The Ocular & Spectatorship
Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology have progressed the faithfulness of visual representation is increasingly throw into question, which in turn has led to societal anxiety. A few years earlier, video footage of an event rarely had its validity questions, whereas now it is easy
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Not only does it allow the viewer to ‘fill in the gaps ' and imagine what the paranormal entity may look like but the greatest factor that allows for the audiences anxiety is that they are constantly waiting for a revealing, which never materializes. Some argue that there is a greater fear than the fear of the unknown. As in Tony Perrello 's argument, the viewer experiences more horror watching the victim be attacked by the monster than being confronted by the monster itself. It has been noted that the audience will mirror the reactions of the character on screen, screaming when they scream or shielding their eyes when the victim on screen does, regardless of the role of the character. As in Hitchcock 's Strangers on a Train (1951), the director draws the audience into empathizing with the evil character in a race against time to commit murder or James Whale 's portrayal of Frankenstein 's monster in 1931. Laura Mulvey also speaks of the spectatorship of siding with the killer in Peeping Tom (1960). The audience simultaneously empathizes with the victims on the screen while occupying the killer 's point of view.
The Uncanny (Sigmund Freud)
Sigmund Freud coined this term when trying to explain something strangely familiar yet unfamiliar. It speaks to seeing or experiencing new but also takes us back to our own psychological past or something within the material world. It is suddenly recognizing something that seems unfamiliar and in fact, has an identity
Everyone loves to watch a good horror film. Whether the effects in the movie are really gory or extremely unsettling, these nail-biting experiences are what give the audience a thrill as they try to peel their eyes away from the screen. The concept of these movies is to give the viewers a good scare, one that will have them glancing over their shoulders or double checking if their doors are locked at night for the next week. This genre has been around since the late nineteenth century, but horror movies did not gain much popularity until the 1930s. Modern day horror films have evolved from its beginnings, but the elements in a horror movie are consistent regardless of time.
The word Gaze can be defined as:” to look steadily and intently, as with great curiosity, interest, pleasure, or wonder.” When using this definition in a theatrical sense it is imperative to determine who is the one gazing and who is being gazed at. In the instance of David Bowie and Enter Achilles the gaze and subsequent objectification varies due to the performers wished effect. For instance they each use techniques to garner their desired gaze from the audience through the use of clothing and semiotics. Both examples have interesting undertones of sexuality in relation to their objectification from the audience members. Stereotypically, the male gaze has connotations of men staring and objectifying women but the two examples create a way for themselves to be gazed upon as opposed to being the one who gazes.
This open letter is directed at the directors of Horror films. This letter will discus the over used gimmicks and the lack of creativity on their part. It will be written in a conversational way with the use of pathos of how these movies are faulty with a touch of humor, and rhetorical questions to emphasize certain points of my discussion of this topic. I will also use ethos through my time as a film fanatic who is passionate on all that is film especially horror film which is my favorite film genre, and is the largest genre with so many subgenres within it that have the ability to use so much imagination. I have crafted this conversation to be directed towards the directors of horror films with the use of film lingo that is used for this genre, movie examples they should look at, and a deep analysis of what and how this problem cause movie of today to lack in appeal.
The horror genre has been captivating and enthralling the masses for centuries, but more recently in the twentieth century these morbid tales have moved from the old media of oral stories and literature to the new medium of horror pictures. Horror pictures still are not the end of the evolution of the horror genre, as this medium itself has experienced evolutions to satisfy an increasingly desensitized audience. To exemplify this evolution of horror pictures we will be taking a look at an occult classic from 1968 Night of the living dead and a new thriller The Walking Dead. Both horror pictures portray a zombie apocalypse and there are similarities and differences in the main characters, the zombies, and the worlds of the two pictures.
The Silence of the lambs (1991) is in doubt a film which demonstrates a well-constructed horror film. The film, ranging with scenes, shots, and frames that were well constructed to be identified as horrific. The films cinematography shifts the films narrative and impacts the film, especially the film’s frames. It seems reasonable to suppose that from the film’s frames and of those of the characters expressions, they shape the film’s genre to be horrifying, psychological, and thrilling and they guide viewers towards where the film’s narrative will lead to. Therefore, even a single or series of frames in the film such as Hannibal Lecter’s evil smile, Buffalo Bill opening the door, Hannibal Lecter standing in his cell, and the dialogue between Agent Starling and Hannibal Lecter, act collectively to represent and symbolize claims about the film.
There are many ways one can see and understand the world. The way that the school system authorized us to see and understand the world is through a western perspective. However, there is another perspective that we should all see and understand the world as since we live on the unceded territories; we should all see the world an Indigenous perspective too. This concept of two-eyed seeing is introduced by Mi’kmaw Elders Albert and Murdena Marshall from Eskasoni, a First Nation in Cape Breton, Nova Scotia (Martin, D. 2012, p. 31). The concept is specifically introduced and applied to research in science. However, I believe that this concept can be applied to life in general and in the classroom environment.
Psycho a film directed by Alfred Hitchcock was created for the purpose of inciting fear and suspense to engage its audience.
