BBK: Horror Images

As a Group we have each made several images that we feel fit the

Horror genre.

Low Angle, Mid-Shot, Red Filter

  

Mid-Shot, Blue Filter

Close-up, High Contrast 

MB: Zombieland (Ruben Fleischer, 2009) Opening Sequence Analysis

The opening sequence of Zombieland does very little for the scare factor of your traditional horror film. As a "Zom-Com", Zombieland provides comic relief by laughing at something that in reality would be absolutely terrible.

 

 

Form and Style 

This scene doesn't fail to get the audiences' hearts racing, but
also guarantees humour when Columbus drops his keys

Although the opening has no real "scare-factor", it does create a certain sense unease and panic. The scene opens to what appears to be a POV shot, showing an overturned government vehicle and the burning capital building in Washington D.C. This gives the audience an idea of the setting. The desolate and ruined landscape of the usually well represented capital is a clear sign of riot or unrest, enhanced by the distorted "Star Spangled Banner" National Anthem playing in the background as non-diegetic sound. This is further confirmed by a zombie leaping over the overturned vehicle and chasing after the helpless civilian who's point of view we are observing, before "chowing down" on his intestines. This whole scene is narrated by the main character, Columbus, who is played by Jessie Eisenberg. This tells the audience that we are looking at events from his point of view, enhancing the theory that Zombie Horror is more about the nature of the characters rather than the zombies themselves.  As the scene progresses, we see how Columbus, a seemingly unusual character to have survived such an ordeal, has come to do so. It is because of his rules. It is as he is listing them, the audience becomes aware that the movie is formatted like a diary, with Columbus as it's author. Unlike other Zombie films such as "28 Days Later" (Danny Boyle, 2002), the audience is not entirely immersed in this world, due to the comedy that helps distance them from it, reassuring them it isn't real, but never failing to provide the occasional jump or scare

Film Language

Unlike most conventional horror films, no colour wash is used in Zombieland. This is perhaps a decision by the director to make the whole films seem less scary and more comical. More a comedy film with zombies in, rather than a zombie film with comedy. However, Mise-en scene is used in other ways to create a bleak feeling, such as overturned cars, rubbish strewn across streets and dead people walking about.

But Mise-en scene really comes into play when the titles roll. Here, zombies are seen to be crashing into the text, further enhancing the feeling of devastation and destruction throughout the world. The slow motion effect which uses a higher frame rate also shows a lot of detail to the zombies, something that is very rarely done in horror films (perhaps besides Supernatural horror) as fast-paced scenes are better for providing tension and scares



The opening titles of the film

 

Representation and Ideology

The opening sequence only focuses around the main character Columbus, who is represented as nervous, smart and as having a serious case of OCD (hence the rules) The audience can infer that Columbus is a white, middle-class male as he refers to his "college dorm", suggesting that he is at university. He also refers to himself as a "shut in", suggesting he has little to no social life, a trait which is often common among gamers or hackers; nerds. A fact which he later confirms when describing his first experience with a zombie

Audience Readings

• A dominant reading of this would be that the audience understands the world has been overrun by zombies and that only as few have survived

 

• A negotiated reading would be that the audience believes this is a documentary, but understands that the world was overrun by zombies

 

• A negotiated reading would be that the audience believes this is a documentary, but understands that the world was overrun by zombies

 

 

 

BS: Sinister (Derrickson 2012) Opening Sequence Analysis

In the opening sequence of Sinister (Derrickson 2012) the audience are exposed straight away to a disturbing scene of four characters with nooses tied to their necks. This is is an early introduction to the supernatural sub-genre and Derrickson has presented a conventional opening image that would be expected from this type of film. 

