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Evolution of horror movies
Horror film history essay
Evolution of horror movies
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First released in October 1968 and shot for an underwhelming $114,000, Night of the Living Dead was created by a team of movie business outsiders from Pittsburgh (IMDb.com). The Image Ten, as they were later known, led by George Romero, created a horror film unlike any that had come before. Although the horror film had been around for nearly as long as the cinema, Night of the Living Dead was revolutionary in its production, its subtext as understood in historical reference, and its lasting effects on the horror genre. The British Film Institute’s Benjamin Hervey provides an analysis of the film as understood by critical audiences of the day.
Although it may been seen partly as a historical accident forced by budgetary constraints, part of the mystique of the film is in how different it was to the horror audience of the day. Romero and the Image Ten team, working with black-and-white in a day in which most mainstream films were released in color, were able to use the black-and-white film to lend a certain documentary feel that evoked feelings of newsreels of the day, which were still shot in black-and-white (Hervey 26). This certain credibility evoked is one that is likely lost on contemporary audiences that grew up in a time in which the news and documentaries are delivered in color, but modern audiences should see parallels in the way The Blair Witch Project co-opted the use of VHS cameras to produce a low-cost horror film with a realistic feel to it.
In another budgetary adaptation, the film crew, lacking the funds for cranes and dollies to do moving and panning shots, quickly switched between multiple shots for dynamic dialog, giving a certain frenzied feel to the dialog interactions (Hervey 38). The style this lends to th...
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...a film that was revolutionary in its production, its subtext as understood in historical reference, and its lasting effects on the horror genre.
Works Cited
The Blair Witch Project. Dir. Daniel Myrick and Eduardo Sanchez. Perf. Heather Donahue, Mike Williams, and Josh Leonard. Haxan Films, 1999. Film.
"George A. Romero." IMDb. IMDb.com, n.d. Web. 23 Feb. 2014.
Hervey, Benjamin A. Night of the Living Dead. Basingstoke: Palgrave Macmillan, 2008. Print.
Jennings, Dana. "They’re ... They’re Still Alive!" The New York Times. The New York Times, 26 Oct. 2013. Web. 24 Feb. 2014.
Night of the Living Dead. Dir. George A. Romero. By George A. Romero, George A. Romero, and John Russo. Perf. Duane Jones, Judith O'Dea, Marilyn Eastman, and Karl Hardman. Continental Distributing, Inc., 1968. Streaming.
"Night of the Living Dead." IMDb. IMDb.com, n.d. Web. 20 Feb. 2014.
In the article "Movies that Rose from the Grave" by Max Brooks, he delves deeper into the reasoning of where, why, and when zombie horror flicks
...dience long after the film reels have stopped turning. The idea of a “scary movie” could be innocuous enough, if it is simply frights and ghoulish images, but Nosferatu raised the bar and discovered how to delve into a collective mindset and produce a truly unsettling product. Germany’s residual shame and concern regarding World War I made Nosferatu a gripping, telling exploration of a nation’s psyche.
Romero’s cult classic work “Night of the Living Dead” displayed characters enacting their stereotypes, portraying men and women in their stereotypical sexist behaviors. Themes of such stereotypes are hinted within the movie, hidden underneath the idea of carnal, flesh eating ghouls. The character Barbra, is the embodiment of the helpless woman in horror films. Ben, the power controlling domineering male of the remaining survivors in the farmhouse. Harry, another male figure who try to apply his strength and ego amongst the group. Helen, is depicted as the unhappy housewife who is semi-defiant to her husband. These portrayals accurately depicted the stereotypes America held during the 1960s, effectively mirroring the time in which it was
The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored.
These have been adapted from the early twentieth century, and have developed a whole series of genre conventions into a familiar variety of scary settings, iconography, and stereotyped characterisation. Audiences have a clear understanding of this, and they use it to their advantage. They can keep putting the audience through the jolts that horror conventions continue to give. An effective way of keeping the horror fresh would be to break the cycle, by breaking certain conventions. The isolated setting in the two films is a key device used to establish a threatening atmosphere.
