Friday, 30 October 2015

Analysis of horror clip - The Ring


The Ring - The scene opens with a wide shot of the living room and a man is standing in the centre staring at the TV as its making a loud noise, the screen appears to look static, he gets a hold of the remote to switch it off then the room falls silent.

He drops the remote on the couch and the camera shot changes to being in front of him and as he’s walking towards the camera on his way out to leave the room he suddenly stops walking when he hears the TV turn back on, the camera shot is a close-up of his face in a pull focus as the background is blurry to keep our attention on his facial expression as we see his face turn into a worried look and then he turns his head around to look back at the TV the camera technique used here is that the camera lens turns the blurry background into a clear view then blurs the man’s head showing that the TV has grabbed our attention.

A non-diegetic soundtrack begins playing and the music is quite sinister and menacing which is used in a lot of horror films to build anticipation in a negative way as the music is building up tension so we know that we are waiting for something to happen. The camera cuts to a close-up of the television screen to reveal a low quality image of a forest with a well in the middle of the field the colour of the image is tinted blue, and the colour blue is used to represent/symbolize depression and sadness.

Camera cuts to his frightened face then suddenly an ambient noise of the telephone ringing which the camera cuts to then zoom towards the phone. The camera cuts to a different location of a woman on the phone which shows us who’s calling he guy in his house and as the phone is ringing while she waits for the guy to answer the phone she says worriedly “Pick up the phone, Noah, Come on, pick up” showing she’s desperate to talk to him and her worried tone suggests she’s trying to alert/warn him about something.

Then the scene cuts back to the living room and the camera shot is pointing at the TV from a low angle, the camera begins to move back away from the TV, then the man that we now know is named Noah walks into frame and in front of the camera but we can only see his legs while he’s standing in front of the TV.

The phone begins to ring again but this time Noah pays no attention to the phone as he’s staring at the TV, the camera shot is now an extreme close up of the well on the TV which we see a long black haired female emerging from the well, camera cuts to the his face revealing how horrified he’s becoming as he focuses on the TV. We then see a gruesome creepy looking girl with long black hair covering her face, the camera keeps on cutting from a shot to his face then the TV screen then back again to his face, and again to the TV showing that he is disturbed by this eerie looking video of the girl approaching closer to the screen.

The scene cuts to someone driving,  a loud ambient noise of car tires screeching which was used to startle us watching, the person driving fast and recklessly through traffic is the woman that was previously phoning ‘Noah’, camera shot changes to a close-up of her face while she’s on the phone shouting “Come on, Noah! Pick up the goddam phone.”

Scene cuts back to Noah sitting in front of the TV, then when the camera changes to a shot of the TV, we can now see the female that had previously come out of the well is now right up close to the screen, water starts to leak out the television screen which is then followed by her coming out of the TV. This startles Noah which instinctively makes him try to get away from her, he pushes himself to slide across the floor, then the camera shot switched back to a side profile of the demonic girl showing us clearly how her body is coming out from the TV screen and she makes her way crawling towards him.

We then see him stumbling to get up but keeps his attention on the girl and can’t seem to look away even though he is petrified. The girl then stands up and we see a clear shot of her, her height suggests she is young because she’s quite short and the white long dress she’s wearing has rips and dirt all over it which suggests that she has not been treated well.

Once she’s on her feet she disappears then reappears right in front of Noah which shocks him causing him to fall backwards knocking down a metal shelf stand which shatters glass that makes him bleed as we see a close up of his hand with cuts and blood seeping out.



It ends with a close up of her head with her black hair covering her face but as she tilts her head up it reveals her gruesome pale face showing her angry facial expression, then the camera does an extreme zoom into her pale blue eyes, then cuts to Noah helplessly bleeding and screaming on the floor which indicates that he will get attacked by the girl.

Tuesday, 27 October 2015

Audience Theories

Texas Chainsaw Massacre

Carrie (1976)

Brian De Palma’s 1976 film Carrie was based on Stephen King’s 1974 novel, the film was an American supernatural horror film written by Lawrence D. Cohen. 
The opening scene starts of as a tracking shot using the effect of the male gaze. The male gaze happens when the camera puts the audience into the perspective of a heterosexual man. It may linger over the curves of a woman's body, for instance. The woman is usually displayed on two different levels: as an erotic object for both the characters within the film, as well as for the viewer who is watching the film.
Carrie White is the main character in the film, she comes off as being a shy young girl who appears to be lonely and doesn’t make friends easily so she keeps to herself. As the film progresses we begin to pick up on her background and that she's religious and innocent so her character could symbolise purity, also her surname links into that symbolism as its Carrie ‘White’ and that connotes innocence and being pure which is a contrast to the other girls if you compare the two.


