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Horror Films, 2002.
An overview of different views on horror films, with a discussion of the most popular horror films.
2,804 words (approx. 11.2 pages), 4 sources, MLA, AU$ 121.95
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Abstract
This paper provides an insight into horror films, from the classics such as "Psycho" to the psychological thrill of "The Silence of the Lambs". It examines the history of the horror film from the first film directed by Georges Melies in 1896 and its development through the period of silent and black-and-white movies to the technological effects of the 21st century. It also attempts to analyze their attraction for people and how the fear and loathing, as well as the almost guilty enjoyment experienced in a movie theater filled with gore lovers, are human psychological needs.
Outline
The Classics
The Psychological Need
The History of the Horror Film
Conclusion
From the Paper
"?Psycho? is seen by many horror fans as the ultimate horror film. Hitchcock plays with the idea of identity and involvement. The viewer is expected to feel drawn into the world of Norman Bates. The suggestion is also that the viewer?s identity is not as important as his or her emotional involvement in the plot. The film universalizes the idea of monstrosity in each individual. It mirrors the audience?s wickedness and guilt back at the audience by means of the ordinary and unassuming Norman. The implication is that everybody has a dark side. The monster therefore appears to have moved closer and closer with the development of the horror film. And now it is inside. Or now its existence is recognized. The monster is no longer something that looks hideous. Instead he or she is as human-looking as everyone else."
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The Realist Horror Film, 2006.
This paper examines the horror film genre, also known as realist horror, while focusing on two specific films, "The Blair Witch Project" and "Henry, Portrait of a Serial Killer."
2,818 words (approx. 11.3 pages), 10 sources, MLA, AU$ 121.95
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Abstract
This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.
From the Paper
"The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."
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Horror Films, 2003.
Discusses the public's fascination with the horror genre.
1,575 words (approx. 6.3 pages), 4 sources, AU$ 80.95
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Abstract
Examines the reasons why horror and vampire stories and films are popular and the visual artistry necessary for outstanding horror films, such as "Dead of the Night" and "Nosferatu."
From the Paper
"In Heart of Darkness, Joseph Conrad's protagonist's final words are "Oh, the horror! The horror!" This sums up the public's fascination with horror movies. However, "horror was . . .an established literary genre long before Edison turned..."
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Contemporary Japanese Horror Films, 2008.
An analysis of the horror movie genre with a focus on Japanese films.
2,785 words (approx. 11.1 pages), 7 sources, MLA, AU$ 121.95
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Abstract
This paper examines how horror movies work by playing play on humankind's worst fear - the fear of the unknown, whether it's the supernatural unknown realm, or just the reality of the every day way in which we encounter hundreds of different "unknown" people. In particular, it looks at how in a technologically advanced country such as Japan, the idea of artificial reality created by technology is a major threat. The paper does this through an analysis of such films as Kurosawa Kiyoshi's "Kyua" and Shimizu Takashi's series of films entitled "Ju-on".
From the Paper
"In addition to this idea of artificial reality created by technology that I mentioned earlier, the fears of the Japanese public were furthered by the increasing violence seen in the 1990's, particularly the acts of Aum and "Sh nen A". Aum, a religious cult headed by Asahara Shoko, was responsible for the saran gas attacks in the Tokyo subway system in March of 1995. "Sh nen A", on the other hand, was a young high school student who in 1997 murdered several younger students, beheading them and taunting the police with notes left in his victims' mouths. Suddenly the public's attention was brought to the perpetrators of these heinous acts: no longer were horrible crimes exclusive to criminals, the insane, or the sociopath. The members of Aum were for the most part young, intelligent, university educated people from stable, wealthy families (Metraux, p. 1149). "
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The Quintessential Horror Film: "King Kong", 2004.
An analysis of the characters and the plot in the horror film "King Kong".
900 words (approx. 3.6 pages), 1 source, MLA, AU$ 46.95
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Abstract
This paper analyzes the 1933 film, "King Kong" and discusses several important elements of the film. More specifically, the paper analyzes the main characters in the film, the film's plot, the acting, mise-en-scene, the film's use of special effects, the use of sound, the cinemaphotogray and the main themes in the film. The paper also discusses the film's powerful emotional impact and the sexual interplay in the play.
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Film Noir and Horror, 2002.
The differences between film noir and horror films.
2,400 words (approx. 9.6 pages), 12 sources, AU$ 129.95
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Abstract
This paper differentiates between the horror and film noir genres with a focus on Hitchcock's "Psycho" and Welles' "Lady from Shanghai".
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Fiction and Film: A Comprehensive Comparison, 2002.
Compares three horror films, "Dracula", "Bram Stoker's Dracula" and "Frankenstein" with their original novels and shows their similarities and differences.
2,650 words (approx. 10.6 pages), 6 sources, AU$ 142.95
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Abstract
In this paper, the author compares the horror films "Dracula", "Bram Stoker's Dracula" and "Frankenstein" with the novels upon which they were based. He notes that a movie is an interpretation of a book and that at times the interpretation takes such liberties that a total re-creation or translation takes place. He also observes that films differ from the novels they are based upon because of different target audiences. This factor can lead to plot adjustments, thematic changes and the display of greater or lesser sympathy for the protagonist, depending upon the director's intentions.