Form and Style

A sense of foreboding is very clearly introduced in this opening  through the four characters with hangman's nooses around their necks. in this opening sequence there is no character exposition as the audience have no background information about these characters, there is no dialogue or voice overs explaining events leading to this point; the audience also has no knowledge of the setting, but looks as if it may be in someones back garden. the only information that can be obtained from this opening is that it is being viewed as a film, somebody is watching this. The audience are able to understand this because of the diegetic sound in this clip, it is that of a film roll being loaded on a projector, the sound and images are somewhat crackly which connotes a feeling of a homemade video recording, this also connotes a sense of foreboding as somebody is clearly watching this tape, which suggest perhaps, that more than one murder similar to this have happened. this allows the film to lead on and explain the circumstances. this use of sound also brings a sense of realism to the film because it is shot in a way that seems natural and part of everyday life.

there are no credited people in this opening, which again connotes a sense of realism, and allows the opening to captivate the audience by beginning the film with action.

Film Language

Derrickson has used mise-en-scene to convey typical, and stereotypical conventions of  a supernatural horror.   the use of a color wash on the opening scene connotes that this video clip may be old, but is more likely used to make this seem a more bleak and eerie moment, which it very clearly is. the costume of the characters, a noose and sack covering their heads again is used to make this a realistic piece, as this is the common way people are hung, and have been hung in the years before. this also creates a controversial view of how these characters died, there is nobody that the audience can see who has murdered these characters but is set up to look almost like a suicide. this creates a tension and suspense to find out how these characters died and is captivating for the audience.

the camera shot stays the same throughout this opening sequence, it is a long shot that shows all the action of this clip. i feel that by using this one shot again emphasizes the realism of the piece and is made to look like a home video, this is shown with the use of no varying camera angles, and also a shaky and low quality and grainy camera and no editing. Personally i feel that the realistic diegetic sound of this piece paired with the non diegetic sound which is a strong bass noise anchors this piece with a perfect horror atmosphere.

From this horror opening sequence the parts that i found most effective was the camera editing to make it seem like a home video, i thought this was effective as it reinforced the idea of realism and may take this into consideration when creating my piece.

Representation and Ideology

in this opening sequence it is hard to obtain information about these characters, but from what the audience are able to see we can tell that these four characters are white, and also from their clothing which looks reasonably good may conclude these people are middle class. from watching this opening i initially thought that this was a family because there are four of them and they all vary in size. the dominant ideology of this opening is the victimization of white families, and again may connote that this could have happened to anybody.

Audience Readings

• a dominant hegemonic reading of this opening would be that the audience understand that some characters have been killed and lead to the conclusion that they were either murdered or commited suicide, which at this point is not clear.
• a negotiated positional reading would be that they may think this video clip is a news report, but still understand that people have been murdered or committed suicide. 
• an aberrant reading would be that these murders are not real  

GROUP: Concept Development 1

During group research and discussion we have recognised psychological horror as a sub-genre that we would like to explore further, in particular the concepts of psychopaths and home invasion as seen in 'The Strangers'(Bertino 2008) and 'Funny Games' (Haneke 2007).

 

When it comes to key issues surrounding mise-en-scene we have found that Max's research into 'almost human' masks and faces and how they strike supernatural fear into audiences is very interesting and how these based in a psychological setting could prove effective.

 

In terms of setting the group have discussed possibilities such as houses or perhaps corrugated barns at Ben.S's meadow as possible opportunities for a psychological setting.

 

 

Although not part of the horror genre this extract of the opening train robbery in 'The Assassination of Jesse James by the Coward Robert Ford' (Dominik 2007) demonstrates some interesting use of light and face manipulation using masks, the whole group has expressed interest in this use of light and dark and feel it could be used effectively within a psychological horror context.   

BS: The Ring (Verbinski 2002) Opening Sequence Analysis

The opening sequence of The Ring (Verbinski, 2002)  opens with the female protagonist in a low lit room with a close up on her face, this immediately shows that something has startled or scared her and something has happened that is abnormal. This is an early introduction to the psychological sub-genre where generic expectations of this type of film are met very early on, the television is seemingly switching on by its self, it is abnormal, something that is expected from psychological horror.

