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Nosferatu is a widely inspirational horror, originally made in 1922 it can be interpreted as a stepping stone for cinema not only horror. The story is based loosely on a Dracula theme and in its day it was truly terrifying. As horrors have adapted this production no longer has the same effect in evoking terror within an audience however it has created an outline of which other successful horrors have followed on from. It uses the key element of fantasy characters, ghouls and ghosts aren’t real yet they appear frequently in horrors. The idea of the abhuman is truly terrifying and is a very popular element included in various films, it allows writers to be limitless with abilities of their characters and most writers go to extremes making characters horrific through their appearance aswel as strength and speed etc. Frankenstein is a further character created in this way. The story blurs lines between who the monster really is, are humans the monsters because they leave anything perceived as ‘different’ marginalised and isolated? Nosferatu also creates a base for camera shots in horrors as it uses various close up shots changing swiftly to long or mid shots to create tension aswel as a visual image that emphasizes reality. A final element included in Nosferatu I believe contributes to its success would be its lighting, it uses shadows and low lighting to keep a tense atmospheric feel throughout the entire production which positions the audience to feel afraid and weary at all times. The Human Centipede (First Sequence) made in 2009 is a Dutch horror film written, directed, and co-produced by Tom Six. The film tells the story of a German doctor who kidnaps three tourists and joins them surgically, mouth to anus, forming a "human cen... ... middle of paper ... ...emed stateside production of The Cave in late-August of the same year.” “Scary as hell, gory, suspenseful, relentless, the best horror film of 2006” The film plays on every instinctive fear: darkness, claustrophobia, deformity, drowning and quite literally being killed. This is a dark, intense up close and personal horror affair. Works Cited http://www.rollingstone.com/movies/lists/the-10-best-zombie-movies-20121012/28-days-later-2002-19691231#ixzz2uMsOKxC2 http://www.nytimes.com/movies/movie/276152/28-Days-Later/overview http://www.biography.com/people/danny-boyle-412160 http://www.rottentomatoes.com/m/descent/ http://www.horror-movies.ca/horror_reviews_1407.htm http://www.bbc.co.uk/films/2005/07/01/the_descent_2005_review.shtml http://www.theguardian.com/film/filmblog/2010/aug/23/human-centipede-most-horrific-film http://www.ifcfilms.com/films/human-centipede
First thing to remember, Humans react to the horror by the amount of fear they have inside of them. In fact, King's short story “Strawberry spring” causes fear to the people because it’s something that would come around every eight years.(Strawberry
The main theme played throughout this film, is Good vs. Evil vs. Innocence. The. This film beautifully pronounces this theme through it’s cinematography/lighting, makeup, and camera angles, making this dark film’s aesthetic entrancing with its morbid gore scenes and fairytale-like mood. Thus accomplishing the last task required: self-sacrifice.
Frankenstein’s creature, the concept way ahead of its time but a terrifying thought to its first audiences.
...0 years ago. The film is not so horrific as it is lyrically creepy. There are so many famous images from "Vampyr" which are found in most film history books. I've seen many stills from this film and found that the movie is still full of other images which are just as striking as the famous shot of the vampire looking into the hero's coffin during a nightmare. The camera is rarely if ever stationary. There are many tracking shots which must have been an influence on Scorsese. People enter and leave the shot which may travel from outside and through several rooms of the house. All of this makes the movie fly by as there is little or no static in the movie.
Humans are seen by many as the exemplary species on earth, intended by God to dominate and take control of others. Humanity cannot be characterized as a physical trait; for one can appear to be human on the outside but within are nothing near a human. Within Mary Shelley’s Frankenstein, humanity can be considered an emotional experience; an experience where one is always longing for acceptance and naturally conforms to avoid being ostracized or different. The monster is made from human parts and in human likeness, but is not seen as a human being by many. Such is a question raised by many; is the monster human, or is he a filthy demon to which Victor Frankenstein had given life? Although a clear definition of humanity is not expressed in Mary Shelley’s Frankenstein, the monster is in fact human due to its ability to adapt and utilize the human culture and lifestyle in many ways including longing for a companion, discovering its soul and yearning for acceptance.