Do you enjoy watching murder, the paranormal, and any other morbid scene which makes the hair on the back of your neck stand up, your palms sweat, and your adrenaline surge? Why people enjoy watching murder, tragedy, and carnage in their spare time has been a mysterious phenomenon. If these gruesomely horrific scenes would not be enjoyable in real life, why is watching a recreation of it so riveting? Stephen King, a world-renowned horror novelist, wrote “Why We Crave Horror Movies” to give insight as to why horror movies, although gruesome and morbid, captivate audiences. King also aims to persuade readers to continue to watch horror movies, arguing that they are a crucial part of keeping sanity. King delves into this psychological aspect of humans and believes that the desire to watch horror films is a normal tendency of humankind. “Why We Crave Horror Movies” includes appeals to emotion, logic, and author credibility in order to convince readers of the positive, normal desire to watch horror films, why it is important to watch them, and why the reader should believe what the author is saying. King utilizes the rhetorical devices—pathos, logos, and ethos—in an effective way through the use of metaphor, logic, humor, and emotion to persuade readers that watching horror films is normal.
Since it’s infancy at the beginning of the eighteenth century, horror has followed certain conventions that results in an awakening of the senses, evoking intense emotions of fear and terror in the audience. Horror feeds off triggering the primal fears embedded within all of humankind, creating a sense of menace that is the very substance of this genre. Furthermore, the central menace of a piece tends to enlighten the human mind to the world of the paranormal and the enigmatic, dark side of the unknown. The movie “Psycho” directed by Alfred Hitchcock is a perfect example. Infamous for its shower scene, but immortal for its contribution to the horror genre, “Psycho” was filmed with great tact, grace and art in regards to horror conventions.
Cinematic perception can be understood using the metaphor of cinema as a window and frame. Alfred Hitchcock’s Rear Window is an concrete example of this metaphor from both a critical viewpoint as an audience member, and from the perspective of the protagonist, L.B. Jefferies. Thomas Elsaesser believes that the cinema of the window offers a “special, ocular access to an event” and the screen is transformed from a two dimensional narrative into a three-dimensional environment within which the audience is absorbed (14). Because the plot contains an actual window and also involves L.B Jefferies looking through a window, Rear Window is an exemplary illustration of this metaphor. The two observation points are similar in that they are both ocular-specular,
In King’s essay, he begins with the claim that we see horror movies for the more obvious reasons of merely "showing
In Stephen King's "Why we Crave Horror", the famous novelist argues for a rather depressing explanation of society's fixation with horror movies. He insinuates today's generation's obsession over gory and demonic storylines is a result of our internal need for violence that must be satisfied. Such claims may shock readers at first, however, King's use of diction, imagery and tone leave us no choice but to agree with his analysis of human behaviour. He uses these rhetorical tools to prove to the naive reader that we truly are "mentally ill".
In Chapter Seven of Practices of Looking, we start to explore in the ideas of advertising, consumer cultures and desire. Everyday, we are faced with advertisements through newspapers, magazines, TV, movies, billboards, public transportation such as buses and taxis, clothing, the internet, etc. Logos, such as signs, or anything that resemble a brand, are everywhere, they are on clothing, household items, electronics, cars, etc. Consumers are always showing off their brands and advertisements and we are used to seeing those brands and advertisements in an everyday setting. In modern media, advertisers are pressured to always change the ways they show off and get the attention to consumers, old and new. Advertisers also used present figures who were glamorous. Advertisements set up a certain relationship between the product and its meaning to sell the products and the hidden meaning we link to each of the products. Advertisements use the language of conversion. Advertisers try to create a customer relationship to the brand to try to form them as familiar, necessary, and also likeable.
Horror can be defined as a genre meant to psychologically trigger individual fear with the presence of certain supernatural or abstract characteristics. The genre is dependent on people’s fascination with unrealism and the sensation that comes from experiencing fear personified into tangible elements on a screen. Horror films have thrilled audiences for decades, revealing stories of the more sinister parts of life. The popular allure that stems from the genre comes from the tension moviegoers experience when aroused by specific stimuli uniquely present in these cinematic features (Walters). Over time, as the genre progressed, the standardized elements found in a typical horror movie began to shift in different directions primarily due to changing societal circumstances and increasing consumer demand for cinematic innovation. The expansive nature of the different codes and conventions within the horror genre, coupled with the evolution of society’s fascination with these characteristics, has led to the mutation of the genre itself in order to allow for unique approaches to a familiar style in response to both economic developments and taste shifts within the consumer industry.
Television today serves as a method to confront our societal fears in a comfortable setting, like books and oral tales did hundreds of years ago. The film The Shining directed by Stanley Kubrick, although a modern medium, still draws from the original gothic novel. Compared to The Castle of Otranto by Horace Walpole, The Shining plays on the same classic and applicable anxiety of finding terror within the nuclear family. Kubrick uses the gothic theme to address horror originating from family relationships, additionally taking the idea of “the gothic novel” to a heightened level through invoking despair in his audience rather than hope as Walpole did in his novel. Despair in The Shining is conveyed by