A brief history of the horror film by Jon Towlson, the author of Subversive Horror Cinema: Countercultural Messages of Films from Frankenstein to the Present (McFarland & Co, 2014)
An overview of some of the central conceits of the horror film - done for work with IB & A Level Film students. Many thanks to Colin Odell & Michelle Le Blanc from whose book 'Horror Films' (Kamera Books) this is adapted. Stay Scared!
An overview of some of the central conceits of the horror film - done for work with IB & A Level Film students. Many thanks to Colin Odell & Michelle Le Blanc from whose book 'Horror Films' (Kamera Books) this is adapted. Stay Scared!
Paradise Lost is a poem by John Milton written in blank verse. This is based on the biblical theme of the fall of man. It depicts the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton stated his purpose in Book I is to "justify the ways of God to men".
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
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Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
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As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
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2. ORIGINS:
• THE HORROR STORY IN LITERATURE
arose from Gothic tradition in literature
dating from the 18th and 19th Centuries:
tales of terror and often repressed
sexuality in historical setting of dark,
brooding menace.
3. • Described at the time as Romantic
literature, Mary Shelly’s Frankenstein and
Bram Stoker’s Dracula are the most
enduring, but the Werewolf and the
Mummy can also be traced back to novels
from this period.
4. • Film versions of these stories have been
remade many times from Universal in
1930s, to Hammer in 1950s and 60s to
more recent versions by Francis Ford
Coppola and Kenneth Branagh and
Stephen Sommers’ ‘Van Helsing’.
5. • The American Gothic tradition derives
from the work of Edgar Allan Poe and H.P.
Lovecraft. Roger Corman made several
films in the 1960s based on Poe’s novels.
6. • THE FURTHER INPUT OF TWO
EUROPEAN ARTISTIC MOVEMENTS
COMBINED TO CREATE THE CLASSIC
HORROR FILM OF THE 1930S:
• Expressionism
• Surrealism
7. • German expressionism was an artistic
movement of the early 20th Century that
was characteristic of much architecture,
painting and theatre in Germany during
this period. German theatre in particular
featured low key shafts of light, sets that
were off-kilter, often without right angles or
with exaggerated perspectives, black and
white make up.
8. • The idea of expressionism was to express
emotions rather than external reality by
projecting a character’s state of mind onto
his environment. German expressionism
is recognisable by its use of symbolism
and by its use of exaggeration and
distortion.
9. • In the 1930s films by Universal Studios,
expressionism is evident in the use of
shadows and low tilted camera angles and
camera movements, and high-ceiling sets.
German and Austrian emigres working for
Universal brought movement over with
them to the United States.
10. • Key names from this movement in horror
are Karl Freund and James Whale.
Freund was a German cameraman and
later director who had worked with Murnau
(amongst others) before moving to the
States for a contract with Universal.
James Whale was a British stage director
who likewise went over to the States
11. • Surrealism
The art movement concerned with
representing the unconscious and
dreams. Surrealism drew on psychologist
Sigmund Freud’s ideas on sexuality and
The Uncanny. This is represented in the
horror film by the flow of disturbing
imagery and the presence of a ‘monster’
which externalises our personal and group
fears.
12. CLASSIC THEMES OR NARRATIVE
CONVENTIONS
• In his book ‘Dark Dreams’, Charles Derry
charted the emergence of three distinct
sub-genres in the decades following
Psycho (1960), but has traced their
historical predecessors in the ‘classic’
horror movie and other genres
13. Hauntings and Demonic Possessions
• These films play on our fear of the
unknown, superstition and the idea that
evil forces exist in the world. These forces
can remain spiritual presences (Don’t
Look Now) or can take the guise of
witches (Blair Witch Project), ghosts (The
Haunting) or demons (The Exorcist).
14. • The characters fall prey to an evil force
that is trying to victimise them in some
way. The evil entity is doing this perhaps
to gain vengeance eg in Blair Witch the
witch is taking vengeance on the
characters for trying to expose her.
15. • In Nightmare on Elm Street Freddie is
taking revenge on the people who killed
him by haunting the dreams of their
children and stalking them in their dreams.
In many haunted house stories the ghost
simply resents the presence of the people
who have just moved in.
16. • Sometimes the evil force wants to corrupt
its victims - to make them do evil. Eg ‘The
Shining’.
