Analysis of the depiction of violence in the original Halloween movie by John Carpenter as well as its 2007 remake by Rob Zombie. Analysis of the "Remake logic".
John Carpenter’s Halloween from 1978 is the 17th scariest horror movie of all time. At least according to the ‘Science of scares’ study conducted by the website Broadbandchoices.co.uk in 2021. The results are based on the average heart rate viewers exhibited during the screening of different horror movies. Whether this indicator serves as a reliable source for actually determining the fear factor of movies is questionable, to say the least. Likewise, scientists and scholars, psychologists and philosophers have been arguing for a long time about what induces fear in the viewer while watching horror movies (and why one should even want to consume these films at all then). Theories range from ones that claim we simply feel empathy and sympathy towards the characters in the movie (e.g., Plantinga 2009) to ones that propose that the viewing experience itself is the scary feature (Hanich 2014). Yet others, mainly psychological approaches, contend that there is a certain level of enjoyment to be had from experiencing fear while knowing there is no actual threat present (Nummenmaa 2021). Whatever the actual explanation might be (perhaps all of them are true to an extent), the discussion surrounding the topic itself serves to illustrate one of the key functions of the horror movie. To make its viewers feel afraid. While there are a multitude of ways to achieve this, one only needs to consider the vast array of different genres of horror, from gory slasher flicks to supernatural and paranormal horror, the ultimate goal can be seen as the evocation of fear.
Table of Contents
1. Introduction
2. Fear, Violence and the Slasher Movie (Remake)
3. Fear and Violence in the Halloween Franchise
3.1 Close Reading: Michael's murder of his sister
4. Conclusion
5. Works Cited
Objectives and Topics
This paper explores how the experience of fear is constructed in horror films, specifically examining the slasher genre through a comparative analysis of John Carpenter's Halloween (1978) and its 2007 remake by Rob Zombie. The study investigates how shifting cinematic depictions of violence impact the audience's perception of fear in the modern era.
- Theoretical examination of fear, violence, and the slasher genre.
- Analysis of the historical and cultural significance of movie remakes.
- Comparative dissection of cinematic techniques in both Halloween versions.
- Close reading of the murder scene of Michael Myers' sister.
- Investigation into how the figure of Michael Myers evokes terror.
Excerpt from the Book
3.1 Close Reading: Michael's murder of his sister
With the general tendencies of fear evocation and its relation to violence in both movies established, the scene of Michael's murder of his sister will now be analyzed more thoroughly in both movies. For this, special attention will be paid to the cinematography and the mis-en-scène, with the utilized masks being a particular point of interest.
Starting with the cinematography of the scene in the original. The two most striking parts of camera work here are the usage of the point-of-view shot throughout almost the entirety of the scene (Halloween (1978) 02:35-07:00) and the mask filter, which gets put in front of the camera lens at about halfway through the scene (Halloween (1978) 05:27). The use of the point-of-view shot is further emphasized through such devices as a shaking camera, which mimics the motion of walking. The camera angle itself is, as it is supposed to represent the viewpoint of Michael Myers as a boy, rather straight-on throughout all of the scene. It only notably differs in two instances, when there are other people as a relational marker. The first is his sister, who is quickly killed, with her only having had the opportunity to say Michael's name in a surprised manner. As she is sitting down at the moment of the murder, a high angle is used in order to signify the power difference between the two parties involved, which becomes even more evident when the young Myers looks down on the bloodied body on the floor (Halloween (1978) 06:04). Here, or throughout the whole movie, no reason, other than some possible Freudian suggestions (e.g., Roche 2014: 175) and the statement that he did it because he was simply evil, is ever provided for the killing. No rational explanation is given, which automatically adds another layer of mystique to the character. Thus, moving the camera behind Myers' eyes, only serves to underline his inhumanity (Knöppler 2017: 219). After the killing, the aforementioned angle and camerawork are resumed until the interaction with the second party, Michael's parents. There, a low angle is utilized to signify that something already seems off about the scene, which is then revealed through the removal of both the mask filter of the camera and the actual clown mask which Michael was wearing. The camera then cuts to an eye-level-shot of a young boy, who is revealed to be the killer of his sister. Afterwards, the camera slowly pans out of the scene, likely via a crane shot, before the scene ends (Halloween (1978) 06:35). The last part could be interpreted as his humanity leaving Michael, only for him to turn into the almost human/almost monster creature, which is signified by his later mask.
Summary of Chapters
1. Introduction: This chapter provides an overview of the role of fear in horror cinema and introduces the central research question regarding the depiction of violence in the Halloween films.
2. Fear, Violence and the Slasher Movie (Remake): This section outlines the theoretical and historical context of horror movies, specifically focusing on the slasher subgenre and the cultural function of remakes.
3. Fear and Violence in the Halloween Franchise: This chapter examines the shared characteristics of the two films and analyzes how they utilize violence and mystery to construct fear.
3.1 Close Reading: Michael's murder of his sister: This section provides an in-depth cinematographic analysis of the murder scene in both films, highlighting the impact of camera angles and character masks.
4. Conclusion: The conclusion summarizes the main findings, emphasizing the tonal shift from the more subtle, mystery-driven original to the explicit, trauma-focused remake.
5. Works Cited: A comprehensive list of academic sources and filmography used for the research.
Keywords
Horror, Slasher, Michael Myers, Halloween, Remake, Violence, Fear, Cinema, Cinematography, Rob Zombie, John Carpenter, Film Analysis, Cultural Context, Subgenre, Uncanny Valley
Frequently Asked Questions
What is the fundamental focus of this research paper?
The paper examines how fear is cinematically constructed in slasher movies, specifically comparing the original 1978 version of "Halloween" with the 2007 remake by Rob Zombie.
What are the primary thematic areas explored?
The study navigates themes of cinematic violence, the depiction of fear, the historical evolution of the slasher genre, and the psychological impact of film remakes.
What is the central research question?
The primary concern is how fear is generated in both films and to what extent the display of graphic violence relates to the creation of terror.
Which methodology is employed in this study?
The paper utilizes a qualitative comparative analysis, including a close reading/cinematographic analysis of specific key scenes to observe differences in directorial technique.
What is addressed in the main body of the work?
The main body covers the theoretical background of horror films, the development of the slasher genre, contextual differences in the production of both movies, and a detailed scene analysis.
Which keywords best characterize the work?
The work is characterized by terms like Slasher, Horror, Halloween, Remake, Violence, Fear, and Cinematography.
How does the role of the mask differ between the original and the remake?
In the original film, the mask contributes to the character's mysterious, inhuman quality, whereas the remake uses the character's backstory to humanize him, making the mask a tool of the context rather than pure terror.
How does the camera work in the murder scene demonstrate the two films' different approaches to fear?
The original film relies on long, steady shots and subjective point-of-view camera work to build mystery, while the remake uses rapid cuts and extreme close-ups to emphasize raw brutality and visceral impact.
What is the significance of the "uncanny valley" in the author's argument?
The author uses the "uncanny valley" concept to explain why the masked Michael Myers creates deep unease, as he appears human yet simultaneously alien and inhuman.
- Citar trabajo
- James Manderton (Autor), 2022, Who is scared of Michael Myers?, Múnich, GRIN Verlag, https://www.grin.com/document/1443236