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Can the Horror Genre and Scopophilia Co-Exist?, 2003.
The paper examines the effects of women on the horror genre in film.
1,520 words (approx. 6.1 pages), 4 sources, MLA, AU$ 73.95
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Abstract
The paper examines how sex and scopophilia have played a major role in making the horror genre successful, incorporating also the elements of montage and sound. The primary film discussed in the paper is "Silence of the Lambs", but "Psycho" and "The Birds" are used as well.
From the Paper
"With sex as an added element the suspense is increased. If one scene is of a sexual nature it takes our minds off the horror, therefore when the horror comes back we are surprised, therefore increasing the suspense and horror of the film. This is not the only example of the combination. There are many others that we may refer to demonstrate this point. The film Silence of the Lambs proves that scopophilia of women blends with the elements of the horror genre, while making sure to hold the traditional elements strong throughout the movie."
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Sex and Gender in James Whale's Film "Bride of Frankenstein", 1996.
An overview of the role of gender in the classic 1930's horror film, with relation to its predecessor, "Frankenstein."
1,830 words (approx. 7.3 pages), 5 sources, AU$ 85.95
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From the Paper
"The Bride of Frankenstein, however, is also a very serious film that discusses various social issues of the 1930?s concerning the representations of sex and gender. The most obvious sexual issue in the film is the use of the literary motif of the ?lover?s triangle,? usually depicted as two male protagonists in a constant, romantic battle for the affections of a woman with the outcome in favor of the emotionally strongest suitor."
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Cult Films, 2004.
Examines what makes "Rosemary's Baby" and "I Walked with a Zombie" cult films.
1,690 words (approx. 6.8 pages), 1 source, MLA, AU$ 79.95
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Abstract
Both "Rosemary?s Baby" and "I Walked with a Zombie" are movies that have explicit elements of what we might more commonly think of as ?horror? films. On the other hand, however, both rely so heavily on atmospheric tension and are so laden with strange ambiguity and ?arty? moments that they seem to transcend the genre. This paper explains why, given the large following for both movies, they are often just as likely to be described as ?cult films? as horror movies.
From the Paper
"Indeed, it is in these oddball and controversial moments where cult films typically find both the elements that connect with fans and where their most interesting moments lay. It is also in these controversial and strange aspects that the argument for cult films as genre becomes coherent; cult films are a genre precisely because of their tendency to mix genres in strange ways and to explore unusual and difficult themes that most ?mainstream? films would not touch with a proverbial ten-foot pole. It is in these aspects of the cult film that both Rosemary?s Baby and I Walked with a Zombie find their sympathetic resonance."
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Scary Movies, 2006.
This paper examines plot and character development as well as the creative process involved in various horror films and focuses on how 'slasher' films have changed from the 1970s to the present.
1,715 words (approx. 6.9 pages), 3 sources, APA, AU$ 80.95
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Abstract
The writer of this paper evaluates the horror film industry and discusses how story plots and characters are created. This paper alludes to the constantly advancing and improving computer generated visual effects that are practically a requirement in these types of films. This paper also examines how issues of sexuality and morality are incorporated into these types of movies and how the horror film genre has drastically changed from the 1970s to the present. Several films discussed in this paper include: "The Texas Chainsaw Massacre," "Leatherface" and "Friday the 13th."
From the Paper
"The horror films of the past were simpler, had a single-minded direction and probably did not have today's pressure to make a lot of money. Many of these films were original in thought, contained a creative element lost in much of today's horror. Today, the pressure is to show a lot of blood and gore, the more explicit, the better. There often appear the same themes and character roles over and over again.
In the past the "monster" is seen in numerous scenes by the film's characters without it being at that point a threat to the character."
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Supernatural Films, 2005.
Explores the history of films with supernatural themes.
2,781 words (approx. 11.1 pages), 5 sources, MLA, AU$ 121.95
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Abstract
Supernatural films are those which include gods or goddesses, ghosts, apparitions, spirits, miracles and other similar ideas or depictions of extraordinary phenomena. They may be combined with other genres, including comedy or horror. The paper shows that, interestingly however, supernatural films are usually presented in a comical, whimsical, or a romantic fashion and few are really designed to frighten an audience. The paper traces the history of supernatural films from the pre-WWII era to the present day New Age genre. It gives examples of films through the ages.
From the Paper
"Of course, you don't talk about slasher films without including Halloween. This is perhaps the most influential film on the subgenera of kill-the-teens horror flicks from the eighties. It introduced the cliche of the killer repeatedly coming back to life just when you thought he was dead. The film was directed by John Carpenter, who has since then moved on to such tripe as Escape From L.A. and Village of the Damned."
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Three Films by David Cronenberg, 2002.
An analysis of auteur, technology, the supernatural and social responsibility in the films of David Cronenberg.