• In this case the evil force wants to take
control of its victim - take over his body or
his mind or soul. Vampires and
werewolves turn you into one of their own
kind.
17. • Often at the heart of these stories is the
fight between good and evil in the
Christian sense- temptation and sin. So
there is usually a counterpart to the evil
force - a symbol of good. Eg Dracula’s
counterpart is Van Helsing. In the
Exorcist, the Catholic priests fight the
Devil for the soul of the girl
18. • Witches, vampires and demons have their
roots in folklore. Before modern medicine
many disorders, blood diseases and
psychological illnesses were attributed to
supernatural causes: eg, epilepsy was
thought to be caused by possession by
demons. So these mythologies are in our
‘collective unconscious’ and are bought to
the surface by horror films.
19. Apocalypse
• In this subgenre mankind is threatened with
extinction by inhuman creatures that rise up and
take over the world. Sometimes the threat
comes from outer space (Day of The Triffids,
War of The Worlds). Sometimes the threat is a
plague or virus that threatens to wipe out
mankind. (Dawn of the Dead, The Crazies).
David Cronenberg’s film Rabid depicts an
outbreak of rabies in Montreal. The film was very
successful in Britain where rabies was, at that
time in 1977, a national phobia.
20. • Sometimes the threat comes from the
everyday traditionally harmless creatures
with whom we share the planet. All at
once these creatures decide to gather
together against us and take over the
world. The most famous film of this type is
Hitchcock’s The Birds.
21. • In the seventies there was a whole spawn
of films featuring all types of creatures:
rats (Willard), bees, worms (Squirm), ants
(Phase 4) even giant rabbits (Night of the
Lepus).
22. • The films have a set structure: there’s a
sudden proliferation of these creatures as
if from nowhere and they descend upon a
group of survivors who have barricaded
themselves in a house. Usually the story
ends with the people dying and the
creatures winning out.
23. • A characteristic of these films is that there
is often no explicit reason for the creatures
suddenly rising up against us. But there is
a subtext there to do with fears of
ecological unbalance, or a sense of
revolution with the new order usurping the
old.
24. The Human Monster
• Generally dates from Psycho (1960).
Deals with horror of the personality:
psychopathology and murder (the serial
killer) or psychosis and insanity. So the
audience is taken inside the mind of a
killer (Henry: Portrait of a Serial Killer) or
of a person who appears to be going
insane (Repulsion, Jacob’s Ladder)
25. • The ‘monster in the human’ (eg, Jekyll and
Hyde) deals with mankind’ s propensity for
evil. Often children are the subject (The
Bad Seed, Apt Pupil). The idea that some
people are born bad, with no sense of
morality.
26. • The ‘human in the monster’ (eg
Frankenstein’s monster) deals with the
sympathetic monster. We can feel some
kind of understanding for these monsters
because of their loneliness. They did not
want to be created and are vilified by
normal society.
27. ICONOGRAPHY OF THE
HORROR FILM
Symbolic images which recur throughout the history of
the horror film include:
The haunted house (forbidden chamber)
Symbols of death
The disfigured face or mask
The screaming victim (in modern horror the ‘final girl’)
The phallic murder weapon: knife, stake, chainsaw.
Binary oppositions of good and evil eg Dracula/Van Helsing.
Darkened places where the ‘monster’ lurks: woods, cellars.
Blood and body parts (body horror)
28. • In the documentary, Universal Horror
(Kevin Brownlow, 1999), links are made
between the iconography of 1930s horror
films and images from World War 1 such
as disfigured troops suffering horrific war
wounds.
29. • Similarly in the documentary, American
Nightmare (Adam Simon, 2000), links are
made between the iconography of 1970s
horror films and media images from that
period of American history: Vietnam, Kent
State, public lynchings in the deep South,
assassination of JFK and Martin Luther
King etc.
30. THE HORROR FILM - PHASES OF
POPULARITY
• The American horror film can be seen to
have phases of popularity linked to
periods of socio-political unrest and
upheaval. These are major cycles of
American horror films:
31. • Universal Studios Horror Films (1930-48)
The significance of these films is thought to be
linked to working class discontent arising from
the Great Depression which led to mass
unemployment and famine (eg Frankenstein,
1930) and to the horrors of the world wars. The
source of Horror is seen as arising from Europe.