Form and Style

Verbinski has introduced a conventional style in this opening, the use of diagetic sound creates a feeling of naturalness, and realism, with the rain constantly as background noise. Not including any title credits makes it feel as if the audience is getting an accurate insight into this characters life, and in a sense feels less like a film as the camera has immediately focused on the character and  the action. There is very little character exposition in this opening sequence, with no dialogue or on screen iconography it is hard to get an insight into her life, any background information about the location, events leading to this point, or anything about the character's background. From this opening the audience can get some understanding to some extent, for example we can tell this character is middle/upper class because of the house she is in, which is large with luxurious items such as coffee machines and a large television. The audience can also obtain that this female character is educated because of her costume, she is wearing a school uniform, which also connotes that she is an innocent, and perhaps vulnerable character. 

a sense of foreboding is introduced very early on in this opening sequence with the use camera techniques such as, close ups on the character, which in this case shows she has realized something, and then  proceeds to react to this. Zooming is another camera technique which is used to help the audience see what she is reacting to, in this case it is the television showing a static screen.

Film Language

 

Throughout this opening mise-en-scene conveys a feeling of typical conventions of physiological horror, with actions that seem un-explainable that play with the mind of both the audience and the characters within the film. The lighting is dark and gloomy which connotes a feeling of something lurking and of potential danger that awaits. The opening is in a large house in a suburban area, this emphasizes the genre of this film greatly as it is situated in a stereotypical location that meet audience expectations and the conventions of this genre, a further exaggeration of this is the rain and it is filmed during the evening where it is dark outside. it is also important to note that this house is full of normal everyday objects, and especially in the girls room at the end of the opening it seems like a completely normal and expected bedroom, this again brings a sense of realism and connotes a feeling that it could happen to anyone.

Throughout this opening i noticed a lot of low angle shots that look up at the female character. these shots are used to create suspense by only showing an image of the actors feet or legs, an example of this is when she is walking along the corridor to her sisters room.

there is very little sound in this opening, except that of diegetic and natural sound. the most effective use of sound is that of the breathing of the character. Her breathing becomes louder, this connotes tension and emphasizes her fear.

 

Representation and Ideology 

the only character so far introduced to the audience is a white female who is shown as young by her school uniform. the fact that the protagonist is white and wearing a white shirt is used to show her innocence, and to connote that she will be a victim in this film. this enforces a dominant ideology of female innocence, purity and vulnerability.

Audience Readings

• A dominant hegemonic positional reading of this opening sequence would be that the audience understand there is supernatural occurrences happening and that the female character is scared as she does not understand what is happening.

• A negotiated positional reading would be that the audience may feel this danger is created by the female protagonist

• An aberrant reading of this opening would be that the audience believe that the character's sister is playing jokes on her

MB: Zombie Horror

As a sub-genre, zombie horror adheres to the majority of conventions. But unlike many other sub-genres, zombie horror speaks to the audience in such a way that leads them to believe they could survive such an ordeal. Whereas Psychological and Slasher horror create an overwhelming sense of unease and fear, Zombie horror is relatively relaxed and does not appear a threat all of the time, which opens up numerous possibilities for both humour in so called "Zom-Coms" (Zombieland, Shaun of the Dead) or the building of tension in serious post-apocalyptic worlds (I Am Legend, 28 Days Later, The Walking Dead) Yet, in each, the conventions stay, on the whole, the same. Their presentation is just changed.

 

Stock Plots/Themes:

 

Despite the frankly predictable start and ending of most Zombie films, people can't seem to get enough of the undead these days, with "The Walking Dead " now going into its fourth season. Yet the way in which it is presented is all too similar to that of the "ground-zero" of zombie films "Night of the Living Dead" (George Romero, 1968). A form of incurable disease has struck that is passed on through contact and the few that are resilient to it band together to protect each other. Inevitably someone dies from the main group and they struggle to move on and win against the zombies. So why are they so popular? It's because the audience builds empathy with the characters, and often see themselves. The idea of a zombie apocalypse is so appealing to many, not because thousands of people would die, but because it requires no special skills. It could "happen to anyone". For example, Columbus from the movie "Zombieland" (Ruben Fleischer, 2009) is just a college student, and Rick Grimes from "The Walking Dead" is a Police Officer. People don't watch zombie horror for the gore, they watch it for the characters, and a good set of characters, makes a good zombie horror.