Throughout the century gender roles have changed dramatically. During the 60s roles were given to certain genders. Stereotyping them to play the action of what their gender was expected to do. One may believe that a man or women should have a specific role, but as the years came, certain genders stuck up for themselves, making a statement that they are just as capable to do anything anyone else does. The 1968 drama film Night of the Living Dead directed by George Romero is full of gender discrimination. This movie shows the typical actions of how women and males were supposed to act during the 60s; however, the roles played in this film have changed majorly over the years. Women and males have every right to play any role they want in today’s world. Romero may leave the audience angry with how he judges gender roles in
George Romero's reinvention of the zombie in night of the Living Dead (1968) is clearly a critique of elements of the American society, and the film as a whole is easily twisted into a warped view on the 'American Dream'. Themes throughout Romero’s film, dealing with controversial topics during the time that the film was made, are still, to this day debated by critics and film historians. Themes of racism and war are defined within the movie, hidden underneath the idea of carnal, cannibalistic zombies and over the top heroes who, eventually, succumb to the reanimated; despite their every effort. These themes are colored over and painted to hide beneath subtle references to the typical American Dream during this time, and Romero does quite the good job at it too. This dream, whilst continuously changing in the everyday lives of modern Americans, can be loosely defined as a national ethos of the United States, or a set of ideals dealing with freedom and the opportunity for success - an upward social status that can be achieved through hard work and effort.
Some would say watching horror movies and being scared out of your wits is a fun way to spend their hard earned money. They go see these movies on average once a week, each time choosing a newer version of a trilogy like “Chucky” or “The evil Dead”. Film making has come a long way over the last few decades, the graphic...
Color is a powerful tool in film making. What once was only black and white is now a full spectrum of vibrancy. But monochromatism is still an integral artistic choice in film. Blacks and whites in movies and television tend to represent the dark nature of scenes: death, evil, sadness, the macabre. Deep blacks, rich grays, and harsh whites tend to illustrate the Gothic influence of the piece as well as its tone. Adam Barkman, a writer famous for his analysis of films, explains the impact of color in film in his book A Critical Companion to Tim Burton “When we see a particular color, we immediately attach a particular set of meanings to it that is triggered by either our instincts or our memories” (Barkman
How the Opening Sequence of Halloween Captures the Attention of the Audience ' 'Halloween' was made in 1978 and is a good example of the 'Slasher' movies from that time and this is an interesting piece of cinema as it can be related to the German expressionism of the late 1920's which used jerky camera shots and high contrast lighting to enthrall the viewer .In this essay I will discuss how the opening to Halloween captures the audiences attention and how codes and conventions create suspense and tension for the audience.
In recent decades, many have argued that the line between realism and fiction in cinematic endeavours has become increasingly blurred. It has not been until recently that the world has truly been exposed to this completely innovative cinematic style, which has captivated audiences with its new approach to filmmaking. This new cinematic style was first introduced in Eduardo Sánchez and Daniel Myrick’s The Blair Witch Project. Here I will focus on breaking down the various levels of realism within The Blair Witch Project, in order to convey why it had such a monumental impact on the cinematic world, while still remaining a popular and modern horror film to today’s audiences. In order to achieve this I will pay particular attention to the style of filming, the clever marketing campaign and the combination of fact and fiction, which helped captivate even the most, experienced of cinemagoers.
Horror films are designed to frighten the audience and engage them in their worst fears, while captivating and entertaining at the same time. Horror films often center on the darker side of life, on what is forbidden and strange. These films play with society’s fears, its nightmare’s and vulnerability, the terror of the unknown, the fear of death, the loss of identity, and the fear of sexuality. Horror films are generally set in spooky old mansions, fog-ridden areas, or dark locales with unknown human, supernatural or grotesque creatures lurking about. These creatures can range from vampires, madmen, devils, unfriendly ghosts, monsters, mad scientists, demons, zombies, evil spirits, satanic villains, the possessed, werewolves and freaks to the unseen and even the mere presence of evil.
The link between expressionism and horror quickly became a dominant feature in many films and continues to be prominent in contemporary films mainly due to the German expressionist masterpiece Das Kabinett des Doctor Caligari. Wiene’s 1920 Das Kabinett des Doctor Caligari utilized a distinctive creepiness and the uncanny throughout the film that became one the most distinctive features of externalising inner mental and emotional states of protagonists through various expressionist methods. Its revolutionary and innovative new art was heavily influenced by the German state and its populace in conjunction with their experience of war; Caligari took a clear cue from what was happening in Germany at the time. It was this film that set cinematic conventions that still apply today, heavily influencing the later Hollywood film noir genre as well as the psychological thrillers that has lead several film audiences to engage with a film, its character, its plot and anticipate its outcome, only to question whether the entire movie was a dream, a story of a crazy man, or an elaborate role play. This concept of the familiar and the strange, the reality, the illusion and the dream developed in Das Kabinett des Doctor Caligari, is once again present in Scorsese’s 2010 film Shutter Island. It is laced with influences from different films of the film noir and horror genre, and many themes that are directly linked to Das Kabinett des Doctor Caligari shot 90 years prior.
A Brief History Of Horror Movies. Ezine Articles. Spark Net, 10 Aug 2010. Web. The Web.
Speigel, Josh. "Staff List: The 30 Best Films of 2013." Sound on Sight. 28 Dec. 2013: n. page. Web. 9 Apr. 2014.