Franchises

A couple of useful resources (I'll probably add more later) on a central feature of the genre: the franchise, with endless generally low-budget sequels, costs kept low by having few returning characters between movies able to demand higher fees (Scream was a notable exception), often treating the fanbase shoddily by selectively following the narratives of previous movies.

http://horror.about.com/od/horrorfranchises/Horror_Movie_Franchises.htm - Good list, with each entry hyperlinked to further info
http://uk.ign.com/articles/2006/12/18/top-25-movie-franchises-of-all-time-7 - slasher franchises feature in the list
http://www.joblo.com/forums/archive/index.php/t-32794.html - a forum's list of best 10 slashers ever, in which franchise entries feature heavily
http://www.toptenz.net/top-10-horror-franchises-they-should-have-killed-for-real.php - A different approach: the 10 franchises that should have been scrapped!
http://turtlecanyon.wordpress.com/2012/10/31/the-slasher-movie-franchise-rankings/ - a simple listing of the entries in 3 key franchises (Scream, Hwn, Fri 13th)
http://lovingthehalloweenfranchise.tumblr.com/ - a blog dedicated to Halloween (there are many more out there)
http://www.boxofficemojo.com/genres/chart/?id=slasher.htm - the top 20 all-time slasher movies by box office features ... 20 franchise entries, which says a lot about how the genre functions
http://forum.dvdtalk.com/movie-talk/606071-favorite-slasher-film-franchises-why.html - a poll and discussion about the best slasher franchise
http://www.he-man.org/forums/boards/showthread.php?179117-Slasher-Movie-Poll! - interesting list of best slasher killer etc
http://www.youtube.com/watch?v=VMJr9vSfZQ4&feature=related - most remakes have been abysmal; here's a video comparison of the orig + remake NoESt

NARRATIVE Nowell's 7 key stages of slasher

Nowell’s book Blood Money (2011) is primarily concerned with a point on audience: that slasher movies were aimed as much at female as at male audiences. He also makes an incredibly useful analysis of what he considers the universal components of the early slasher narratives, listed below, also noting that films were given some differentiation + novelty alongside their redundancy by playing around with the ordering of these. Once more, Todorov’s notions influenced him.

‘Part One: Setup

1.Trigger: Events propel a human (the killer) upon a homicidal trajectory.

2.Threat: The killer targets a group of hedonistic youths for killing.

Part Two: Disruption

3. Leisure: Youths interact recreationally in an insular quotidian location.

4. Stalking: A shadowy killer tracks youths in that location.

5. Murders: The shadowy killer kills some of the youths.

Part Three: Resolution

6. Confrontation: The remaining character(s) challenges the killer.

7. Neutralization: The immediate threat posed by the killer is eliminated.’ (p.21)

21 Memorable scream queens

Not my list, but a useful blog post to help with your research; see http://www.buzzsugar.com/Movie-Scream-Queens-20062131.

REMAKES Mark Kermode's reviews-NoESt

You can find footage of his reviews of other remakes (TCM, LHotLeft etc) by searching or looking on the suggested video column alongside the following vid. No matter what franchise/idea you're working on, you'll find his reviews useful - eg, this one points up that the conflict/dis-equilibrium in the original film occurs only because parents lied to their children.

Here's another cracking quote from this:

Now what you get is Michael Bay's lot, the destroyers of all creativity in cinema, the jack-booted bank managers who just come storming through in the pursuit of a quick buck going What was the whole thesis of [NoESt] ... Oh! He's got a big claw! ... It's just this horrible reducto absurdium. In this, there's none of the [original's] coherence, the backstory is completely messed up. ... Its nastier in all the wrong ways. Its boring and louder.

He really doesn't hold back!

Mark Kermode's Doc Scream + Scream Again

Mark Kermode, Radio 5's famously-quiffed film reviewer, presented this doc some time ago, reflecting his status as a leading authority on the horror genre. A YT user has uploaded it in 5 parts (click on his list of uploaded vids to find the rest); here's part 1:

Child's Play 6 due...

