Info iconThis preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: THE MODERN PERIOD: HORRORS 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 films technical aspects become part of the audiences 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...
View Full Document

Page1 / 29


This preview shows document pages 1 - 3. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online