| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HORROR FILM GENRE": |
|
|
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, £ 59.95
»
Click here to show/hide summary
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."
| |
|
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, £ 59.95
»
Click here to show/hide summary
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."
| |
|
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, £ 22.95
»
Click here to show/hide summary
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.
| |
|
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, £ 59.95
»
Click here to show/hide summary
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). "
| |
|
Horror Films, 2003.
Discusses the public's fascination with the horror genre.
1,575 words (approx. 6.3 pages), 4 sources, £ 39.95
»
Click here to show/hide summary
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..."
| |
|
Film Noir and Horror, 2002.
The differences between film noir and horror films.
2,400 words (approx. 9.6 pages), 12 sources, £ 63.95
»
Click here to show/hide summary
Abstract
This paper differentiates between the horror and film noir genres with a focus on Hitchcock's "Psycho" and Welles' "Lady from Shanghai".
| |
|
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, £ 35.95
»
Click here to show/hide summary
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."
| |
|
Horror Film Genre, 1992.
A comparison of the characters in "Frankenstein" by James Whale and "Terminator" by James Cameron.
1,350 words (approx. 5.4 pages), 5 sources, £ 33.95
»
Click here to show/hide summary
From the Paper
"The Genre of Horror Film as Typified by Frankenstein and Terminator
Both James Whale's 1931 film Frankenstein and James Cameron's 1984 film, Terminator were relatively low cost films that were major box-office hits, and both films surprised most people by their success. But when one sees that each film has many of the key elements of the horror genre that date back for more than a century before films began, one sees that their success shouldn't have surprised people so much as what makes both films such classics of the horror genre is the way in which they use these key primal elements of the genre to emotionally effect audiences.
In Cinema of the Fantastic, the author observes that "This theme of the scientists who creates forces he cannot control was..."
| |
|
Genres: Horror and Mystery, 2004.
This paper discusses ?The Yellow Wallpaper? by Charlotte Perkins Gilman and ?The Cask of Amontillado? by Edgar Allan Poe as examples of the horror and mystery genres in literature.
1,075 words (approx. 4.3 pages), 2 sources, APA, £ 26.95
»
Click here to show/hide summary
Abstract
This paper explains that most of the literary works under the horror and mystery genres provide insightful depictions and illustrations of social criticisms that the writers want to critique symbolically or figuratively. The author points out that, while Poe in ?The Cask of Amontillado? uses both themes of insanity and murder in his story, Gilman?s ?The Yellow Wallpaper? effectively uses the protagonist?s downfall to insanity to portray the grotesqueness not only of psychological instability, but also of emotional repression the woman character experiences in the story. The paper reviews various forms of irony that are used in both stories to create the monstrous feeling within the tales and to state the authors? position on social issues.
From the Paper
"The short story ?The Cask of Amontillado? illustrates both themes of the protagonist?s downfall to insanity and celebration of death through the commitment of murder. The story shows how Poe, through the main character?s (Montresor) narration, behavior, and action, is able to generate fear and the air of mystery, especially in illustrating the shocking narration and illustration of the death of Fortunato, the man Montresor despised and considered as his enemy and competitor."
| |
|
"Night of the living Dead ", 2001.
Analysis of George Romero's 1968 film as an example of horror film genre.
1,575 words (approx. 6.3 pages), 0 sources, £ 39.95
»
Click here to show/hide summary
From the Paper
"One of the goals of the filmmaker is to engage his or her audience and to elicit some emotional reaction. The horror film is a genre which has as its goal the specific emotional reaction of fear. If a horror film is successful, it achieves this response immediately. To accomplish this, the horror film seeks to evoke primal terrors in the viewer, terrors such as come in nightmares, central fears in our lives, and to do so in a setting touching on the uncanny, the excessive, the supernatural, the truly amazing. Filmmakers use a variety of types of image, fearsome ideas, and primal elements to create the horror film, and this commonly means characteristics such as violence, monsters, evil, unresolved tension, gore, the unknown, disgust, and bloody spectacle. An example of one way of accomplishing this task can be found in Night of the Living Dead ..."
| |
|
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, £ 69.95
»
Click here to show/hide summary
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.
| |
|
The War Film Genre, 2002.