See http://bloody-disgusting.com/news/3149679/omfg-childs-play-sequel-begins-casting-its-the-curse-of-chucky/

BellaOnlone on Popularity of Horror Films

From http://www.bellaonline.com/articles/art5267.asp (BellaOnline "The Voice of Women")

Steven Casey Murray
BellaOnline's Horror Movies Editor

The Popularity of Horror Films

Scary, creepy, and downright disturbing images have existed in film as long as we have had the ability to invent them, perceive them, and construct them. People like to be scared, they crave it and seek it out. The need for fear is inherent within the human psyche. It’s our yin to the yang of feelings of security and acceptance. Fear has been part of our imagination since children, since we were scared to have the light turned off, or that something was under the bed. Horror can stem from our individual fears or the collective conscious, for example the fear of death. It is a fact that horror, and by extension horror movies, appeal to our most primitive state. Horror strips us down to our essence and takes us back to the caveman – the fight or flight.

Horror movies can, and have, helped many individuals through times of real horror within their own lives. Identifying with the protagonist who is trying to overcome the monster; a metaphor for the troubles we ourselves are trying to overcome in reality. Because horror is innate in the human mind, elements of horror are shown in every type of film genre. Horror movies cause us to ask the eternal question, “what if” and allow us to safely delve into our primal fears. A fear that has been there since childhood, a fear we are all born with in our body’s make-up.

from http://levigeorge.com/junk/sep2009/

Audience Expectations in the ‘Slasher’ Formula

< Back

Spoilers:

Friday the 13th (parts 1 and 5)

April Fools Day.

Halloween 3

Audience Expectations in the ‘Slasher’ Formula

How important is Audience Expectation in relation to Genre? This is a question with many variables. Different genres will attract different audiences, different films will attract different ages, races and cultures and each of these groups bringing attend a film with their own unique expectations. Consequently I will answer this question using the example of only one genre, the Slasher film. The reason I am using this genre is because it’s audience is made up almost entirely of teenagers. It is also one of the best examples of genre purism, meaning that the genre itself has barely changed since it was invented thirty years ago.

What is a ‘Slasher’ Film?

Slasher movies are a sub-genre of horror. Some critics refer to the genre as ‘dead teenager movies’ ‘slice and dice films’ or ‘gross out films’ (Wong, 2006). Films of the genre generally contain high levels of violence, blood and gore and almost always feature a group of teenagers as protagonists. The antagonist is a killer, often wearing a mask, who kills the protagonists one by one throughout the course of the film. Alfred Hitchcock’s Psycho (1960), while pre-dating the term, is considered by many to be a slasher movie (Bohusz 2007) as it matches the traditional narrative formula of the genre.

A killer with a mysterious identity attacks an attractive young woman with a butcher knife. Hitchcock's Psycho (1960) certainly influenced the narrative structure of the contemporary slasher film.

Some of the first films to be defined as slasher movies came ten years later in the mid seventies. The first box office success was John Carpenter’s Halloween (1978), a movie about a baby sitter and her friends who are stalked, and most of them killed, by an escaped killer named Michael Myers. The film cost only three-hundred-thousand dollars to create and made roughly fifty-million dollars. Similar films began to spring up including Friday the 13^th (1980), a film with a narrative plot similar to Halloween but added much more gruesome death scenes. Prom Night (1980) was another release that kept a similar narrative structure, but added a ‘whodunit’ aspect to the film. This left the audience to guess the identity of the masked killer. Both films were made on a small budget and were financial successes. This convinced Hollywood studios to continue creating more and the slasher movie was born.

The Audience

When it comes to audience expectation one must consider who the audience is. The audience of Slasher movies is almost entirely made up of adolescents. There has been much speculation on why many teena

Fan-made trailers: D2Kill

Spotted this on GeorgiaB's blog; not a satire, but actually an update or modernization of the (not great!) original trailer for de Palma's critically-mauled (but actually rather good methinks) Dressed to Kill:

