He has said that "Music in horror films is probably more powerful than in any other genre, so it’s good for a composer to do them because he can be very influential on the action"(Thorley 2012).Because the key objective of horror films is to frighten its audience, it seems very difficult, perhaps impossible to achieve this emotional affect only through the images, even with written subtitles that may describe to a limited degree the intensity of the situation. In his book “Why we watch, the attraction of violent entertainment”, Geffrey Goldstein carried out an experiment in which three violent documentaries were shown to three test groups. In all cases, the viewers lost interest and stopped watching at different durations of viewing. He says: “One striking difference between our films (the documentaries) and a commercial horror film is the quality of the sound track. Our films had the kind of sound typical of inexpensive documentary productions: No music, no special effects, and dialogue and voice over without the vibrancy and diction that trained actors produce with the help of a good sound lab.
Rationale This documentary script will explore how directors use cinematography and editing techniques in horror films to increase tension and create an impact upon the audience. To achieve this I will examine horror films over three decades and consider how cinematic techniques have been employed to involve and scare the audience. The horror films I will be analyzing are The Omen (1976), The Shining (1980), Let the Right One In (1982) and Orphan (2009). Word count: 73 Thesis statement: An exploration of how horror films have developed over time through the use of cinematic techniques. Visual Audio Fade in A pull back shot of Saint Patrick 's Cathedral, New York in the backdrop of a stormy sky will show
The first sound heard is composed of violin or similar string instrument in a loop. The second sound is related with opera where women with high pitch in a loop as well. The music makes the film more gloomy and makes to think something is going to happen either bad or good. Whole film is edited presenting the image of group of men, women and the young girl showing their corresponding activity. Every time the scene is switched among one another; it shows the progress in their activity i.e.
But at first, this representation was not very vividly, and if directors wanted to make it 'explicit ', those images were censored and the movies prohibited in certain countries. The film that is believed to be the first one showing some kind of violence (Ruiz Álvarez, 2000) to a big audience was a western: Attack on a Chinese Mission Station (1900), directed by James Williamson. This movie is set on the current event of those times, the boxer rebellion of China between 1898 and 1901. The main plot is the representation of a group of Christian missionaries under the ambush of the boxers. It is normal for the early years of cinema to represent what was happening, because cinema limited itself to that.
Throughout most of the decade, silent films were the predominant product of the film industry. The landmark motion picture The Jazz Singer (1927) was immensely popular because it, as a sound film, ushered in the talking motion picture. As the arts began to highlight new forms and statements previously used in media, they began to diminish the importance of following traditions in society and the invention of sound in movies is just one example of how the 1920s impacted an entire
The most significant difference of this to films released today is obviously that it 's a silent film and the showing of this film is different from today 's standards. The actual picture of the film is accompanied by a live orchestra and does not have any dialogue or sound effects. Dialogue and setting are established through the use of title cards in between scenes. This process was the typical kind of movie of this generation. Regardless of my views on the outcome of this film, its content also has a lot of storytelling within its deep subject matter.
In 1927, the release of Alan Crosland’s film The Jazz Singer revolutionized the movie industry with the first feature length movie to utilize synchronized sound. Prior to this innovative film the industry was primarily focused on what are now known as “silent films,” which would often be accompanied in the theatre with live music or sometimes even a recorded soundtrack. The accompanying music would set the mood for these dialogue-less films, and in many ways convey more intricate aspects of the story that could not be expressed through the cinematography alone with the technology at the time. With the utilization of synchronized sound in cinema, the industry adapted a new type of film known as “talkies,” which were just as often musical movies