All three initial colours –
red; white and black will be applied
to the poster of my own horror film
Both images that are applied to the
poster demonstrate the advances
and developments of technology as
the decades progress as two images
are merged together. This mirrors
the way in which multiple pictures
were merged together to form the
poster for Candyman. It is clear the
90s was a decade of progression for
technology. What is more, The Blair
Witch Project is a revolutionary film
due to the fact that it was one of
the first media productions to be
produced with ‘found footage’. This
‘point-of-view’ aspect is similarly
applied to the image of the female
character of the poster that enables
members of the target audience to
relate to and identify with the film.
Therefore the uses and gratification
theory is applied to the product.
The theory is further applied, since
the images of the location of the
product – in woods – adds a sense
of realism and verisimilitude, which
allows the target audience to relate
to the product. In comparison to
previous products in the genre, The
Blair Witch Project, although adopts
a realistic setting, does not conform
to the stereotype of being set in a
house (or other familiar buildings).
During the opening of my film, the
setting will be fairly similar, due to
the fact that trees will be visible.

the 2000s
on the poster
the poster
the poster
Film title: The Amityville Horror
Year filmed: 2005
Certification: 15
Director: Andrew Douglas
Producer: Michael Bay,
Andrew Form Brad Fuller
Budget: $19 million
Box office: $108,047,131
As the decades progress, the colour
and font style of the typography
similarly progresses. In comparison
to decades prior, the typography
has changed from the stereotypical
blacks and whites and has adopted
an additional conventional colour –
red. The red is greatly effective as it
serves to act as a connotation of
blood and danger and subsequently
creates a sense of foreboding and
impending doom. Moreover, the
sharpness of the typography serves
to reinforce the element of danger
and subsequently, creates a sense
which is conventional to the horror
genre. In addition, the sharp effect
of the typography creates a sense
of urgency that serves to intensify
the emotions that members of the
target audience may feel. This may
act as a form of entertainment for
the target audience, and therefore
the uses and gratification is applied.
Although there is a limited amount
of distance between each letter of
the typography, there is distance
nonetheless. Consequently, a sense
of isolation/entrapment (possibly
away from society) is created that is
conventional to the horror genre.
Feelings of isolation may similarly
be injected into the minds of the
audience (hyperdermic needle).
Similar to the majority of posters in
other decades, the colours are dark
and dull to a great extent. This may
serve to create foreboding and
impending doom, which is widely
conventional to the horror genre. In
addition, this may make the target
audience fearful of the narrative
and thus, this may act as a form of
entertainment for them. Therefore,
the uses and gratification theory is
applied to the media product. As a
result, this may heighten audience
appeal. Furthermore, the use of the
colour red is of great significance.
The colour red is a connotation of
blood and danger, and reinforces
the idea of impending doom, which
is conventional to the horror genre.
In addition, red is often associated
with power and therefore, the red
may foreshadow the power of an
antagonist/protagonist and thus, it
may foreshadow an element of the
narrative. However, although the
red does connote blood and thus,
informs the audience that blood
may be spilt, they are not aware as
to why or whose blood may be spilt
and therefore, the use of the colour
red adds to an ongoing enigma. An
air of mystery is created as a result
of this, which may heighten the
audience appeal as they are left
wanting to view the media product.
Just as other products of the horror
genre, including renowned horror –
The Exorcist (‘73) and Insidious (‘10)
– The Amityville Horror adopts a
realistic location. The secondary
image of the poster depicts a home
that allows members of the target
audience to relate to and identify
with the product, which applies the
uses and gratification theory to the
film. Moreover, similar to the
image of the male character on the
poster of Candyman (1992), the
poster of The Amityville Horror
contains the silhouette of a male
character. Both create mystery that
is conventional to the horror genre,
as it adds to an ongoing enigma
that is established by the poster.
Due to the fact that two images
applied to the poster establish
elements of realism and
verisimilitude for the product, the
target audience are able to relate
to and identify with the product
throughout. Whilst the uses and
gratification theory is applied to the
product, the hyperdermic needle
theory is also demonstrated, since
the target audience will grow more
fearful with the realisation that
they may similarly be in situations
that the characters of the film may
be in. A similar picture – but in this
case the building will be a school –
will be applied to my own poster.