Slasher sitcom Holliston @ FearNet.com

More news which highlights the continuing popularity of the slasher genre - whilst also perhaps reinforcing the perception that young males are the main audience for it (its actually much closer to 50/50 than generally thought, with the final girl archetype and common use of romantic sub-plots helping draw in a sizeable female audience): see http://loudwire.com/oderus-urungus-gwar-dee-snider-fighting-off-cyborgs-tour-more/
Some of the language is a little ... colourful, but it sounds an interesting, highly postmodern venture (its centred on young filmmakers struggling to make a low-budget horror movie, and stars heavy metal icon Dee Snider plus 'Oderus Urungus' of the metal band GWAR [who perform as aliens in full costume]).
The show 'airs' on http://www.fearnet.com/ (which has some deals in place to be included in cable TV packages in some US cities), a useful source itself to see some of the low-budget horror work thats going on, and attracting a paying audience, out there...
If you watch the trailer for Holliston you'll see its a low budget, highly sexist affair, but interesting nonetheless for making the audience the protagonists (postmodern as I said: the Wayne's World of horror).

You can also read more at http://www.horrorsociety.com/2012/01/25/first-promo-poster-for-greens-holliston/
For example, when considering/justifying audience, this article, highlighting that Woman in Black is the highest-grossing UK movie for 20 years (over $100m worldwide), shows the audience is there for UK-based horror!

Making found-footage horror

'How To Make A Terrifying Found Footage Horror': http://www.totalfilm.com/features/how-to-make-a-terrifying-found-footage-horror/hire-unknown-actors

DIGITISATION: self-published short film

Across these blogs I'll keep returning to the concept of digitisation, the ongoing process of change and transformation of our media, a key element of which is the opening up of opportunities for micro-budget media producers to (occasionally!) attract large audiences and even make some money...
We mustn't forget that giant global conglomerates remain utterly dominant, but the possibilities for someone with a digital camera and a Mac are infinitely higher now than 10, 20 years ago. There have always been amateur/debut film-makers somehow bringing together feature films on infinitesimally small budgets, from Wes Craven's Last House on the Left and John Carpenter's Halloween, through Alex Cox's Repo Man (see his superb book X Films: True Confessions of a Radical Filmmaker, there's a copy in Lib/F6), Kevin Smith's Clerks and closer to home the rather more dubious Colin!
Here's an interesting example of a horror buff with her own successful blog, Final Girl, who made a short film ... and monetised it through this blog, charging $5 for a DVD of the 10min short film! The short is a postmodern lesbian vampire skit using knock-off Barbie dolls, reflecting the filmmaker's feminist sensibilities. If you do watch it, remember its NOT a feature film - shorts can be rather quirkier. It is, whatever you make of the film itself (the sound is nicely done and the mise-en-scene well handled given the size of the characters!), a great example of how digitisation has expanded the possibilities for enthusiastic amateur filmmakers and media producers generally to go ahead and create, distribute and exhibit work without having to sign deals with larger media firms.

Taste of Flesh, Taste of Fear - watch more funny videos     

'Final Girl' runs a monthly slasher film club; check it out and if you blog on it she may add a link to your blog on hers!

There is of course another example of a self-publishing filmmaker closer to home, and we will be looking at a trailer for his latest production in Friday's lessons, and with a bit of luck hearing a little from the filmmaker himself on how he went about it, and his plans for this new opus...
We'll also have a look at the film Monsters, a good example of how digitisation has opened up possibilities for filmmakers to produce slick work on very limited money and with a crew barely bigger than a Media coursework group; I have previously blogged on this and various other examples of digitisation, plus analyses, in a wide range of posts you should be looking over whether for AS/A2 exam or AS/A2 coursework (especially Evaluation)... 

American horror theatre

See http://www.guardian.co.uk/travel/2011/dec/04/america-horror-theatre for an eye-opening article about the horror experience in genuine 3D; paying $100 to be tortured and abused is a $300m industry in the US - could it happen here? (American horror theatre: 'A hand slams into my neck and wrenches me through the darkness')

Hammer Horror

Nice compilations of clips from various Hammer movies; remember, many of these are stocked in the Lib - your coursework pitch could be to 'reimagine' one of these within a modern slasher format!

more...

Zombie flicks - low budget, inferior to your productions?

