Slash Out Those Old Horror Woes with 'Night of the Slasher'
Sean Delles
If you adore a good horror flick but sometimes can't get past all the formulaic approaches, oblivious protagonists, and indestructible madmen- Shant Hamassian's sleek and parodic short Night of the Slasher will remind you why your love for horror is still worth having.
Word of warning to all my 9-to-5ers out there, Night of the Slasher- following along in the diehard footsteps of the typical slasher film- is fairly NSFW. In fact, Night of the Slasher kicks right off with what most other films of its ilk try to patiently hold out on: a scantily clad dance scene. With 80s power chords blasting through the interior of an open-concept house, we are introduced to our protagonist and her body before anything else.
Night of the Slasher Short Film
While it may come across as simply in bad taste to start a film as gratuitously as this, there is (believe it or not) something of deeper meaning going on here. Resist the urge to scoff at this over-the-top and tawdry striptease intro, and you'll soon find Night
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Historically, a striptease is sign that we don't have much more time left with the character in question (i.e. they are definitely getting killed soon). As Randy from Wes Cravens' Scream humorously divulges about the nature of horror,(https://www.youtube.com/watch?v=mvLpbHKV1_8) "There are certain rules that one must abide by in order to successfully survive a horror movie." Night of the Slasher's protagonist from the get-go breaks the first rule (sex) - so in normal circumstances this might be all it takes to set a killer off doing what they do best. But, as mentioned before, Night of the Slasher is anything other than normal film; our protagonist is actually trying to break every horror movie rule that oh-so-conveniently does keep you
Too many horror films provide scares and screams throughout their respective cinemas. Not many viewers follow what kind of model the films follow to appease their viewers. However, after reading film theorist Carol Clover’s novel, watching one of the films she associates in the novel “Halloween”, and also watching the movie “Nightmare on Elm Street” I say almost every “slasher” or horror film follows a model similar to Clover’s. The model is a female is featured as a primary character and that females tend to always overcome a situation at some point throughout the film.
Jerald Walker’s short story ‘Dragon Slayers’ begins at a Christmas party where a white man says Walker should hate him and all of the white race. But Walker has a different outlook on this issue. Walker believes that he has to focus on black courage and overcoming the issues that lie ahead; not let oppressors define who he is. He refuses to fall into any sterotype and let racial slurs get the best of him. Walker advocates that Africa Americans cannot play the victim and must not turn to anger and violence. Africa Americans must realize their heratige and understand the pain and suffering but also the amazing hericotic and courage they had. Walker teaches an African American Literature course and all of his students have to agree to be black for the course of the semester. His students must try to critically think as a black individual. His course is not a typical African American course where the teachings only focus on white cruelty and their oppressers but black
Rachel Perkins hybrid musical drama One Night the Moon set in the 1930’s Australian outback and Malala Yousafzai’s ‘speech to the UN’ in 2013 were composed to raise awareness and reveal truths of multiple perspectives, representing the voice of the unheard and disempowered in juxtaposition to the dominant and powerful. Both Perkins and Yousafzai challenge societal expectations of their context, advocating for all voices to be heard and for the potential unity between cultures and races through education and shifts in paradigm.
still fighting for his equal rights after all these years. Cecil wants him to understand, that he has to accept that the circumstances for the black population will always be the same.
Halloween is rife with psychological scares that affect its audience greatly. “Symbolism, dreamlike imagery, emotional rather than rational logic” are present in Psychoanalytic criticism. Siskel and Ebert talked about how the movie makes you feel as if you are the protagonist, scared for your life and feeling every bit of suspense (Siskel and Ebert). The movie is purely fueled by emotional responses to what is happening to the characters and focuses itself purely on how the audience will respond. In the clip shown, the main protagonist talks about how she killed the killer but he is shown alive. The movie is not concerned with the logic; otherwise, the killer would have at least been slowed down by the injuries he sustained. Siskel and Ebert laud the movie on its set up of scenes, score, character development, and use of lighting to make the audience feel the terror the characters undergo.
The father’s experience in When The Emperor was Divine and the narrator’s experience in “Battle Royal”, both portray the hardships minorities go through when trying to fit in with a bigger population and how much they change from being put through these hardships. The first connection that is seen between the two characters is the the start of their journey’s. The father begins his journey by being taken away by the FBI, “She knew exactly where her husband was. He was sleeping on a cot-a cot or maybe a bunk bed-somewhere in a tent at Fort Sam Houston where the weather was always fine.”(Otsuka 19). The father in Emperor was taken away to an internment camp because since he was Japanese, he was suspected to be a part of the bombing of Pearl
To begin with, some people would say they enjoy a horror movie that gets them scared out of their wits. They go see these movies once a month on average, for fun, each time choosing a newer sequel like “Final Destination” or “The evil Dead”. King says “When we pay our four or five bucks and seat ourselves at tenth-row center in a theater showing a horror movie we are daring the nightmare” (405). As a writer of best-sel...
