Your experiences of the horror genre
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The document discusses the target audience and appeal of horror films. It asks questions about the reader's experiences watching horror films, either alone or with others. It then explores several theories for why audiences enjoy being scared by horror films, despite fear being an unpleasant emotion. The three main theories are: 1) The "play theory" that it provides an adrenaline rush since the danger is not real. 2) "Fantasies of power" where audiences enjoy the rule-breaking of monsters. 3) The "psychoanalytical account" that horror films allow expression and repression of repressed desires, often sexual in nature as seen in relationships in Gothic films.
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This document provides an outline for a case study on horror films. It discusses the key concepts that need to be covered, including horror film language/categories, media institutions, media representations, and media audiences. Specific genres like zombie, demonic, and psyche films are mentioned. Major film distributors like Paramount, Universal, and Warner Brothers are listed. The target audience for horror films is given as ages 12-40, and common audience pleasures like adrenaline rushes are noted.
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The document summarizes the results of a questionnaire about horror movie preferences. It found that most respondents prefer low-key lighting, tense asynchronous music as the most important horror film factor, and supernatural as the most interesting subgenre. Regarding fears, spiders were the most common response. Most people reported feeling excited while watching horror movies. Noise of panic was the preferred sound effect. Ratings for how much people like watching horror movies varied but most responses fell between 2-3 out of 10.
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This document is a horror questionnaire that asks respondents about their preferences for horror films and subgenres. It collects demographic information like age and gender, then asks which horror subgenres they prefer, whether trailers and posters influence their viewing choices, how often they watch horror films, which promotion techniques are most persuasive, what they dislike in horror films, and where they typically watch films. It concludes by asking which film characters respondents find scariest. The questionnaire aims to understand viewers' horror film tastes and behaviors.
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Feedback
The assistant summarizes:
The filmmakers received feedback from their target audience on a trailer for their new horror/thriller film. Most viewers correctly identified the genre as horror/thriller. Common horror elements like soundtrack, editing, mise-en-scene, and camera work were recognized. Most anticipated that people would die but not know who the killer is. Viewers were most curious to find out who the killer is and least curious about what the characters were drinking.
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The document discusses the results of a survey about a horror/thriller film trailer. 87% of respondents correctly identified the genre as horror/thriller, though 13% thought it was a comedy. Most recognized common horror conventions in the trailer like soundtrack, editing, mise-en-scene, and camera work. 80% anticipated the plot would involve people dying without knowing who the killer is. The most common question respondents wanted answered was who the killer is.
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The document discusses the conventions of horror films that the media product draws from and challenges. It notes that common conventions include themes of good vs evil, dark iconography and settings, and an evil figure threatening the protagonist. The creators analyzed horror films to understand these conventions and apply them appropriately. While their work fits many conventions, like including a protagonist and villain, it challenges one by having the male character die early rather than the female, as often happens. They aimed to break conventions like the film Psycho did by unexpectedly killing off the leading lady early.
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This document analyzes how a media product adheres to and challenges conventions of the thriller genre. It discusses how the film supports Todorov's theory of disturbed equilibrium being resolved by the end. It also adheres to some of Chandler's genre theory elements, such as mysterious antagonists and a protagonist seeking justice. However, it also challenges conventions through techniques like a brief killer voiceover and creating tension through jump scares typically seen in horror. Overall, the document concludes the film adheres to many thriller conventions while also subverting some stereotypes to maintain originality.
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Homer's Odyssey was an early influence on the thriller genre. One of the earliest thriller films was Safety Last! (1923), and directors like Hitchcock and Lang helped establish the modern thriller genre in the 1920s-1930s. Thrillers remain a popular genre at the box office today, including subgenres like crime thrillers, sci-fi thrillers, and horror thrillers. Characters in thrillers often include criminals, stalkers, victims, and characters with dark pasts intended to create suspense and anticipation in the narrative. Thrillers aim to disrupt the equilibrium and keep audiences guessing through complex plots and twists until questions are answered at the end.
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The document discusses the horror thriller genre that the author has selected for their film. It describes how horror films aim to create fear in the audience by playing on primal fears and including startling scenes. It also discusses several common subgenres of horror films like teen horror, zombie films, comedy horror, and monster movies. It provides examples for each subgenre and describes common elements of setting, characters, clothing, weapons, and sound design in horror movies.
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This document discusses and provides examples of different genres and subgenres of horror films. It covers real life horror films, comedy horror films, slasher films, monster films, supernatural horror films, zombie horror films, and teen horror films. Each section defines the genre/subgenre and provides an example film that falls into that category. The genres/subgenres discussed include films based on true stories, those that combine horror and comedy, films focused on psychopathic killers, those centered around struggles with monsters, supernatural themes of ghosts and demons, zombie invasions, and horrors facing teenagers.