32. The Cold War Sci-Fi Horror Film (1950s)
Linked to cold war paranoia (Invasion of
the Body Snatchers, 1957), the
development of the ‘H’ bomb and the
national obsession with UFOs. Narrative
conventions from the science fiction genre
merged with those from the horror genre:
the monster was ‘commie’.
33. • The Modern American Horror Film (1968-79)
Linked to American Civil Rights unrest; Vietnam;
the assassination of Kennedy and Martin Luther
King. (Eg Night Of The Living Dead, Last House
on The Left, The Texas Chainsaw Massacre).
These films reflect America’s disillusionment
following the Vietnam war.
34. The Slasher Movie (1978-82)
• Seen as a backlash against feminism as
women became the main victims of violent
and graphic murder; perhaps horror’s
lowest ebb. On-screen gore increasingly
became the main ingredient. (eg
Halloween, Friday The Thirteenth)
35. The ‘Postmodern Horror Film’ (1983
onwards)
Starting with The ‘Evil Dead’, horror films
became increasingly self-referential
leading to ‘Scream’. Then remakes (The
Haunting, Psycho, The House on Haunted
Hill)
36. THE HORROR GENRE
THROUGH TIME
As with any genre, the horror film has
changed over time. Several factors have
contributed to the changing face of horror.
These are:
37. • Changes in Industry Practices.
• The 1930s films were studio-produced.
Universal was, at the time, one of five top
Hollywood Studios with its own sound-
stages and production personnel.
Although modestly budgeted, the 1930s
horror films were fairly lavish productions
filmed in the studio with, for their time,
elaborate sets and special effects.
38. • The horror films of the 1970s, by
comparison, were produced
independently, often outside of Hollywood
(such as Night Of The Living Dead - shot
in Pittsburgh) for very low budgets, shot
on location with unknown actors.
39. • The input of influential filmmakers
• Whereas the directors of the 1930s were mostly
inspired by expressionism, from the 1960s
onwards directors adopted the stylistic
conventions of realism: hand-held camera work,
naturalistic lighting, location shooting, direct
location sound, the use of 16mm film stock This
was partly due to low budgets. The main
directors - George A. Romero, Tobe Hooper,
Wes Craven, were independent filmmakers
working outside of Hollywood, and had
backgrounds in documentaries.
40. • Changes in Audiences Expectations
• Extensive news coverage of the Vietnam
war had brought graphic images into the
American home in the 60s, redefining the
nature of screen horror.
• Realist movements in cinema (such as the
French New Wave) in the second half of
the 20th Century also affected the
presentation of content.
41. • In the 40s: shadows and suggestion
whereas:-
• 60s: Vietnam - for the first time the
American People saw graphic war footage
on the daily news. From that point
onwards cinema become increasingly
graphic in its depiction of horror
42. • The classic horror film of the 1930s-
1950s and the modern horror film (post-
1960s) are thus often defined by a series
of binary oppositions. Although disputable
in some respects, this is overall a useful
way of understanding some of the
developments and changes of the genre
throughout its history.
43. THE ‘CLASSIC’ HORROR FILM
Production Context
• Stars (Lugosi, Karloff, Chaney,)
• Studio Produced (Universal, RKO)
• Medium budgets
Genre Narrative Conventions & Formal Signifiers
• ‘Foreign Monster’
• Monster is a supernatural being
• Equilibrium is restored - ‘good’ triumphs
• Society ie. religion, science, family is ‘good’.
• The horror is suggested off-screen
• Expressionist lighting style, hard shadows
• Classical Mise-en-scene & continuity editing.
44. The Modern American Horror
Film
Production Context
• Independent Productions
• Unknown Actors
• Filmed on location
• Low budgets
Genre conventions and formal signifiers
• Indigenous monster
• Monster is psychopath/cannibal
• The horror never ends - nihilism pervades
• Society is to blame. The family is seen as an instrument of
repression.
• Graphic on-screen horror
• Documentary realism, flat lighting, location sound.
• Post French New Wave camerawork and editing.
45. • Why do audiences enjoy being
scared to death by horror films so
much?
46. • Carlos Clarens believes that the horror
film renders on film ‘the immanent fears of
mankind: damnation, demonic
possession, old age, death.’
47. • Ernest Larson believes that horror films
that incorporate the apocalypse theme
‘advance the notion that modern
technology is so overwhelming that it
tends to obliterate any possibility of its
liberatory use...science has, in the hand-
maiden of capitalism, created an
uncontrollable monster.’