Monsters:

The main characters from "Shaun of the Dead"
demonstrating the conventions of the average
Zombie

It doesn't take a genius to realise that funnily enough, Zombies are the monsters of "Zombie" horror movies. However, unlike many other forms of monster, be they human or unhuman, Zombies are not all that clever, or at least, people prefer them not to be. No body wants to fight against something they can't defeat. Your conventional zombie will be slow and stupid. Peeling skin and scars galore. Yet the scare doesn't necessarily come from the sight of the zombie, it comes from the prospect of becoming one. Much like in "Shaun of the Dead" (Edgar Wright, 2004) , where Shaun's mother becomes a zombie. She doesn't look like the average brain-eater, but the idea of her turning him into a human happy-meal was enough for Shaun to make the decision to kill her.

 

Iconography:

 

The deserted London scene from
"28 Days Later"

The iconography of Zombie horrors is instantly recognisable to most audiences, Desolate looking streets, make shift weapons such as bats and blunt objects, and groaning, moaning, man-eating Zombies. However, the way in which this is presented varies depending on the film. For instance, take "28 Days Later" (Danny Boyle, 2002). The scene showing a deserted London creates a very real sense of isolation. As if it's past the time for society to recover. Whereas Shaun of the Dead takes a very different approach. It shows life as so boring and mundane that it takes Shaun ages to realise that people are actually Zombies, and not their normal selves.

 

Moodboard:

 

BBK: The Strangers (Bertino 2008) Opening Sequence Analysis

Genre

The opening sequence of 'The Strangers' (Bertino 2008) opens with the narration of a story 'inspired by true events', the audience are then presented with what seems to be the aftermath of the story that is about to unfold these violent images and iconography (shotgun, blood splatters) are anchored by a distressed 911 call.

  

Form and Style

Although many conventional techniques are used within this sequence such as the 911 phone call it may be argued that the manner in which Bertino uses them is adapted to his own style. The use of a deep pitched narration increases drama and is used as a device to convey context to the film, the facts used such as '1.4 million violent crimes a year' creates a sense of foreboding and sets up a theme for the media text. The use of a formal font which doesn't go over the visuals could be scene to anchor the statistical nature of the sequence as almost a report or as a dramatisational reenactment.

The use of an aftermath scene is used to introduce the audience to what awaits and is also used to give a sense of foreboding however is leaves the audience with no real perspective of the events to follow and creates suspense along with the repetitive voice-over towards the end 'help us, help us' 

Film Language

Props are used predominately as a mise-en-scene technique in the sequence do to the lack of character exposition, the use of iconographic weaponry and imagery such as the knife and the blood splatters conveys the fatality and and horror that awaits the protagonists. These visuals are anchored by the distresses chaotic voice of one of the boys depicted in the sequence presumably just after the discovery of the scene and although the audience are not shown the full picture the terror within the scene is conveyed to them through the dialogue of the voice-over.

These techniques could prove very effective within our own piece, a 911 call can create an atmosphere of foreboding and the way in which the audience trust the characters empirical view can create an impact of impending horror throughout a film. Also the use of iconographical weaponry could be visually familiar when conveying the intentions or 'evil' of an antagonist. 

Narrative

During the sequence the chronological pattern of the shots is skewed leaving the audience struggling to work out what is happening reflecting on the chaotic nature of the theme of violence within the text.It would seem that the fade in/fade out shots of suburbia from a moving car connotes the victims drive to their summer home as informed by the narrator previously. These visuals relate to common environments of the key demographical target audience of the film as many of the (18-29 male) frequent cinema goers will come from a suburban home and this will create a sense of realism. The structure then cuts to the aftermath of the story anchored by dialogue supposedly given after the discovery shown in the visuals, disorientating time once again for the audience. During the sequence the audience are positioned with the two boys as these are the only two characters we are introduced to, Bertino makes the audience aware of their importance in the scene by introducing them in a heart shaped gun shot whole through a windscreen connoting the characters as the discoverers along with the audience.

