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Unformatted text preview: THE MODERN PERIOD: HORROR’S CONTEMPORIZATION (1963-1976)- horror of personality : o man and his psychological nature o subject: the explosion of the psyche and its disastrous effects o man is seen as a monster o the fragmentation, splintering of the individual caused by: family, sibling rivalry, parents, something that happens in the past, sexual oppression/frustration, liberal ideology, usually these causes are not very clear; the cause of the explosion is not always explained o set in contemporary times, in america o characterized by violence (usually perpetrated against women, usually young) o existentialist turn: began to address the problem of existence o variation of the doppelganger or creator/creation mythology o phallic symbols? o blurring of subjective/objective states of protag heavy use of subjective camerawork o non-heroes as central characters o black humor o lack of heterosexual romance- 63-73: arrival of the new horror genre coincides with “the age of aquarius” o explosion of “middle class-ness”: was revered in post war period, but now was supplanted by the counter culture o the road supplants the home; marriage falls apart o family roles change: become equal members of a unit o rights and responsibilities: rights demanded, responsibilities shunned o women liberated, homosexuality embraced, youth gains power o moral erosion: hardening of the moral arteries in the established institutions of the period hurt both the right and the left; both sides saw the world as horrific o mass serial killings, assasinations- as a result, the horror films of the time could be read both ways: as pro- counterculture, OR as pro-establishment- de-mythification of all the arts and media: o theatre of the absurd : beckett, osburne; absurd humor, inadequacy of language existentialist: absurdity of existence o fiction : influence of black comedy marriage where 2 ppl vilify each other hospital that hurts people- became an A-genre- Marxism/freud- new stylistic influences o expressive stylization the film’s technical aspects become part of the audience’s experience, it enters their consciousness, it becomes content as well as form o formalism : horror becomes a formalist genre o naturalism : o television – commercial breaks set the stage for abrupt changes of tone (particularly utilized in black comedy-horror films) o exploitation films: “ghoulies”, “roughies”: S&M, violence, profanity • 1963 “Blood Feast” • Roman Polanski “skin flicks”: softcore gory films CLASSICAL HORROR vs. MODERN HORROR- Classical o set in a foreign, antiquated setting o conflict was very clear-cut; them against us o explanation lies in the supernatural or pseudo-scientific o god and devil were present o effect: fear, dread, terror o film as entertainment o audience: youth market o character actors used: lon chenny, claude rains, etc o unknown directors started with horror and became associated with it- Modern...
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- Spring '07
- Steven Spielberg, Horror film, British horror films, new horror genre