This first scene begins in a school playground and we observe a large group of young women, they’re presented in two ways, first from a heterosexual males point of view- as sexual objects and secondly as bestial creatures, acting mean and pack like as they clearly make evident to the viewer that ‘Carrie’ is an outcast in comparison to everyone else around her, we notice this because she had a ball thrown at her head. This scene follows through to a shower scene which has evidently used the male gaze as the camera acts as a voyer, it pans across a girls changing room, the camera then lands on Carrie White washing herself in a sexual manner which is emphasised by the slow romantic soundtrack playing as this scene is going on and each shot of her lasts  seconds and they each dissolve into each other which adds a soft effect, which also feeds into the heterosexual males obsession. There's an over sexualisation of this certain character as she's innocent which then contrasts to when she’s struck with fear from realising her menstrual blood, the scene begins to lack purity because it comes gory from the blood. This scene links to Todorov's theory we can apply it here from when Carrie realising she's bleeding but unaware its her period this stage is known as the ‘disruption’. After her embarrassing incident in the shower her fellow class mates/pupils begin to tease Carrie ruthlessly.

In the ‘Horror Reader’ Barbara Creed states: 
‘In Carrie, the film’s most monstrous act occurs when the couple are drenched in pigs blood, which symbolises menstrual blood in the terms setup by the film. Women are referred to as ‘pigs’, and the pigs blood runs down carries body at a moment of intense pleasure, just as her own menstrual blood ran down her legs during a similar pleasurable moment in the shower. Here, women's blood and pig’s blood flow together signifying horror, shame and humiliation’.

-The use of blood in this film reinforces the genre of horror because its conventional

-'Carrie' doesn't wear make-up which makes her appear more innocent and fragile when comparing her to the other girls which is why shes the outcast

-During the shower scene, the director makes it evident to the viewer that Carrie is taking a long hot shower because she has great pleasure in doing so (sexual connotation)

-A shower suggests something that isn't clean and that indicates washing away sins or evidence and this foreshadows what later unfolds, Washing something off is conventional in horror films as the villain washes away evidence after committing  a crime

Clover's Final Girl

Carol J. Clover - Her body, Himself


Carol. J. Clover analyses the conventions and critics of slasher films she seems to speak quite furiously about the conventions and representations in slasher movies and criticizes slashers and directors. This article looks at how woman are portrayed on TV and how it keeps changing over time, she also expresses how women were seen as sexual objects and she mentions theories such as the ‘Male Gaze’ and ‘Final Girl’.  Women on TV are usually being looked at constantly by men. The article explains that men would rather see an attractive woman on TV being murdered than an ugly woman being murdered. Women were being objectified as 'sex objects' but more recently there has been a change, now 'alpha females' have been introduced in horror films now. An 'alpha female' is a female that takes on a more masculine role, and they have more leadership and usually survive to the end of the film.

An effective point of slasher movies is a ‘process of point, view and identification’ Clover stated that ‘the seeking male character, whom is identified in a sustained way has little to hang onto....they tend to die early in the film’. I agree with Clovers statement about having a 'final girl' that theory is correct although, I disagree on the point where she believes that the other characters die early on in the film. Using the slasher film Psycho (1960) as an example, in the film there was a detective that had relevance as he was trying to find Marion as she had disappeared, and he died towards the end of the film.

What is the 'final girl'?

The final girl theory is a convention used in thriller and horror films, it refers to the last woman left alive to confront the killer at the end and be able to tell the story from her perspective as we see events unfold from her point of view/through her eyes. 
According to Clover the final girl is conventional in many typical horror film plots, the characteristics she'd have is typically sexually unavailable or is 'the virgin', she usually has morals and isn't reckless because she doesn't have sex, drink alcohol or do drugs. They sometimes have a unisex name, such as, Teddy, Billie, Georgie, Sidney. The final girl is usually intelligent and she becomes the resourceful one out of everyone else in the group of people shes with, which they'll all become victims.

Monday, 26 October 2015

Cohen Moral Panics

Paul Wells (2000)

Paul Wells (2000)
Method: Paul Wells conducted research of 12-28 people 4 different age categories to conduct a small focus group

1. 16-25 years
2. 26-40 years
3. 41-55 years
4. 56-80 years

During this focus group he asked 'What was the earliest film you have seen?' and 'What is the most recent?'.
1. 16-25 years (1975-1984)
Earliest:The Exorcist
Recent: Jurassic
Park
understood films were artificial

2. 26-40
years (1960-1974)
Earliest:Night of the Living Dead
Recent: Silence of the
Lambs
disliked predictability of films

3. 41-55
years (1945-1959)
Earliest:House of Wax
Recent:Halloween
advancements in technology


4. 56-80 years
Earliest: Nosferatu
Recent: Death of
Night

The conclusions that Paul Wells gathered were: 

- The relationship with being frightened changes with age, this relates to broader factors affecting emotional responses

- Audiences between 1970-1990 weren’t used to explicit special effects whereas 'monster' films of 1920-1930's reported very strong personal responses to images and iconography of horror this is when the cinema was 'new'.

- Young people are aware of artificially and are becoming harder to shock which films play into this knowingness of horror conventions.

Mulvey's Male Gaze

Monday, 5 October 2015

Levi-Strauss' Binary Opposition

In the 1900's Strauss was a French anthropologist who believed that the way we could understand certain words depending on the meaning they contain, so his theory is based on understanding the difference between the word and its 'opposite', as he calls it 'binary opposites'.


Binary oppositions within the media field often come up in films, especially in the horror genre. Most horror films include elements of binary oppositions in their narratives. Some examples of binary oppositions in films would be good and evil, sane and insane, rational and irrational and human and supernatural.


Todorov's theory


Vladimir Propps Character Theory

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