4. Each of these six posters feature common poster conventions, each sharing various similarities with the others
while retaining their own identity.These include:
-the title
-an image that dominates the whole frame/iconography
-a tagline/slogan
-rule of thirds
In order to recognise how synthesis is created across the supernatural horror genre, each of these must be
comparatively analysed in relation to the posters.
THETITLE
In terms of the titles used, numerous comparisons can be made. Four out of six of the posters use a predominantly
white, simplistic font, and all are placed in the bottom third of the frame.The use of the colour white is suggestive
of ghostly apparitions and the ‘afterlife’, tying in with the more spiritual side of the genre and allowing the viewer
to gain an insight into the nature of the film. Furthermore, the fact that the backgrounds are mainly black across
the six posters allows the white to provide the greatest contrast available, almost appearing to rise out of the
darkness – again, strengthening the associations with the supernatural elements of the films.
Also, the simplistic fonts used across the majority of the posters accentuate the sophisticated nature of the films.
Supernatural horrors are often considered to be more intellectually stimulating than subgenres such as slashers
and gothics, and the use of an almost minimalistic font is implicative of that attitude. For example, the simple
‘bebas’ font of the insidious poster contrasts substantially with the almost cartoonish, heavy red font of ‘the
nightmare on elm street’ poster, a typical example of a slasher film.
In conjunction with this, therefore, certain conclusions can be made regarding the six posters displayed.The
simplistic white title is only used for ‘The conjuring’, ‘Mama’, ‘insidious’, and ‘rec’ – all of which are straightforward
supernatural horror films.The remaining two use noticeably different styles of writing, and this is due to the fact
that they are also considered to belong to the possession subgenre.
5. This explains the alteration in fonts, as possession films such as
‘the possession’ are aimed more towards young adults/teenagers
than supernatural horrors. This is due to their focus being shifted
away from the intellectual/philosophical aspects of most
supernatural horrors, towards more traditional scares – using
gore, contortion, and religious imagery to great effect.
Consequently, this explains the eroded/disassembled font used for
‘the possession’ – it creates a more chaotic feel that is more
associated with a typical possession film.
Despite the synthesis across the other four supernatural horror
titles, however, each retains their own identity that allows the
viewer to make allusions to the narrative of the film. ‘rec’ utilises a
small red ‘record’ icon next to its title, and the fact that it appears
slightly out of focus implies that it is a ‘found footage’ style of
horror. Similarly, insidious 2 highlights one letter in the colour red,
illustrating that the evil supernatural forces within the film are
more prominent and visible than other horrors of the subgenre.
Each of these small alterations is designed to offer something
attractive and new to the experienced horror viewer while
ensuring that they can easily recognise the subgenre and their
expectations can be met and exceeded.
6. ICONOGRAPHY/USE OF IMAGE
On all posters excluding ‘the last exorcism’, the main threat/horror is partially or completely hidden,
which serves as a typical convention of supernatural horror films. The effect of this is to entice the
viewer to watch the film by retaining an element of secrecy that they will only be able to find out if
they watch it – what does the evil look like? As well as these images providing a tantalising insight
the narrative, they signal the type of supernatural horror the audience can expect. For example,
‘mama’ and ‘the possession’ both only show a small physical part of the evil – seen with the hand
rising out of the mouth and the decomposed state of the body the little girl clings to. the internal
struggle of the creature within, depicted by the stark imagery used in ‘the possession’, suggests a
supernatural more associated with possessions, exorcisms, and gore, whereas the decomposed arm
and ragged clothing of ‘mama’ suggests a more ghost/undead-orientated horror film.
Although the colour black is dominant across the majority of images, it can be said that the general
colour scheme of each of these posters varies significantly, giving each film its own unique appeal.
brown, greys and blacks of ‘the conjuring’ signify that the main source of the horror is rooted in the
past, as an almost sepia-esque aesthetic is achieved in the combination of colours. The lack of any
defining characters – even the doll is seen at a distance – suggests that the hauntings within this film
will affect several characters and will be more sporadic than a motivated spiritual attack. Similarly,
all-consuming darkness of ‘insidious 2’ implies that everyone within the film is at risk from an
otherworldly force hidden within darkness, although there is more focus on the centrally located child
being the first victim. The use of grey fog further strengthens the idea that something is obscured and
all-consuming within the darkness.
7. Both of the characters shown in the insidious and
‘the conjuring’ posters are at a distance, suggesting
that they do not serve as central to the narrative and
are only mere victims. Furthermore, the fact that
children are used in these and ‘mama’ corresponds
to typical horror conventions - audiences expect to
see some form of haunted/possessed/spiritually
aware child in almost any horror film. Abiding by
these conventions in ‘mama’, ‘insidious’ and ‘the
conjuring’ indicates a narrative that the audience
will be accustomed to, ensuring that they know they
will be in for some guaranteed scares.
Moreover, the colour white is also used for great
effect across a range of posters. In ‘the last
exorcism’, it serves as the dominant colour and
symbolises a religious presence linking in with the
afterlife, and with the decay and position of the
possessed girl imitating jesus on the cross, it serves
as a corruption of those pure religious ideas.This use
of lighter lighting is also present in the other
possession film,
‘the possession’, to similar effect. In ‘mama’,
however, white is used to portray the innocence of
the little girl being held as a victim/captive by the
evil force.