48. • Charles Derry believes that films
inaugurated by Psycho represent ‘ a
response to the escalation of violence in
American culture.’
49. • Walter Evans attributes the popularity of
horror amongst young audiences to ‘the
most universal and horrible of personal
trials: the sexual traumas of adolescence.’
50. • Robin Wood argues the monster represents all
the things we repress in order to function as
‘monogamous, heterosexual, bourgeois
patriarchal capitalists’, namely sexuality (in its
fullest sense) and creativity. The tensions
caused by such repression and the threatened
return of the repressed are siphoned off ‘through
the projection onto the Other (the ‘monster’) of
what is repressed within the Self, in order that it
can be discredited, disowned and if possible
annihilated.
51. • “What a horror film does is not frighten so much as release
fright. It is a vent. And all these fears are in us all the time,
from our lives, from our youths, from the world at large;
everything from the most complex societal things of waging
war and class struggle to very simple primal things like fear
of the father and mother and fear of abandonment as a
child. So these are all inherent in us and civilization tends
to gloss them over, encapsulate them, deny them; it
teaches us a thousand ways to act like everything’s fine but
underneath this surface there is a sort of cauldron. So what
a horror film does is tap in and release that tension and it
does it in a way that’s entertaining, amusing and safe.”
– Wes Craven
52. SELECTED FILMS (in chronological order):-
• The Cabinet of Dr Caligari (Ger. 1919, Dir. Robert
Weine)
• Nosferatu, ein Symphony des Grauns (Ger. 1922, Dir.
F.W Murnau)
• Dracula (USA. 1931, Tod Browning)
• Vampyr (Den. 1932, Carl Dreyer)
• Frankenstein (USA. 1932, James Whale)
• Cat People (USA. 1942, Jacques Tourneur)
• The Thing (USA. 1952, Christian Nyby)
• Curse of Frankenstein (UK. 1957, Terence Fisher)
• Black Sunday (It. 1959, Mario Bava)
• Psycho (USA. 1960, Alfred Hitchcock)
• The Birds (USA. 1963, Alfred Hitchcock)
• Masque Of The Red Death (UK. 1964, Roger Corman)
• Repulsion (UK. 1965, Roman Polanski)
53. SELECTED FILMS (in chronological order):-
• Witchfinder General (UK. 1968, Michael Reeves)
• Night Of The Living Dead (USA. 1968, George A. Romero)
• The Exorcist (USA. 1973, William Friedkin)
• The Texas Chainsaw Massacre (USA. 1974, Tobe Hooper)
• Shivers (Can. 1975. David Cronenberg)
• Carrie (USA. 1976, Brian De Palma)
• Eraserhead (USA. 1976, David Lynch)
• Suspiria (It. 1977, Dario Argento)
• Halloween (USA. 1978, John Carpenter)
• Alien (USA/UK. 1979, Ridley Scott)
• The Shining (USA. 1980, Stanley Kubrick)
• A Nightmare on Elm Street (USA. 1984, Wes Craven)
• Hellraiser (UK. 1987, Clive Barker)
• The Silence of The Lambs (USA. 1990, Jonathan Demme)
• Scream (USA. 1996, Wes Craven)
• The Blair Witch Project (USA. 1999, Daniel Myrick & Eduardo
Sanchez)
54. SELECTED FILMS (in chronological order):-
• 28 Days Later (UK/USA. 2002, Danny Boyle)
• Saw (USA. 2004, James Wan)
• Paranormal Activity (USA. 2007, Oren Peli)
• Let the Right One In (Sweden, 2008, Tomas Alfredson)
• Martyrs (Fr. 2008, Pascal Laugier)
• Zombieland (USA. 2008, Reuben Fleischer)
• I Saw the Devil (South Korea, 2010, KimJ ee-Woon)
• Insidious (USA. 2010, James Wan)
• The Cabin in the Woods (USA. 2012, Drew Goddard)
• Sinister (USA. 2012, Scott Derrickson)
• The Woman in Black (UK. 2012, James Watkins)
• The Babadook (Australia. 2014, Jennifer Kent)
• It Follows (USA. 2014, David Robert Mitchell)
55. Jon Towlson is a film critic and the author of
Subversive Horror Cinema: Countercultural
Messages of Films from Frankenstein to the
Present (McFarland & Co, 2014)
www.subversive-horror-films.com