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This document provides examples and explanations of common expressions used when discussing movies and genres. It includes phrases like "Speaking of ______, ______________?" and gives examples like "Speaking of movies, what is your favourite movie?". It also lists and defines common movie genres like action, animated, comedy, romance, drama, documentary, horror, sci-fi, and thriller. The document provides movie title examples for each genre and describes an activity called "Movie Taboo" where students must describe movie titles without using prohibited words from cards.
Narrative theory
Vladimir Propp studied folktales and identified 8 character types and 31 functions that advance the story. Propp's theory includes character types like the hero, villain, and princess, and functions like prohibiting the hero or the villain learning about the victim. Levi-Strauss argued that narratives rely on binary oppositions like good/evil that create conflict and drive the story. Both theories can apply to teen horror movies, which feature character types and explore oppositional themes of good versus evil. Barthes' enigma code also fits the genre as teen horror often starts with a mystery like an unsolved murder to pique audience interest.
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The document discusses secondary audience research for films. It summarizes that the British Film Institute organized film audiences into 4 categories: mainstream, mainstream plus, aficionados, and film buffs. It then provides demographic data from the films Silent Hill: Revelation 3D and Alien vs. Predator, finding that both horror films had primarily male audiences between ages 15-24. Finally, it states that the teaser trailer is important for making audiences aware of a film's release date, actors, genre, and basic story.
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This document outlines a pitch for a 5-minute psychological horror short film. The film would follow a teenage girl named Spencer who was severely bullied in the past and has developed a dangerous split personality that murders her tormentors. Key elements include Spencer's poor eyesight contributing to memory loss and confusion about the killings. The film would start with a murder, then follow Spencer as she has flashbacks and realizes her other personality's actions. It aims to portray the real psychological horror of living with an undiagnosed mental illness.
Differences between horror and thriller films
The document compares the genres of horror and thriller films. Horror films aim to frighten audiences and feature supernatural or grotesque characters like vampires or monsters. Thriller films focus more on suspense and tension, featuring realistic characters like criminals or victims on the run. The author created a table highlighting the differences between the genres. Based on an analysis of their film, which features suspenseful scenes and characters like a convicted killer and innocent victims, the author determines their film is a thriller rather than a horror.
Feedback
The document discusses the results of a survey about a horror/thriller film trailer. 87% of respondents correctly identified the genre as horror/thriller. Most recognized common horror conventions in the trailer like ominous music, quick cuts, dark lighting, and a shaky camera. 80% anticipated the plot would involve people dying without knowing the killer during a party getting out of control playing truth or dare. People were most curious to find out who the killer is and who survives.
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This document discusses emotional responses and pleasure in film. It explores how films elicit emotions from viewers through storytelling and allowing viewers to empathize with characters. While this process is generally pleasurable, the document examines what specific emotions are evoked by violent or shocking scenes, and whether viewers find these emotionally engaging scenes pleasurable or not. It also considers the illusion of reality created by films and how viewers actively participate in that illusion.
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The document discusses the horror genre and the 1996 film Scream. It provides context on conventions of horror films, such as having a final girl, frightening settings, and themes of death/destruction. It argues Scream is postmodern as it references these conventions while also commenting on and subverting expectations of the genre through self-aware dialogue and characters discussing horror film tropes. The film establishes conventions like the final girl but updates them for a modern audience familiar with these tropes.
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Horror films seek to elicit negative and fearful reactions in viewers by playing on their fears and doubts. Characters are often isolated in remote locations like forests or summer camps where help is difficult to obtain. Subgenres include psychological thrillers focusing on abnormal mental states, psychological horror targeting common fears, comedy horror that combines humor with scary themes, slasher films featuring masked killers seeking revenge, and natural horror where dangerous wildlife threatens humans.
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Films are typically categorized into genres based on their settings, music, characters and other elements. Some of the major genres include horror, comedy, thriller, action, romance, and sci-fi. Horror films aim to create tension and fright by depicting supernatural or realistic frightening situations. Comedies intend to make audiences laugh through constant jokes. Thrillers generate excitement, tension and doubt through their storylines. Romance films focus on the themes of love and relationships, often facing obstacles. Science fiction commonly portrays technology and its potential dangers through imaginative futuristic settings involving elements like paranormal abilities.
Feedback
The assistant summarizes:
The filmmakers received feedback from their target audience on a trailer for their new horror/thriller film. Most viewers correctly identified the genre as horror/thriller. Common horror elements like soundtrack, editing, mise-en-scene, and camera work were recognized. Most anticipated that people would die but not know who the killer is. Viewers were most curious to find out who the killer is and least curious about what the characters were drinking.
