The sine curve of horror film history is a result of the “long dynamic history” of horror films. Fear is a constant theme in horror films. As certain films gain popularity, they then decrease and another film gains popularity. The success of a horror film can change over time.
It is in agreement with the book “The Genre of Horror”, which (2012) discusses horror as a genre that needs to be defined. The definition of horror that uses “categories” and “sub-genres” was more accurate. There are many sub-genres, including rural, cosmic, psychological, erotic and occult. Tzvetan Tzvetan believes that horror can be divided into three types: uncanny, marvellous and fantastic. Altmen’s method, which distinguishes genre by its formalities and syntactic structures, will still remain in consideration. Todorov’s theory is better suited to this genre, so the three forms will be given more priority. The uncanny can be characterized by supernatural, absurd, impossible, or fictional events that occur towards the story’s end. Or the film follows reality and shows events that are “incredible”, disturbing, uncommon, shocking or unexpected. But if the movie follows reality’s laws with an provoking conclusion, then it could be misunderstood as a horror film. For example, “Psycho”, a 1960 film or movies that overlap the science-fiction genre are examples of uncanny films. Extraterrestrials may be unnatural but not inhuman. The viewer must accept the “second level of reality”, “the new law of nature”, and the “second layer” even if they are aware of the irrational phenomena. Marvelous horror can be seen in films that feature characters like “vampires and werewolves …”” The third type of horror is called fantastic. The fantastical horror is characterized by a vague explanation for the strange, irrational situations. It leaves it up to the audience to determine the reasons behind the events. The fantastic is a mixture of the real and unreal. The audience can or cannot share the experience. The Shining, from 1980 is an example. White (1971), who studied the horror genre in its syntactic context, argues that the conventions of horror may not be enough to evoke fear. The conventions are so common that many people have learned to recognize them as the definition of horror. White (1971), a film critic, uses examples from films to illustrate the idea of semantics. He applies it in the context of characters that are common in horror films and under the category “uncanny”. Some “cliches”, like zombies, vampires or werewolves can have the opposite affect on a viewer, making them laugh. The fear produced by films lacking these common iconographic elements is greater than that of those listed above. As he explained, “…. It’s more than the unity of life. This is not the object or character itself that is a source of horror, but the importance of the environment and the development of the character’s actions (White 1971).
White (1971), in order to convey suspense, White(1971) mentions specific camera techniques which emphasize different actions. Such as changing the sound or content …”. or moving the actor or camera. In Psycho, the scene where the woman wraps the money in paper and leaves it on the table is an example of this. The camera focuses on the newspaper instead of the actress. This is a subtler way to unfold the story, but it still evokes emotion in the audience.
Horror films are characterized by a causation that is not only uncontrollable but also difficult to control. It is the idea that there will never be a moment’s rest, and characters are constantly fighting to survive wherever they may go. The Ring (2002), which is an urban legend, shows how this can be done. The story revolves around a videotape that, if watched by anyone, will cause death within seven days. The reporter was not only trying desperately to avoid her own death, but also found that her son had been watching the video. Placing the characters in a situation where death is inevitable, creates a cascade of danger. White (1971) describes it best: “Like pieces, people move insecurely from one situation to the next.” Very soon we, too feel isolated and defenseless….because of the continual revelation of random but at the same time inevitable forces asserting themselves within their events and characterization. Their lack comprehensible cause is clearly deliberate”.
In order to achieve the intended goal of a horror movie, it is necessary to analyze these devices psychologically. The intention is for the film to cause a shocking emotional reaction in the viewer. In horror films the theme of death is important, but it’s also necessary to “manipulate” the fear associated with death. Often murders are involved in these works. The type of death in which there is no warning, protection or escape is more important than murder. In addition to the type, the cinematography is also important in determining the genre. Films like war or detective films may include death but not in the same fashion as horror. The subject of death and love is popular in films. Fear can also be triggered from a psychological standpoint by encountering unknowns. White stated that we fear being unable deal with our environment. This portrays vulnerability in a character, because it is difficult to identify what is unknown. It is the unpredictable nature of the form that creates a sense of fear in the characters. They are not able to control it or prepare for the unknown. The unknown is often associated with “monsters, nightmares, and situations that are beyond our comprehension or control”. Fear can be evoked by thinking about powerlessness. The feeling of powerlessness is represented by losing control over one’s body, both physically and mentally. Stress, pain, depression, etc. are all examples of the experience of feeling powerless. The Exorcist films, Paranormal Activity and Psycho portray this powerlessness, regardless of whether the reason is rational or irrational. This uncontrollable cause is different from the previous causation in that once the insanity reaches a point where it cannot be brought back to normal, any hope of safety is gone. Before, even though the subject could not control the bizarre circumstances, she was still sane enough to pursue her goal of escape. These possibilities are a reflection of every man’s concern about his safety, both psychologically and physically. The ego is threatened when the integrity of another person’s self-preservation is threatened.
Horror films often feature iconic characters that are associated with monsters or evil entities. Harry Benshoff & White both write about the “sexuality,” of these creatures, and the way it is depicted in horror movies. Benshoff researched anti-homosexual views in 1984. The society viewed homosexuality as a danger due to the breaking of traditional gender roles and family values. “Homosexuals were frequently linked to violence, child molestation and rape in the media”. Frankenstein is a good example of a man who is feared not for being a killer but a child abuser. White discusses the “animalization”, the sexualization of people, werewolves, and how animals can become more than just animals. He differentiates the beasts from the perverted beings of our own species by two methods; one is that a normal person can be turned into a monster using spells, drugs or diseases. Another way is to emphasize the sexuality of the beast. In the common format, a female monster will use seduction to lure a woman in danger, just like Dracula’s vampires. The horror genre is defined by the code and conventions that are applied to “Who’s Hungry”, a short animated film based on Hansel & Gretel. The story revolves around two children that are approached by an icecream truck, where they are kidnapped. Once he’s put the children into their places, he watches TV and consumes a previous kidnapped child in liquid form. As the children escaped, the ice-cream man fell into the mixer. This was the moment when the girl killed the man with the blender.
Todorov would place the story under “uncanny”. This would then be reflected in reality, with disturbing and provoking elements. In reality, the kidnappings, cannibalisms, and child abuses are all possible. Ochs used the same devices as horror films, where the camera is focused on everyday actions in order to reveal the plot subtly. The camera focused its attention on the hands of the children in the first scene that caught our eye when the icecream van appeared. The animation uses this particular hand action to communicate various emotions. The girl first expresses her insecurity as she and her friend are approached by the ice-cream van. The audience can then anticipate what may happen when the boy lets go of the man’s offer and accepts it. The boy grabs the girl’s hand as she is being caught by the guy after she activated the switch. The scene is also a horror film where the characters fight to stop the inevitable and uncontrollable events.
With the provided research, the majority animated film challenged would easily be classified as “uncanny Horror” by Todorov. The definition of a genre is challenging because it doesn’t just consider semantics or syntactic elements. It is clear that there’s more to this genre than meets first glance, as it uses the psychological aspects of horror and its interesting variations.