An examination of the war film genre, which is the most prevalent and often used genre in most films produced in the 21st century.
1,888 words (approx. 7.6 pages), 6 sources, MLA, £ 43.95
»
Click here to show/hide summary
Abstract
This paper provides an in-depth analysis of the war film genre, its history and examples of some of the films that have been identified as a war film genre. The writer provides a list of common characteristics of the genre and examines several historical as well as modern war movies -19th century ?Tearing Down the Spanish Flag"; ?The Birth of a Nation? (D. W. Griffith); ?Full Metal Jacket"(Stanley Kubrick) and ?Life is Beautiful? (Roberto Benigni).
From the Paper
"The war film genre is also referred to as the anti-war film genre, since some of the war films do not only discuss war sentiments, but anti-war sentiments as well. War as a film genre ?often acknowledge the horror and heartbreak of war, letting the actual combat fighting (against nations or humankind) provide the primary plot or background for the action of the film.? Furthermore, war films can also be ?paired? with other film genres, wherein the topic of war can be interspersed with comedy, drama, or romance as a co- or sub-genre of the film. Tim Dirks, in his article about the war film genre, enumerates several characteristics and themes that can often be found in war film genres:"
| |
|
The WWII Combat Genre, 2004.
This paper examines Norman Mailer's novel "The Naked and the Dead" in which the author incorporates the symbols, characters and narrative conventions of the WWII combat genre.
2,775 words (approx. 11.1 pages), 2 sources, APA, £ 58.95
»
Click here to show/hide summary
Abstract
This paper details the introduction and perception of the WWII combat genre in both film and literature. The writer of this paper defines genre as an element consisting of a shared set of rules, symbols and story patterns. In Norman Mailer's novel, "The Naked and the Dead," the author engages the symbols, characters and narrative conventions of the combat genre in a complex dialogue, both enmeshing and reinforcing audience expectations. By tracing the minority character of Martinez in "The Naked and the Dead," one can see how Mailer incorporates the genre in a way that reflects both the unique capacities of the novel as a medium separate from that of film. This paper also expands on Mailer's particular view of film as an inadequate representation of the complexities of war and America. The writer of this paper contends that Mailer's novel must be read in the context of the combat film genre, which was well established in the memory of American audiences by 1948 as a frame of reference for understanding and justifying WWII. This paper clearly details the characteristics of Martinez which fits the conventional stereotype evolved from and established within the genre of the World War II combat film. The writer also discusses the significance of various WWII related films that were released in the 1940s including: "Bataan," "GI Joe" and "Home of the Brave."
From the Paper
"The multiracial platoon acts as a symbol of democracy, functioning to distinguish Americans from a racist enemy, the Nazis. At the same time, the visual presence of minorities helps to legitimize 'good' racism (racism against the Japanese) by framing it with images of racial integration. Feigning inclusion of minorities is also a propaganda tactic aiming to harness collective support for the war. In Bataan there are four minorities: a Mexican-American, two Philipinos and a black man. The Philipinos are associated with nature; they are implicitly more primitive and closer to the enemy. The Mexican-American is associated with jazz music and a womanizing past, and the black man is associated with spirituality. All four characters die fairly early on in horrible barbaric deaths. In later movies, some or all of these characteristics may be lumped together into composite minority representatives."
| |
|
Gangster Film Genre, 2008.
An analysis of the historical context of the rise of the gangster film genre in the United States and its development from 1930 to 1960.
1,897 words (approx. 7.6 pages), 9 sources, MLA, £ 43.95
»
Click here to show/hide summary
Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond
From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
|
|
|