Teaser Feedback
The document discusses the results of a survey about a horror/thriller film trailer. 87% of respondents correctly identified the genre as horror/thriller, though 13% thought it was a comedy. Most recognized common horror conventions in the trailer like soundtrack, editing, mise-en-scene, and camera work. 80% anticipated the plot would involve people dying without knowing who the killer is. The most common question respondents wanted answered was who the killer is.
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Hammer Film Studios became known for their Gothic horror films from the 1950s-1960s. They were able to successfully produce low-budget horror films for both the UK and US markets for several key reasons: their films offered something new compared to the dominant genres of the time; they dealt with taboo subjects like violence and sex not previously seen; and their Technicolor films stood out against black-and-white television. However, by the late 1960s their style of horror was becoming less popular as audiences tastes changed, and they relied heavily on American financing which was pulling out of the British film industry, leading to the decline of Hammer Studios.
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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.
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This document discusses the target audience for horror films. It notes that while critics think teenagers and those in their 20s aren't capable of making intelligent film choices, most horror fans can identify genuinely good horror movies. These films explore relationships and tap into universal human fears. The document also states that women are a key audience for horror films, enjoying the heroines and primal emotion of fear. It concludes by saying the creators want to target their own horror/thriller film at males and females aged 17-30, to illustrate both horror and thriller elements to a wider age range.
Target Audience
This document discusses the target audience for horror films. It notes that while critics think teenagers and those in their 20s aren't capable of intelligent film choices, most horror fans can distinguish genuinely good horror films. These good films explore relationships and tap into universal human fears. The document also states that women are a key audience for horror films, enjoying the heroines and primal emotion of fear. It concludes by saying the creators want to target their own horror/thriller film at males and females aged 17-30, to illustrate both horror and thriller elements to a wider age range.
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.
A2 media group research
Genre History and Distrubutuion
Code Conventions
Movie Statistics
Questionaires
Audience Profile
Theatreical
The document discusses various aspects of genre, narrative, representation, audience, research and planning, real media texts, digital technology, and post-production in relation to horror films and trailers. It provides definitions and examples of key concepts and theories. Genre theorists like Rick Altman and Tom Ryall link to the horror genre through its common semantic elements and structure involving murders. Narrative theorists like Tzventan Todorov and Levi-Strauss also relate to the horror genre through its use of tension, protagonists confronting problems, and binary oppositions. Representation of females as vulnerable and used by males for sex also connects to theories of Laura Mulvey and Branston and Stafford. Audience theories on entertainment and
Audience Investigation
The document discusses several theories related to how audiences engage with and interpret media as they relate to the horror genre of film. The Hypodermic Needle theory suggests audiences can immediately understand and potentially be influenced by messages in horror films. The two-step flow theory notes bad reviews can deter audiences from watching a horror film. And reception theory and uses and gratification theory discuss how audiences may perceive or use horror films differently than intended by producers.
Use Of Suspense In Frankenstein
The document discusses the use of suspense in the film Frankenstein through its trailer. It analyzes how the trailer uses techniques like iconography, recognition, and language to create suspense and leave viewers feeling startled. It also discusses how suspense trailers have used similar methods since the beginning of movies to generate suspense and keep audiences on the edge of their seats.
Theoretrical investigation
The document discusses various aspects of genre, narrative, representation, audience and other concepts related to analyzing media texts. It provides definitions and examples of different genre, narrative and representation theories and links some of them to the horror genre. Specifically, it notes that Rick Altman and Daniel Chandler's genre theories adhere to common elements in horror films like murder, blood and dark settings. It also links Tzventan Todorov and Levi-Strauss's narrative theories to conventions commonly seen in horror narratives and their use of concepts like binaries. For representation, it links Laura Mulvey's "male gaze" theory and stereotypes about vulnerable females often portrayed in horror.
Ms macedo media
The document discusses several conventions of different genres of horror films including zombie, demonic, and psychological horror films. It provides examples of films that follow certain conventions for each genre. The document also discusses some of the major film distributors for both mainstream and independent horror films and lists some of their most famous horror film franchises and titles. It summarizes conventions for character representations and scary settings in horror films. Finally, it briefly discusses the target audience for horror films.
Horror genre
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.
Audience research
The document summarizes the results of a survey given to 12 teenagers and young adults about their preferences for different genres of horror films. According to the pie charts, comedy horror was the most popular subgenre, while slasher horror was the least liked. Half of respondents said horror films scare them, while the other half do not find them scary. More people overall said they like horror films than dislike them. Two follow up interviews will provide more context about people's opinions on different types of horror films.
An Introduction to Horror Films
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!
