Stan Maria The Texas Chainsaw Massacre and the Proto-Indie Phenomenon In his article, The American Nightmare – Horror in the 70s, Robin Wood tries to take the American horror movie and put it in a suggestive context, both historically and socially, exemplifying trough movies that made history by their violence, gore and the shock they created to the mental matrix of the society living in that age. He believes that trying to define those ages as the Golden Age of the American horror film is a brave thing to do, using comparisons for each of their characteristics: more gruesome, more violent, more disgusting, and perhaps more confused. He also believes that the core of the movie itself – the disturbance – is a crucial thing shared exhaustively
Psycho (1960) Alfred Hitchcocks powerful and complex psychological thriller, horror film “Psycho” (1960) was classes as the first sub genre of horror, the slasher. The film ushered in the era of slashes with graphic content of blood-letting and shocking killings of the time. Although this was Hitchcock’s first horror film, he was labelled as a horror film director ever since. The film contains disturbing themes of corruptibility, confused identities, voyeurism, human vulnerabilities and victimisation. These themes symbolise the effects of money, oedipal murder and the dark histories.
Like an iceberg, Fight Club is the search for the lost masculine authority on the surface, but the redefinition of essential values in modern society underneath. The dialogue between the narrator and Tyler at the bar after the narrator finds that his condominium has been destroyed is an attack on consumer culture. This conversation, furthermore, is also a chance for the narrator to realize that it takes a dramatic loss to start the life that he always dreams of. Being a typical example of how advertisement controls his life and turn the consuming behavior into an addiction in a subtle way, the narrator honestly and desperately confesses, “When you buy furniture, you tell yourself that’s it. That’s the last sofa I’m gonna need.
These events’ inclusion are important due to the context and understanding that they grant readers unfamiliar with the text. Persepolis begins with an introduction to the Iranian Revolution, and the fall of the Shah. Satrapi shows us the burning of the Rex Cinema, an example of the Shah’s oppression (10/11). This is effectively showcased with a splash panel, which depicts the ghosts of those who died in the fire (15/2). This imagery is powerful - the deaths and pains of those inside are unimaginable; despite the difficulty in portraying this, Satrapi is able to communicate this through the illustrated facial expressions of the ghosts, along with the ghosts running towards the exits of the cinema.
Introduction In a genre that has been dominated in recent years by the same cheap jump scares and unnecessary gore, Mexican director Guillermo del Toro has breathed life into horror again by combining it with elements of fantasy and historical fiction. In many of his iconic films, del Toro immerses his audience in stories where terrifying monsters are outshined by the cruelty of humans. Utilizing this aspect, he often provides a commentary on politics, in particular the subject of fascism, interwoven into his films. Examining his career, no film defines Guillermo del Toro’s proficiency as a both director and a writer more than his 2006 film Pan’s Labyrinth. This movie explores the time-honored plot of good versus evil though a haunting intermingling of fantasy and reality.
Throughout the movie they use different camera movements, and angles that highlight the different mood this cinematic piece gives. There were various camera angles/movements that were used throughout the movie that would make the scenes very intense and extreme. One example is the first meeting between Clarice and Hannibal Lector. As she first enters the cell we get a point of view shot showing Lector standing completely still in the middle of the cell. This implies everything Jack Crawford said how manipulative, powerful and evil he was.
They each show characteristics of being a monster, they are hostile toward others and inspire a sense of dread commonly associated with creatures of evil or those that are not fully human and care little for the nature of that which is good. The perception of what makes a monster is questioned as the more we learn about the scientists the more we question their humanity. Frankenstein takes on the qualities of a mad scientist robbing graves and desecrating corpses, and Nathan drowns himself in alcohol taking out his aggression on those around him. Frankenstein’s creation in novel is able to express compassion and is able to show remorse, caring for things beside himself. Nathan comments about in regards to Ava's brain that it is “Impulse.
For instance, the very first sentence of Hollinger’s essay starts off with this quote, “As Stephen Neale suggests, an intimate relationship seems to exist among the filmic presentation of the horror monster, the castration anxiety it evokes, and the cinematic representation of the female form.” (Hollinger pg. 243 of the Monsters book), in which she uses to intrigue the reader and to give the reader an idea about the work. Hollinger tells the reader that Neale thinks that the usual origin of a monster in a film is due to a relationship that went wrong and also claims that men are more vulnerable to certain anxieties. The placement of her reference to Neale’s essay allows the reader to conduct an idea of what the essay is going to be about and makes the reader think about what is more threatening between feminine monsters or masculine monsters. I think it was creative of her to reference a well-known philosopher and that she was able to use it to have the reader thinking about movies they’ve watched and figure out whether they’ve actually seen any movie at all with a feminine monster and if they did, then they’d compare them to the masculine monster causing the reader to think even more!
Gradually Shelby discloses Teddy’s attempts and is going to kill him. As a matter of fact, Shelby has already killed the attacker at the beginning but fails to remember that, resulting in his unrelenting efforts on searching that guy and sufferings from the misery of losing his wife again and again. To make sense of the story and appreciate the artistic wisdom of the film, we have to analyze the main actor’s problem of memory and his personal identity. Furthermore, we can mirror ourselves through analysis of personal identity of the main character in the film. First of all, we should figure out in the case of Shelby whether he still has personal identity.
Like in his movie Beatlejuice he uses close ups when Barbra and her husband got taken out of the ghost world and put back into the human world but they were dying and it showed a close up on their faces when they were dying and turning really old. Another example is from his movie Edward Scissorhands when Edward was tricked into breaking into Jim’s house and the alarm goes off and he gets locked into a room it zooms in on Edward’s face to show that he is scared and terrified. Close ups make sure that the audience know the intensity of the scene and is knowing of how the character