the 2000s
on the poster
the poster
the poster
Film title: Dead Silence
Certification: 15
Director: James Wan
Producer: Oren Koules, Mark
Burg Greg Hoffman
Budget: $20 million
Box office: $22,217,407
Similar to the typography of horrors
including Poltergeist and The Blair
Witch Project, Dead Silence adopts
a white typography, which may be
reflective of the protagonists of the
media product that is marketed by
the poster. Additionally, the white
typography is a clear connotation of
innocence and purity that contrasts
against the remaining colours on
the poster – red and black. It may
be suggested that the stark contrast
between the white typography and
the black background demonstrates
the application of the uses and grat-
ification theory, which may serve to
heighten the audience appeal.
Moreover the blurred and obscured
effect adopted by the typography is
symbolic of the confusion and
fragmented thoughts that various
characters of the media production.
This may immediately influence
feel a similar unease that characters
feel and as a result the hyperdermic
needle theory is applied. Moreover,
the distance between the letters of
the title may inflict feelings of both
loneliness and isolation. This may
further inflict overwrought feelings
onto the target audience. A white
typography will also be applied to
the title of my short horror film, yet
the effect adopted by Dead Silence
will not in order to maintain realism
Although some alterations are often
made to the posters of horror films,
the colours applied to them tend to
be extremely similar if not the same
– these colours include reds, blacks
and whites. Similar to The Blair
Witch Project, a combination of red,
white and black is utilised to form
the poster of Dead Silence. All three
colours will be applied to my own
media product, due to the fact that
they are conventional to the horror
genre. The white is a connotation of
the innocence and vulnerability of
the characters of the narrative, and
this contrasts against the remaining
colours on the poster. Meanwhile,
the white typography may enable
relate to and identify with the film.
In addition, the red connotes blood
and danger, which creates a sense
genre. The idea of impending doom
may excite members of the target
audience and may act as a form of
entertainment for them; therefore
applied. Furthermore, the black is
often associated with death, which
may further provide an element of
foreshadowing. Meanwhile, the
gloomy effect of the black colour
may serve to unnerve the audience,
which is effective for a horror film.
The primary image of the poster for
Dead Silence plays on a mutual fear
shared by numerous fans of horror
– ventriloquist dummies. It serves
to ignite an interest towards the
media product that is marketed and
heightens the audience appeal. This
fear of ventriloquist dummies has
not been explored many times prior
to the release of Dead Silence which
may increase the significance of the
image. Due to the fact that the eyes
of the ventriloquist dummy appear
to be directly staring into the eyes
of those viewing the poster, it may
be suggested that the poster serves
to engage directly with members of
the target audience. Meanwhile, an
immediate terror is injected into
the minds of the target audience as
a result of this, since they may feel
they are being targeted by the doll.
Furthermore, the decaying hands of
the dummy may serve to create a
doom, as they may foreshadow the
‘decay’ or death of characters in the
film. Meanwhile, since ventriloquist
dummies are objects that several
members of the target audience
will be familiar with, they may be
able to identify with the media
product. The uses and gratification
theory is applied. A similar image
will not be used on my poster, as it
does not fit in with the narrative.

the 2010s
on the poster
the poster
the poster
Film title: Insidious
Certification: 15
Director: James Wan
Producer: Jason Blum, Steven
Schneider, Oren
Budget: $1.5 million
Box office: $97,009,150
The typography on the poster is a
combination of red and white, both
colours being conventional to the
horror genre. Whilst the white acts
as a connotation of innocence and
may be reflective of a ‘good’ aspect
of the narrative, the red connotes
blood and danger and is symbolic of
the ‘evil’ element of the narrative.
The mergence of two colours that
form the title of the media product
may foreshadow how two worlds –
the natural and the supernatural -
merge together in a twisted plot of
the supernatural horror production.
Meanwhile, the white colour of the
typography, arguably, represent
the protagonists of the production,
and may allow members of the
target audience to relate to and
identify with these particular
character. As a result, the uses and
gratification theory is applied to
poster. What is more, the uses and
gratification theory is further
applied, as the red may act as a
form of entertainment for the
target audience, due to the fact
that it acts as a connotation of both
blood and danger. Each colour will
be applied to my own poster, as
they are conventional to the horror
genre; and may heighten audience
appeal. Meanwhile, the font of the
typography is not conventional and
will not be applied to my product.
Furthermore, the choice in colour
on the poster of Insidious is greatly
effective, as it both challenges and
conforms to the conventions of the
horror genre. Although the colour
red is not prominent, it does act as
a connotation of blood and danger,
and thus may create a sense of
foreboding and impending doom. It
may act as a form of entertainment
for the target audience, particularly
members who closely follow horror
productions, as the colour is
conventional to the horror genre.
Green is an additional colour that is
used within the poster, however; it
is not conventional to the horror
genre and therefore, will not be
applied to my media product.
Having said this, the stark contrast
created between the green and the
remaining colours on the poster is
reflective of a recurring theme –
good vs. evil – and is conventional
to the horror genre. Moreover, the
remaining colours of the poster of
Insidious are black and white, which
alone demonstrate the application
of the theory of binary oppositions.
The white acts as a connotation of
innocence, which then contrasts
against the colour black, which is
symbolic of death/evil. The contrast
in colours (particularly black and
white) will be applied to my poster.
The images placed on the poster of
Insidious are of significance, due to
the fact that they provide some
form of insight into the narrative
and capture the interests of the
target audience, subsequently,
heightening the audience appeal.
On the poster, the portrayal of the
house establishes realism and
verisimilitude to the media product
that allows the target audience to
relate to and identify with the
narrative and thus, the uses and
gratification theory is applied. This
is greatly conventional to the
horror genre, as it is vital that the
target audience feel as if they are a
part of the narrative, similar to the
characters. The use of a realistic
setting will be applied to my short
horror film, and will similarly be
applied to the poster of the product
in order to allow members of the
target audience to identify with my
film. The primary image – a young
boy - highlights power. The clothing
of the boy heightens verisimilitude
of the product, and allows the
audience to relate to his character.
Thus, the uses and gratification
theory is applied. The placement of
the character is similar to the
placement of the antagonist on the
poster of Dead Silence and may be
applied to my own poster.