Representation and Ideology

In this sequence the only two characters introduced to the audience are the two boys, they are seen to enter the house and peek through the door portraying the dominant hegemonic representation of youthful curiosity and naivety to the horrors of the world, this is emphasized through the distressed nature of the police call "Help us, help us" which connotes a vulnerable nature to the characters challenging the dominant ideology of male bravery and heroism. 

Media Audiences

• A dominant view of the sequence will e the belief that the couple is murdered and it is the two boys depicted that find the scene.
• A subjective view may ask why the boys were there and question whether it is the couple that are dead.
• A oppositional view may think that the couple have survived and it is the antagonists that have been killed or that perhaps it is the boys that kill the couple and their 911 call is a façade.

BBK: Funny Games (Haneke 2007) Opening Sequence Analysis

Genre

 

In then opening sequence of 'Funny Games' (Haneke 2007) the audience are addressed with a family expedition although not exclusive the horror genre protagonists moving to a foreign and not as well known location has become conventional of the horror genre as can be seen in films such as 'The Shining' (Kubrick 1980). Immediately the audience is introduced to the protagonists   

who they familiarize with. 
 

Form and Style

 

Haneke's style is immediately expressed unconventionally juxtaposing classical music that may be associate with the demographics of the characters (Middle Class, Traditional Nuclear Family)with chaotic heavy metal song "Bonehead" by Naked City. This change from the diegetic soundtrack of harmonious music that the characters are sharing to the non-diegetic 'screamo' metal song not heard by the protagonists connotes a naivety to the horrors that await them and creates a sense of foreboding. 

The introduction of the titles is also very stylized, the large, bold red font contains a shock factor anchored by the soundtrack introduction, the colour and impact connotes danger and chaos to follow. The first cast member's name to appear in the credits is that of Naomi Watt, this may suggest to the audience her characters prevalence and perhaps connote a 'final girl' element to follow.

Film Language

 

The props of the car and boat  attached connote relative wealth within the family, and their nice clothes and appreciation for classical music suggests a cultured, academic background to the characters. This generically represents them perhaps to be pacifistic rather than aggressive when is comes to confrontation and sets up their vulnerability for later in the film. The use of eye line mid shots puts the audience on the same level with the protagonists allowing them to familiarize and the use of all three main characters together in each shot connotes a closeness and bond within the family which is reinforced by their playful behaviour towards one another (The father tickling his son).

However when conveying the foreboding aspect of the scene the directors choice of shocking hysterical soundtrack that not only contrasts the previous diegetic sound but also the peaceful imagery and playful body language of the protagonists and is very unconventional and is used stylistically in order to shock the audience along with the bold red font of the title sequence. This shock factor could be a idea to take away and perhaps use on our practical piece and the convention of a family unit expedition or perhaps coming home seems like a point of interest.

Narrative    

 

The screen prevalence of the characters and the familiarization caused by the common nuclear family demographic which will include most of the target audience from some point in their lives (Male 18-29). This allows the audience to identify with these characters and acknowledge them as the protagonists, this then emphasizes the tension and shock for them as the soundtrack  begins and carries the theme of their naivety throughout the scene.

Representation and Ideology

 

The choice of an all white cast as a relatively wealthy and 'good' family. we make a value judgement that they appear cultured due to their hobby of sailing and appreciation for classical music who will be shown to be the victims could be seen as supporting dominant ideologies of white American families having economic stability and that they are intellectual and as victims of society through the experiences to follow. However the use of soundtrack to connote their foreboding may represent them to audiences as naive to the horrors awaiting them contrasting the previous ideologies.

 

Audience Reading

• A dominant hegemonic positional reading of this sequence may be of identifying with the characters a feeling the tension and foreboding as a negative with a sense of empathy for the protagonists
• A negotiated position however may consider the various reasons why the soundtrack connotes the danger and perhaps the cause of this tension is in fact from the characters shown and that their innocent appearance could perhaps be a facade.
• An oppositional outlook of the extract would be that these characters are the villains that they may be the killers or perhaps they deserve their fate if this is to happen.