The use of props across all posters is minimal, and
this in itself is representative of the genre.
Supernatural horrors rely on the evil forces
themselves to provide the scares, whereas films
such as slashers and gothics tend to rely on
imaginative murder weapons and terrifying
environments to lure audiences in. the props that
can be seen, however, are mainly non-lethal,
everyday items – placed within the image to imprint
on the viewers’ psyche and make them question the
seemingly innocent items’ purposes.The babies
chair and doll in the consecutive posters of ‘insidious
2’ and ‘the conjuring’ emphasise this idea, as these
are items commonly associated with childhood
innocence – and from their central positions within
the poster, it is clear to see that they are likely to be
corrupted by the horrors in the film.
8. The Conjuring – ‘Based on the true case files of
the Warrens’
Mama – ‘A mother’s love is
forever’
Insidious Chapter 2 – ‘It will
take what you love most.’
The Possession – ‘Darkness
lives inside’
The Last Exorcism – ‘If you
believe in God you must believe
in the Devil.’
REC – ‘Experience fear.’
TAGLINE/SLOGANS
9. Each of these taglines/slogans attempts to consolidate what viewers have already assumed about the film, as well as
providing a small insight into the narrative itself.The conjuring’s tagline plays upon the idea that it is based around a
true story, which is a common, well-familiar way of providing viewers with guaranteed scares. Furthermore, the use of
the word ‘files’ officialises the slogan, giving it a sophisticated feel reminiscent of the sophisticated brand of horror the
film offers. However, the slogan of ‘mama’ differs from the approach of ‘the conjuring’, turning a seemingly innocent,
commonly-spoken saying into something much more sinister.This is due to the ‘mother’ portrayed within the image,
who appears to have lived ‘forever’ due to the decomposing state of her body and clothes.This slogan also suggests
that interfering with this bond of love will have severe circumstances and that this maternal figure is the main
antagonist of the film. Similarly, the slogan of insidious 2 also expands on this idea of ‘love’. Consequently, this
indicates that audiences’ greatest fears often involve someone interfering with/stealing those closest to them, and the
fact that both of these films focus on that fear suggests that it is also a guaranteed way to terrify viewers.
Proceeding on from this, the taglines of ‘the possession’ and ‘the last exorcism’ are also similar. By using the word
‘darkness’ in ‘the possession’ slogan, associations can be made with the devil, as he is considered to be the epitome of
darkness – and the devil is directly mentioned in the slogan of ‘the last exorcism’. Moreover, the fact that it ‘lives inside’
works in correspondence with the internal struggle of the image, as well as enforcing the possession genre the film
falls under. ‘The Last exorcism’ expands upon this by including a stronger religious theme within its slogan, which is
designed to prey upon the religious population’s beliefs and twist them into fear by using a rhetorical question and
direct address to force audiences’ into considering the question asked. Also, it implies that the devil will play a central
part within the narrative, and this is often seen as the epitome of horror and evil. ‘rec’, however, opts for a more
minimalistic slogan, making it easier to remember for viewers. ‘experience fear’, as simplistic as it is, implies that
audiences will be scared, and the use of only two words in this makes it seem assertive, as though there is no way that
the audience will not be scared.
10. Rule of thirds
Another common convention of film posters is the
utilisation of the rule of thirds.Within horror film posters, it
is common for the central figure/focal point of the image to
be placed in the central/top thirds of the poster, the
background in the top third, and the title/slogan/production
information to be placed in the bottom third. Excluding
some minor alterations, each film poster abides by this
general rule and are almost identical in terms of layout.
Certain posters do challenge the strict guidelines of the
rule of thirds, however -both ‘rec’ and ‘the last exorcism’
place the demonic figures in their images in varying
positions, with ‘the last exorcism’ placing the possessed
girl in the top third and ‘rec’ allowing the figure to
dominate the entire left side of the poster.With ‘the last
exorcism’, this allows the horror to be seen at a distance
and in a seemingly impossible position, fully allowing the
viewer to recognise that the girl is possessed.With ‘rec’,
the figure forces the audience to get ‘up close and
personal’ with the horror, which is reflective of the found
footage style of film that it is.
11. By comparatively analysing the film posters shown, several important conclusions can
be drawn with regards to the production of my own poster. Based upon my
observations, my poster image will contain little/no props, and will instead rely on the
horror shown to provide the ultimate lasting ‘scare’ effect. Unsurprisingly, black will
be the most prominent colour, with minimal lighting used to accentuate the darkness
– much like ‘insidious 2’ and ‘rec’. A single, stark figure will dominate the image and
will take up almost the entirety of the poster, similar to the stance of the figure in ‘rec’
but with further emphasis on terrifying the target audience with a visual scare –
similar to ‘the possession’.The title will be in a thin, simplistic font, as I believe this will
not detract attention away from the image itself – as successfully proven by the
poster of ‘mama’. Overall, a variety of combining aspects from each of these posters
will be utilised as direct influences for my own poster, allowing it to stay relevant
within the genre while remaining unique and true to the narrative.