the 2010s
on the poster
the poster
the poster
Film title: The Conjuring
Year filmed: 2013
Certification: 15
Director: James Wan
Producer: Peter Safran, Tony
DeRosa-Grund, Rob Cowan
Budget: $20 million
Budget: $318,000,141
The typography on the poster is
similarly of great significance due to
the fact that it may, arguably, be
reflective of the narrative of the
production that is being marketed.
The black font serves to act as a
clear connotation of death and
thus, creates a sense of foreboding
and impending doom. This may act
as a form of entertainment for the
target audience and therefore, the
uses and gratification theory is
applied. The black typography also
creates an air of mystery, which is
conventional to the horror genre
and acts as an informative device,
since it is reflective of the narrative
of the media production that is
being advertised. This may further
entertain the target audience and
thus, acts as a clear demonstration
of the uses and gratification theory.
In addition, the simplicity of the
typography may allow the target
audience to relate to and identify
with the product, since its lack of
elaborate style is not complex to
such an extent that the audience
may feel uncomfortable; the
simplicity of the typography
comforts the target audience and
heightens the audience appeal as
they may identify with it, therefore,
further demonstrated.
Colours have also been taken into
consideration within The Conjuring
poster. Whilst the shades of green
and brown act as connotations of a
natural element within the product,
the black silhouette-like image of a
tree acts as a sinister connotation
of death and decay, which creates a
doom. In addition, it may serve to
foreshadow death within the
narrative, since the colour black is
often associated with death.
Although the shades of white are
not clearly visible within the poster,
as they are overpowered by the
dull colours of it, the colour does
serve to connote a sense of
innocence and vulnerability on
behalf of the protagonists. As a
result, their characters become
more relatable to the target
audience who may be able to
identify with the film and therefore,
the colour shows the application of
the uses and gratification theory.
The consumption of the brighter
colours by the darker colours may
foreshadow the possibility that evil
conquers the good in the narrative.
Therefore, the poster proves to
heighten the audience appeal and
attract a mass audience, which will
ensure great success for the media
production – The Conjuring.
In the foreground of the poster is a
tree, accompanied by a noose and
therefore; demonstrates one of the
fundamental themes of the horror
film – the suicide/sacrifice of the
antagonist. The fallen leaves that
remain underneath the tree act as
a connotation of death and decay,
due to the fact that leaves fall in
the season of Autumn – the season
of death as nature commences its
new cycle. Meanwhile in the
background of the first poster, the
setting is established. Due to the
contrast between the luxurious
farmhouse and the decaying tree,
the theory of binary oppositions
has been applied which is reflective
of a recurring and conventional
theme of the horror genre – good
vs. evil. Whilst the setting, that
adds a sense of verisimilitude, may
act as a connotation of ‘good’, the
tree that towers over the
farmhouse is symbolic of ‘evil’ and
therefore, acts as a demonstration
of the theme, good vs. evil. This
theme serves to act as a form of
entertainment for the target
audience, who are viewing the
product with the intention of being
scared, and thus; demonstrates the
uses and gratification theory. Thus,
the audience appeal and success of
the product may be heightened.

Key Changes in Poster of Supernatural Horror Films

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Key Changes in Poster of Supernatural Horror Films