Secondary evidence
This document discusses people's preferences and motivations for watching horror movies. It notes that while men ages 15-24 are more likely to watch horror, some research has found that women actually watch more horror movies. The most popular subgenres and frightening elements include zombies, small spaces, and isolated settings like those seen in Paranormal Activity, Insidious, and The Conjuring. When surveying preferences for horror movie trailers, respondents indicated suspense, music, voiceovers, darkness, and jumpy moments were most important. Most people said they want to feel scared when watching a horror movie opening.
Media theories
Structuralism explores how meaning is formulated within culture through systems of signs and codes. Key theorists who developed structuralist film theory include Ferdinand de Saussure, Michel Foucault, and Jacques Lacan. Roland Barthes contributed several theories to structuralism, including myth theory, the enigma code, the ball of thread theory, and the pleasure of the text theory. Vladimir Propp identified eight character types that commonly recur in narratives. Post-structuralism emerged as a critique of structuralism, rejecting the idea of inherent structures in texts. Modernism and postmodernism further rejected strict structures in favor of discontinuity and rule-breaking.
Who would be the audience for your media
This document discusses the target audience and goals for a horror film. The target audience is teenagers aged 13-20 of all genders, ethnicities, and social classes. The film aims to frighten and entertain this demographic. It will appeal to their interests in being scared and supernatural horror genres. The psychographic profile of "Explorers" describes the target audience as seeking new experiences and stimulation through horror films. The narrative and genre conventions were designed according to audience theories to attract and satisfy viewers by fulfilling their needs for diversion and forgetting problems.
Niche vs mass
Horror films target niche audiences for several reasons:
- Niche audiences are the most interested fans who will see a horror film through to completion and provide feedback to improve the genre.
- Horror films aren't as mainstream as other genres so targeting dedicated horror fans is important to keeping the genre alive.
- Horror films want passionate fans who will enthusiastically support new interpretations in sub-genres like fanaticism, home invasion, and demons/hell.
- These niche sub-genres may not appeal to all but dedicated fans will appreciate the originality and creativity.
Genre Conventions
The document discusses different genres and subgenres of horror films. It defines horror as a genre that aims to frighten or scare audiences by inducing feelings of terror. Some common subgenres of horror discussed include psychological horror, slasher horror, zombie horror, gothic horror, and sci-fi horror. Psychological horror relies on playing on the characters' and audiences' existing fears rather than showing explicit violence or supernatural elements. Settings for psychological horror films are often places like woods, hospitals, or large houses that create a sense of realism and fear. Sounds used in psychological horror also aim to unnerve audiences rather than match what is shown on screen.
Horror Presentation (Research)
People watch horror films for several reasons: to experience intense emotions like fear and excitement; to distract from everyday life; and as a social activity often enjoyed with friends. While the films elicit strong negative emotions, research shows viewers can simultaneously experience both negative and positive feelings. The physiological arousal caused by fear lingers after viewing, intensifying any positive emotions afterwards like time spent with others. Understanding these psychological factors behind why audiences choose frightening entertainment can help effectively target marketing like horror film trailers.
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Your experiences of the horror genre
- 1. Your Experiences of the Horror Genre: The Horror Film and the Audience a) Who do you think the target audience for the Horror film is? b) Do you watch horror films? If not , why, not? c) What is you favourite horror film and why? d) Do you watch horror films at home or at the cinema? Alone or with friends? Does this change your experience of them? e) Has anyone expressed concern about you watching horror films? What were the reasons for this? What is the Appeal of the Horror Genre? While other genres such as the Thriller or Gangster film may have scenes that create suspense and even revulsion for the audience, the horror genre is different in that the aim of the film is to frighten the spectator/audience – to make them feel anxious and fearful – not emotions we usually associate with pleasure! So what is the attraction of the horror genre, why does the audience enjoy being scared and are disappointed if they are not? The Three Main Ideas/Theories The Play Theory: Audiences enjoy the adrenaline rush, the roller coaster ride, secure in the knowledge that there is no danger- it’s only a film! Fantasies of Power: This reading suggests that we enjoy the power of the monster and are attracted by the monsters violation of social conventions – he/it breaks the rules! The Psychoanalytical account: That horror films allow us to fulfil our repressed desires (often sexual and violent.) Horror films allow us to express these desires then repress them again - often with the death of the monster. This idea is particular evident in gothic horror films where the relationship between the female victim and Dracula is seen to represent female sexual desire. Psychoanalysis: developed by Sigmund Freud , was the attempt to understand human behaviour in terms of the conflict between our conscious and unconscious desires. Repression: A defence mechanism in how we protect ourselves from harmful but attractive ideas (often sexual.)