His experimental and unique perverse screenwriting has shocked and inspired numerous people. His aesthetics painted horror vividly and presented itself dramatically. His musical and cinematic vision was a healthy extension of his devilishly, clever, and demented mind. His modes of publication with music, film and print, had and still a tremendous fanbase. He has gained our attention in every media related forum and we can’t look away, even if we try. He has left us cheering, screaming and on the edge of our seats. We leave feeling bad about ourselves for watching his visual storytelling unfold. “You know, it’s like, I’m going to sit here for 90 minutes and watch these guys get fucked up with no hope. That’s what I love about these films, you walk out feeling bad about yourself, saying “Why did I enjoy that? What does this say about me as a person?” It is a cathartic experience that horror lovers can have again and again. Not acting on those horrific urges, but instead, becoming one of his characters that were just never really understood and that evil is real. Evil never dies and revenge always wins or at least in horror
The genre of horror films is one that is vast and continually growing. So many different elements have been known to appear in horror films that it is often times difficult to define what is explicitly a horror film and what is not. Due to this ambiguous definition of horror the genre is often times divided into subgenres. Each subgenre of horror has a more readily identifiable list of classifications that make it easier to cast a film to a subgenre, rather than the entire horror genre. One such subgenre that is particularly interesting is that of the stalker film. The stalker film can be categorized as a member of the horror genre in two ways. First, the stalker film can be identified within the horror genre due to its connection with the easily recognizable subgenre of horror, the slasher film. Though many elements of the stalker film differ from those of the slasher film, the use of non-mechanical weapons and obvious sexual plot points can be used to categorize the stalker film as a subgenre of the slasher film. Secondly, the stalker film can be considered a member of the horror genre using Robin Wood’s discussion regarding horror as that which society represses. The films Fatal Attraction, The Fan, and The Crush will be discussed in support of this argument. (Need some connector sentence here to finish out the intro)
Reflecting back on the most iconic figures in the history of horror cinema, characters like Michael Myers, Freddy Krueger, and Jason Voorhees still shine brighter than all the rest – even despite their current lack of utilization. In the meantime, an array of other “big bads,” ranging from Ghostface, Jigsaw, and Annabelle, has attempted to climb the proverbial ladder into the (imaginary) horror hall of fame.
When most people think of a “slasher film” (Clover 1992) they tend to think of movies such as Friday the 13th, Halloween, and The Texas Chainsaw Massacre. These movies align with the basic necessities for a slasher film ,but at the same time, are repetitive. In 1984 A Nightmare on Elm Street was created and completely changed what was looked at as a “slasher villain”. In A Nightmare on Elm Street the viewer is introduced the evil omnipresent being known as Freddy Krueger. Freddy Krueger is a nightmareous malicious monster whose only purpose is to kill. He is the embodiment of fear and evil with immense power and abilities that some would dub as “Godlike.” In James Kendrick’s Razors in the Dreamscape: Revisiting A Nightmare on Elm Street and the Slasher Film Kendrick discusses A Nightmare on Elm Street’s originality as compared to other slasher films such as Friday the 13th, Halloween, etc. Kendrick presents an understanding of how A Nightmare on Elm Street fights common archetypes and tropes associated with the slasher genre by discussing the amalgamation of Krueger and his victims and how it ultimately emasculates Krueger and leads to his demise.
Each of the teenagers in the group plays an archetypal role that can found in many of the horror films of the last thirty years. Jules plays the role of ‘The Whore’, Curt ‘The Athlete’, Holden ‘The Scholar’, Marty ‘The Fool’, and Dana ‘The Virgin’. The remaining two in the third act of the film, Marty and Dana, discover that the order in which they group dies can be flexible, as long as ‘The Whore’ dies first and ‘The Virgin’ lives or is the last to perish. This revelation for the characters partly acts as a critique of the moralistic view of sex as resulting in death in the traditional slasher movie. For example in films that established the slasher in the horror genre like John Carpenter’s ‘Halloween’ (1978), all of the characters that engage
"Horror Movies 2013." movieweb.com. N.p., n.d. Web. 3 Dec 2013. .Noton, Adriana. "A Brief History Of Horror Movies." Ezine Articles. Spark Net, 10 Aug. 2010. Web. 1 Dec. 2013. .
In the poem “Acquainted with the Night” by Robert Frost, the Romantic poet explores the idea of humanity through nature. This sonnet holds a conversational tone with a depressing mood as the man walks in the dark city trying to gain knowledge about his “inner self”. The narrator takes a stroll at night to embrace the natural world but ignores the society around him. His walk allows him to explore his relationship with nature and civilization. In “Acquainted with the Night”, the narrator emphasizes his isolation from the society by stating his connectivity with the natural world.
Why are outsiders so fascinated with New York Is it the way that our city is portrayed by producers & directors? To the typical native New Yorker there is nothing special about the location in which we live it’s just average. the common notion to outsiders it that new York is this great city surrounded by fashion, gilts and glamour, normally they think of Manhattan which includes one world trade, the empire state building, central park, etc. people who aren’t from our city don’t know what it’s like to live here, they don’t understand what it takes out of someone to constantly put up with the stench, the noise, the exorbitant prices of everything & the long unending winters.