Nowadays, people are still enticed by fear, they have a curiosity for the supernatural, evil and frightening. Although modern day society is supposedly politically correct, we are still an immoral society and many of us would treat a creature like Frankenstein’s creation or a vampire like Dracula like a monster. In this way, the novels still have social significance.
Frankenstein was and still is one of the greatest horror books written. It is still relevant to incidents happening today. Children dress up as the monster at Halloween and directors still try producing newer versions of the movie. People view the creature as a monster purely based on its aesthetics, “I had gazed on him while unfinished; he was ugly then…” Victor comments on the monsters looks a lot throughout the novel and as the story progresses the creature realises how hideous he is too.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Horror movies were reborn in the 1930s. Unlike the dreamlike imagery of the 1920s, the films were peopled by ghostly wraiths floating about silently, horror films in the 1930s were replaced with monsters that grunted and groaned and howled. Horror films in the 1930s were all about monsters. The 30s monsters were exotic and were non-human. Many of the films from the 30s were based on literary classics of the 19th century, often set in far off lands with characters in period costumes speaking in strange accent. These films focused on monsters and involved brilliant makeup. These monsters were zombies, freaks, mad scientists, a mummy, an invisible man, werewolves and ghouls.But audiences were distanced from these films because they couldn’t understand the monsters belonging to world’s that weren’t theirs. Most of the the monster movies of the 30s were made by Universal Studios. Rival studio, RKO-radio pictures, the smallest major film studio, needed to make a profit after their disappointing film “Citizen Kane” which had not worked very well. They were in finance trouble so Val Lewton was fired to make cheap horror film for easy product. He had to keep the budget under $150 000. He was
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.
Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily, and this calls into question the influence the monstrous has on the human definition. The Oxford English Dictionary (OED) describes ‘human’ as being ‘Of, belonging to, or characteristic of mankind, distinguished from animals by superior mental development, power of articulate speech, and upright posture.’ (OED). The term ‘monstrous’ is described as ‘The condition or fact of being abnormally developed or grossly malformed.’
Vast arrays of appropriations have sprung from Shelley’s text, which influence as to why the text still remains today. The main source of today’s appropriations has been drawn directly from the figure of the monster itself. As, technology advanced and the idea of the stage was subjugated with the growing trend towards cinema, the figure of the original idea of the monster diminished. The figure slowly morphed into a hideous being, possessing green, stitched skin with bolts in the side of the head (lacking the original parallels to Adam). Unfortunately, the birth of cinema and its immediate success led to the demise of the philosophies and principles, which were initially at the crux of Shelley’s Frankenstein. A modern day appropriation of Frankenstein is The Rocky Horror Show, which draws directly from the creation of a monster, yet puts it in a satirical context, once again abating the traditional philosophies. The birth of the horror theme was partly due to Shelley’s text and though the horror theme is carried through today, it differs greatly as society now expects a different form of horror.
People are addicted to the synthetic feeling of being terrified. Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned.
Monsters are often present in gothic novels; especially in those that combine horror and romance. A monster will be the cause of individual characters fears. Frankenstein can be linked to this genre in many ways, the most obvious link being the horror element of the story. The thought of someone created from dead flesh would have been a horrific thought back then and still would be now, also Victor playing god would have been considered terrible back then “A new species would bless me as its creator” the 1800’s were still very religious times and trying to create life artificially would have been condemned by religious people.
Although admittedly some scenes have a comical side to them, Besson's fast paced action and gruesome images hold the tension and suspense brilliantly. His use of close-ups and camera movements, especially the subjective stance used by the victim, convey the feelings felt by the characters and the way in which they behave. Sound plays a crucial role in the opening sequence because, in my view, it is used to control the level of suspense and intrigue.