BS: Religion in Horror Films

Religious horror is a sub-genre that relies greatly on showing realistic religious motifs of certain religions. Religious horror is originally a western sub-genre so Christianity, the religion of this region dominates the majority of these films. Religious horror films are usually situated in small communities or isolated areas; settings that connote a feeling of isolation and being alone. A common setting for religious horror are buildings with a dark and mysterious history, such as hotels, abandoned houses and asylums.

The majority of films in this genre use the basic plot of good vs. evil, light against dark, God vs. Satan. This is a main and obvious plot for these types of film, but occasionally there is an underlying theme that God is evil, this is more controversial and opposes the typical beliefs. There is usually a hero/ protagonist who is the man or 'final girl' that solves or kills the problem.

Another common theme of religious horror film is possession of a character, who is usually female, they speak in unusual or foreign languages, and act extremely abnormally, (e.g. bending their bodies into strange shapes). Religious groups then interfere to try to overthrow this

Possessive demon with many differing outcomes depending on the film.



"The Exorcist" (William Friedkin, 1973)

Because horror films often include supernatural occurrences that seem absurd it is an easy link for religion. Another point to note whilst thinking how horror and religion go together so well and create such an impact is that the Bible is in fact a book full of stories about death and violence.
Dark colours are often used throughout this sub-genre for example black and red, this links to danger, evil and murder. This is done by low key lighting to help create shadows and dark figures which seem scary and strange in the dark surroundings.

This link shows a few iconic and well know religious horror films, some recent but mainly older films:

 http://prezi.com/xr5xal1ikf2p/edit/#2_13696309

BBK: Psychological Horror

Psychological horror as a sub-genre depends on building tension through mental fears and anxieties. This is done using archetypal shadow play techniques in which the presence of danger is weaved into the plot psychologically such as a protagonist being followed by a force or being that is all in their head or the presence of psychopathic tendencies in an antagonist are present. Psychological horror aims to create discomfort by exposing common or universal psychological and emotional vulnerabilities and fears, such as the shadowy parts of the human psyche that most people repress or deny.



"The Shining" (Kubrick, 1980)

For example Stanley Kubrick's 'The Shining'(1980) uses the basis of the antagonist 'Jack's mental break down due to his isolation in a hotel to connote the presence of a haunting or possession. This creates tension for the audience as they gain empathy for his vulnerable wife and child who are isolated with him.)The tension is often built through atmosphere such as eerie sounds and manipulating the audiences basic fears.

With many psychological horrors the emotional background of characters plays a key part as this is what will determine their mental state as they start to be faced with various perverse, traumatic experiences often including inhumane acts and "high level immorality". Common scenarios that can be seen displayed throughout the sub-genre are house-invasion, kidnapping, serial killers and often what makes these psychological is the blurred cut off between reality and mental threats.

Isolation, Psychopaths and Ultra Violence
 

An example of one of these scenarios also containing a key them of isolation as with 'The Shining' is the 1997 house invasion picture 'Funny Games' originally a German production by Michael Haneke and then remade of western audiences in 2007 under the same title produced shot by shot of the original by the same director this film depicts a story of two well spoken youths you keep a family captive in order to play 'funny games', they then proceed to mentally torture each member of the family. This film plays with the psychopathic nature of the antagonists and the effect this plays on the protagonists as they are forced to play along due to lack of communication with the outside world. This can be linked to cultural anxieties in our communication dense society. The theme of youth psychopathy has been explored throughout the history of horror with example of 'A Clockwork Orange' (Kubrick 1971) and Natural Born Killers (Stone 1994).

Common Iconography     

These conventions are often seen in this sub-genre:

• Weapons (Knives, Chainsaws, mostly sharp and short distance)
• Haunted settings (Hotel, House, Woods)
• Symbols of death (Crucifix, Dolls)
• Disfigured characters
• Screams (usually female)

"Donnie Darko" (Kelly, 2001)

Characters 

• Non physical beings/ supernatural(Ghosts, Possession, Haunting)
• Psychological visions (Characters worst fears projected in reality)
• Psychopaths