Horror Film


Comparethe portrayal of insanity in Poe’s stories or the play Hamlet, withPsycho and or/your choice outside film. How is the audience broughtinto the protagonist’s struggle between reality and mentalimpairment?

Watchinghorror films is a casual encounter among the teenagers. That trendtends to raise questions as to why teenagers would have such deepattraction to the monstrous shows. Some theories aim to decipher therelation between the adolescents and the horror films, and theunderlying relationship depicts that the films incorporate manyteenage inner thoughts and desires hence the close attraction.

Theplots played in the most famous horror stories, and films must be socompelling that the audience develops a sense of attachment to theplot and its characters. The sexual theory relies on a psychologicalapproach to human sexual growth and development to explain why thehorror films have a huge attraction and appeal more to theadolescents. In the explanation, the sexual theory categories thathorror and monster films display powerful and sometimes intolerablecompulsions common amongst teenagers. These unacceptable thoughtsreign in the minds of the teenagers as they mature from theirchildhood and enter to adulthood where there are urges and wants,which conversely have an open display from the horror films.

Forinstance, let us focus on the Harry Potter series. The show attractsa hugely young crowd, young adults getting to adulthood. Themonster-filled series displays large plots that can be easily linkedand explained using the sexual theory. In comparison, the horror filmpresents a hugely overlying theme of horrible and enigmatic physicaland psychological changes whose basis relies entirely on monstroustransformation. To make the monster film more appealing to theteenagers, the majority of the characters in the movie are in theteenage years. The adults play supportive roles as the teenagersbattle their way across horrific encounters with monsters. In theHarry Potter series, his parents are the famous wizards killed by thedevious Voldemort and their unparalleled love for their child led totheir death. The boy starts life as abandoned, scared, neglected, andoverly abused by the new families. Most teenagers around exemptthemselves with claims they feel unwanted by the society and that noone understands them through this phase of life. In the film, thehost parents, the Dursley’s cannot cope up with the Potter’s andHarry has to break from their bondage by getting to Hogwarts. Theescape from the original family to the magic school may in many wayscompare to the reality of life that teenagers prefer to break fromtheir parents and in fact there are reports that teenagers escapefrom their unsupportive homes.

Followingthe events in the series, there is the aspect of the monster’saggressive conduct that relates to specific adolescent transitionsthrough erotic impulse and physical transformation.

Comparethe portrayal of the psychopath or his victim in The Cask ofAmontillado or Where Are You Going, Where Have You Been with Screamor your outside film

TheCask of Amontillado portrays a plot with elements of death, horror,fear, mystery, darkness, dampness, obscurity, among much othermonstrous behavior of the characters. The two men displayed a shiftfrom sanity to insanity, as there is huge intention from one humanbeing of harming the other. The “thousands of injuries” and“insult” that Fortunato had given Montresor qualifies Fortunatoto be the victim on the receiving end of the unfortunate miseryplanned by Montresor. The victim receives seemingly kind act asMontresor offers Fortunato a bottle of Medoc wine to help keep offthe cold and the fumes from the niter. The kind act filled withferocious irony may seem as sympathetic to the audience that themonstrous Montresor many be considering to forgive the victim.However, we later learn that the act was to help keep the victim longenough to get him to a place where he would be buried alive. Same wayin Harry Potter, Voldemort may have killed Harry’s parents and letthe young boy live with a mark on his face. All through the series,people acknowledge the great evil powers of Voldemort, which evenmentioning his name invokes more fear to the people. However, despiteall that power from the monstrous wizard, his failure andincapability to kill the toddler may be a rare ironic kind ofkindness. The beast let the young toddler live, with a curse mark andwith clear intentions to hunt the boy later in life and plan to killhim. As the horror plays out, Voldemort tries many times to killHarry, but his efforts end up being futile.

Comparethe approach to horror in two films, focusing on 2-3 elements asdefined by Wells or Evans

Theleading approach to horror films is the fundamental fear of death,the various ways that it can happen, and the unpredictability natureof occurrence of mortality. Death in horror movies signifies to theviewer of the underlying meaning of extinction (Wells, 2000). Theaudience will possess unprecedented anxiety and fear, as theyassociate with the living in the films in anticipation of the end ofthe life to cross over to the unknown existence of life whose entryis dying. The aspect of death in horror films may intricately expressthe universal reality of the human life. The life beyond deathsymbolizes another unexplained human state, whose sole existencethreatens the expression of human life. A horror film is incompletewithout the existence of a monster that usually takes an amorphousnature filled with evil intent, which will overtake any normal humancondition. The existence of the monster plays out the role to portraya struggle between good and evil, or any other oppositely existingforces within the human nature that would never exist singly as apeaceful proportion (Wells, 2000).


Wells,P. (2000).&nbspThehorror genre: From Beelzebub to Blair Witch.London: Wallflower Press.