4,620 words (approx. 18.5 pages), 7 sources, MLA, AU$ 174.95
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Abstract
This paper examines the main themes of director David Cronenberg's work through the example of three films "Videodrome", "The Dead Zone", and "Dead Ringers". The paper describes Cronenberg's unique cinematic style in terms of its technical accomplishments and horror stories. The paper defines the term ?auteur director? and applies it to Cronenberg's films.
From the Paper
"There are a few different areas of filmmaking that generally get a director labeled as an "auteur." One might be the technical aspects of the film - the camera work, the set design, the lighting. Another might be the style or conditions under which the director works. Lastly, an auteur director is sometimes labeled as such because of the themes he or she chooses to explore over the course of several (or all, in some cases) of their films or a specific genre that they choose to work within over a period of time. David Croneneberg has worked primarily in the horror or suspense genre for most of his career and delves into issues that face humanity, technology, society, and responsibility in unique ways."
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Dracula Films, 2002.
A general analysis of four of the most prominent Dracula Films.
3,457 words (approx. 13.8 pages), 10 sources, MLA, AU$ 142.95
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Abstract
This paper analyzes and discusses four of the most famous "Dracula" films, based on Bram Stoker?s 1897 novel, "Dracula". The paper examines "Nosferatu, Eine Symphonie des Grayens" (1922), "Dracula" (1931), "Horror of Dracula" (1958), and "Bram Stoker's Dracula" (1992). The paper gives a story summary, provides comparisons to Stoker's novel and highlights interesting points. An extensive bibliography is included.
From the Paper
"Count Dracula is, without a doubt, one of the most identifiable fictional characters today. Originating with Bram Stoker?s 1897 novel, Dracula, aspects of the novel, especially the title character, have been reproduced in everything from the theater and film to breakfast cereal and used-car commercials. In fact, the well-known image of Dracula bears only a mild resemblance to Stoker?s Transylvanian vampire. Instead, the stereotypical accented, black suit and cape wearing vampire with pointed teeth and slicked back hair portrayed by Hungarian Bela Lugosi in Universal?s 1931 Dracula is the image immediately associated with that name. A large number of films based upon Stoker?s tale have been created. Specifically, four Dracula films which are based more or less directly on the original novel are the most prominent and recognized."
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?Bluebeard?, 2002.
An exploration of how modern horror films use concepts from fairy tales, with a focus on Charles Perrault?s "Bluebeard".
916 words (approx. 3.7 pages), 3 sources, MLA, AU$ 47.95
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Abstract
This paper examines how most fairy tales told to young children follow a similar story line and how not all of the traditional tales have an aura of joy encircling the fair heroine. It discusses how Charles Perrault?s ??Bluebeard? is the stuff of nightmares and looks at two modern horror films, "The Cell" and "From Hell", that use traits from the story. It shows how themes include serial killings, a psychotic killer, secretive places of torment, and a final victim that arranges her own escape.
From the Paper
"Another recent film that also uses traits from Perrault?s ?Bluebeard? is the 2001 release, ?From Hell.? Set in London during the Victorian age, the plot centers on a detective trying to solve the serial murders of the infamous Jack the Ripper. A group of female friends, cleverly called ?the unfortunates,? are being murdered one by one, and each time the killer takes one of her internal organs with him. At first, police don?t think much of one of the town?s prostitutes getting murdered, but when each girl in this group of friends becomes a victim and the officials find their corpses with body parts missing, detectives look for a motive. They point out that this killing ?is methodical. The butchering is irrational, yet meticulous and deliberate, altogether a different breed of killer.? "
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Family and 'The Lost Boys', 2007.
This paper looks at how the concept of family is portrayed in the horror film 'The Lost Boys', directed by Joel Shumacher.
1,043 words (approx. 4.2 pages), 5 sources, MLA, AU$ 53.95
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Abstract
In this article, the writer notes that the family plays a large role in horror films. The way that family is depicted in movies usually reflects the typical family makeup of that particular time period. The writer discusses that the 1987 vampire film 'The Lost Boys' echoes the time period by featuring a single parent family, and it ascertains that because of the economic adversity and the damaging effects of divorce on children single parent families are not an ideal situation. The writer maintains that 'The Lost Boys' uses the family situation of the 1980s to promote families that stay together. The writer then concludes that 'The Lost Boys' goes beyond just reflecting the time period by warning of the effects of divorce and advocating a traditional nuclear family.
From the Paper
"The family in The Lost Boys centers around a single parent household run by the mother, Lucy. She has two teenage sons, Michael and Sam. Divorced and struggling financially, she moves the three of them to Santa Carla, California to live with her father. Michael meets a group in town quickly. Slowly both Michael and Sam realize that there is more to this gang of boys than they imagined. Not only are they vampires, but they have made Michael a vampire as well. To save his brother, Sam recruits two vampire hunters to help them in their attempt to kill the head vampire.
"The Lost Boys asserts that children are harmed by divorce and are better served by living in a strong established family environment."
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