AS MEDIA STUDIES Rachael Crisp
RESEARCH - GENRE
In order to research into the sterotypical conventions of the horror genre, my group and I have watched and analysed a number of pre-existing horror film openings.
THE WOMAN IN BLACK:
When analysing the short opening scene of the feature length horror film 'The Woman In Black', we found the false sense of security that is initally portrayed to be interesting. The setting is in the day time, in the percieved safe place of a children's bedroom. The children are assumed by the viewer to be innocent and relaxed. When the children fall under a transe like state, causing them to commit suicide, the audience is shocked. They do not expect the incident when the setting is not conventionally scary. This shows how no location is safe within this story and that the antogonist is a permanent threat. I feel this is a tactic effectively used in a number of films to uphold the tension the viewer feels. It is also a contrast to a number of other horror films and the generalised conventions of horror, where scenes of action and danger are set at night in the dark. Other elements of the mise-en-scene include the toys and clothing showing the time period of the Edwardian era.
Significant camera shots and angles of this clip includes the establishing shot. The establishing shot is a close up of the teacup props. As the teapot is pouring no liquid, the audience is immediatelty aware that a teapot toy is used and so the scene involves young children. The use of young children often makes a horror more thrilling, as viewers may feel a stronger sense of
compassion for children and thus feel more on edge when children are in danger. A two-shot, the thumbnail of the video, is used to show the happy expressions on the girls' faces and present them as normal and innocent children. A very wide shot is used when the girls' faces turn towards the doorway. The audience is able to see the change in facial expression to staring blankly, and establish the change in mood of atmoshpere; we become aware that something is wrong.
Both diegetic and non-diegetic sounds are used quite effectively, though many diegetic sounds are simply used to enhance the music. At the beginning we hear the teapot clashing against the tea cups to enhance the sense of the children's normal play time, however there is very little other diegetic sounds up until the girls go into the trance. The silence of the children portrays them as well behaved, to create a greater shock for the audience at their following actions. The silence also emphasises the following diegetic sounds of the smashing of their toys and tea set, which shows the strong contrast to their actions before they were put into a trance by the antagonist. The sound of the catches opening show the audience that the windows are to be involved with the upcoming event, suggesting at suicidal drops, and this increases the tension and apprehension for the audience. The music, non-diegetic sound, appears to be the song of a music box slowed down. This brings an eerie intent from an innocent origin. The harshness quality to the music builds until a climax is reached as the girls jump out the window, before cutting away to leave silence. The sound effect of a scream is also used, therefore the use of sound emphasises the finality of the situation to the audience.
Although the titles are not shown in this Youtube clip, they follow shortly after. The title consists of black font over white misty clouds. In between each text there is a short clip layered over the mist of the main character’s deceased wife. The fact that the title is not shown in the opening clip goes against the genre convention of the title being shown at the start of the film, but allows the buildup of suspense before revealing the title. This is effective in this particular opening as it emphasises the mysterious circumstances surrounding the girls’ sudden change in behaviour - the title of the film ‘the woman in black’ leads the viewer to believe that the name of the unrevealed influential source links with the title, thus establishing the idea of the mysterious ‘villain’.
SAW 2:
For the title scene, SAW 2 has white text on a black background, with a flickering lightbulb shown in between frames of text. This text goes in and out of focus, which resembles the sight seen when opening and closing your eyes to suggest the character is gaining consciousness. The fact the lightbulb is the only thing that can be seen creates suspense and apprehension for what is to happen, as the audience questions the surroundings and situation of the main character.
This opening scene uses mise-en-scene elements, such as low key lighting. This is common in horror films, as the fear of the unkown creates a sinister atmosphere.The setting appears to be a small, unlit room, isolated from other contact due to the lack of response when the actor screams. This isolation is a key feature in creating an eerie atmosphere as the audience understand there is no one to help; we aim to suggest our setting is isolated in our opening for this reason. There are a number of props used in this opening. These include a clock, which reminds the audience of the urgency of time and creates panic, as well as the TV to allow the audience to find out more about the antagonist. However, this information is limited as Jigsaw uses a doll to communicate with his victims rather than showing his own face. One further element is the make up used in order to make the character's eye appear bloody and swollen, suggesting that damage has been caused by the antagonist with malicious intent.
Diegetic sounds in this film clip include the ticking of the clock, to emphasise the urgency of time and thus increase the tension. Another diegetic sound is the victim's heavy breathing, which shows his struggle and makes the audience nervous as we realise his fate. The non-diegetic sound of music is used to enhance the tense and apprehensive atmosphere, by increasing the pace. Another non-diegetic sound is Jigsaw's voice which appears to play through the TV - the voice has been distorted and manipulated to sound lower and thus more intimidating to the audience. The evil laugh may be seen as a cheesy horror convention for the villain, and we would prefer to avoid this.
THE TEXAS CHAINSAW MASSACRE (1974):
This film opening begins with text scrolling up the screen, with narration by John Larroquette. This text reveals to the audience that the film is based upon a tragic, but true story. As a result, the viewer feels more engaged with the story due to the knowledge that situations of this extremity could happen once again. The black screen and silence that follows increases the anticipation and anxiety as the audience does not know how the film will start.
Very little is revealed in this opening, to keep the audience intrigued and anxious, guessing at the possibilities. Ambigious non-diegetic sounds can be heard before any visual image is shown, which creates confusion. An extreme close up quickly flashes across the screen before the image is replaced by a camera's lightbulb. The sound effect of the flaring of a flash bulb of an old camera suggests to the audience that police/forensic scientists are taking photos of evidence. Further extreme close ups, for example of the hand of a corpse, reveal that the police are recording evidence of dead bodies.
After the text and light bulb close ups are shown, Saw 2 makes use of a POV shot - the character is moving his head quickly in panic (signified by a pan) and taking in small glimpses of his surroundings. This shows the audience the character is in an unfamilar setting, however does not reveal much detail about the location as the shots focus on individual objects rather than the room as a whole. This POV shot continues as the character notices a mirror. This prop allows the character to look into the mirror, revealing his face to the audience so that we become aware of the loss of his eye and also showing his shocked and despairing facial expression. The shot then quickly zooms out - this increases the pace and drama of the scene, as well as emphasising the importance of the character's bloody eye. Then, a crane shot is used to move the camera to above the character's face as he screams to the ceiling for help - allowing the audience to once again see his distressed facial expression. This shot also draws attention to the trap around the character's neck, enforced by the close ups that follow of the trap and its spikes. This shows the audience that the device is dangerous and could cause great damage. Furthermore, when the antagonist talks to the victim through the TV, shots constantly change focus between the TV and mid shots of the character. This allows the audience to view what the character is seeing on screen, gaining understanding of his situation and learning the clues as he does, whilst also viewing his reaction and increased panic and distress as his awareness increases.
After this point, post production shortened the takes to increase the pace and intensity of the scene. Shots quickly change from close ups to wide shots and are very erratic. This creates chaos, prompting the audience to feel panic as the character does. The continuity decreases as does the use of chronological shots as the time left decreases, to show how the character is becoming more and more desperate and psychotic. The final close up shot of the character's head laying on the ground emphasises the finality of his death. The audience become more apprehensive as a result, as they fear what will happen to other characters later on in the film.
The camera flashes and hints of images become increasingly close together, with more grusome shots of corpses shown. This increases the pace and severity of the scene, with the audience both disgusted and intrigued to find better understanding of the situation.