Colin, the supposedly £45 movie, was bad enough, here's another that looks pretty atrocious but illustrates that not everything that makes it market is slick and professional; bedroom producers are springing up and able to market and distribute their micro-budget efforts where years ago they would have gotten no further than family/friends passing round a VHS tape: Harold's Going Stiff (not in the least recommended!). The other intriguing aspect of this lamely-punning film is how it plays with representations of age, as it seems to feature a romance between the titular aged zombie and a 20-something woman (reflected in that schoolboy double entendre title).

You can get a sense of the underground boom in zombie production at http://zombiemovieguide.com/category/movies-trailers/page/3/
As with zero-/micro-budget productions within other sub-genres of horror, some of these are plainly and crudely using sex to sell.

Back catalogue boxsets: eg of Fri 13th

When we're studying British Cinema (Audience + Institutions) for the exam, one of the major aspects we consider is marketing, as part of the overall picture of how it functions as a business.
Since the DVD came along and replaced VHS, film studios have relied heavily upon reissues, as well as multiple editions (special/collector's/ultimate edition, director's cut etc) as a way to create extra revenue (money/income). Box office (cinema) revenue is just one part of their revenue streams.
With so many 80s horror franchises being 'rebooted' or 'reimagined' its no surprise that new editions of the 80s horror movies are being released, tempting those who already own these on DVD (or Blu-Ray) to pass over another sizeable lump of cash for new extras and uncut editions.
Here's one example, a detailed review from the excellent BloodyDisgusting.com of a new Friday the 13th boxset.

Since writing this I noticed there were many examples on YT of fans vodcasting their own reviews too, such as this example; click onto the YT view page and you'll find more/better examples along the right-hand side:

Link: http://www.bloody-disgusting.com/news/26376

[DVD Review] 'Friday The 13th' Ultimate Collection Limited Edition

Sunday, September 18, 2011

By: David Harley

7 Comments

When Paramount released the first Friday the 13th box set back in 2004, it was a huge disappointment. Fans were finally able to buy the first eight films together, true, but none of them were uncut and bonus features – which Jason aficionados knew existed through the festival circuit, overseas releases and the like – were nowhere to be found. The supplemental materials included were a bit better than most people gave them credit for being, but the sting of not having uncut versions sent fans over the edge - folks, we’re never going to get them uncut due to monetary concerns and guild regulations.

A year later, Peter Bracke released Crystal Lake Memories, a tome to the series that contained the sort of in-depth analysis and interviews the bonus disc lacked. To this day, no Friday extra has come close to rivaling the 320-page book for content and entertainment value. A documentary that used Memories as a starting point, entitled His Name Was Jason, was released on February 3, 2009 and was a total joke. There wasn’t nearly enough information on how the films were made, instead focusing on common knowledge about the series as well as interviewing internet personalities and up-and-coming directors. God bless these guys, I love (most of) them but I don’t care what they think about Jason and, judging by how much it’s looked down upon these days, neither does anyone else. Some of the producers went on to tackle another big horror franchise the following year with Never Sleep Again: The Elm Street Legacy.They learned from their mistakes and made one of the greatest horror docs of all-time.

That same day in 2009, Paramount began releasing their Deluxe Edition line of the entries they owned (the first eight films). Originally planning to release them on DVD and Blu-ray, the films stopped being released in HD after Part III and there’s still no news on whether we’ll ever see the rest of the Paramount flicks on Blu-ray. These newer editions regurgitated a lot of stuff from the first box set, but had a healthy amount of new bonus features including an uncut version of the original (the only uncut film officially released so far), a fan commentary with Adam Green and Joe Lynch on The Final Chapter, the god-awful Lost Tales From Camp Blood shorts, new interview segments, deleted scenes (most of which were previously released but there are a few additions) and even a Best Buy exclusive which was included as a bonus disc with the 2004 set. In the end, everyone came away happy – Paramount got to capitalize on the reboot with new editions and fans got more bonus features and better A/V quality – except for those hoping to get the rest of the series in HD.




Almost 7 years later (one day shy, if you want to get technical), Paramount is rereleasing their Deluxe Editions in a new box set – The Ultimate Collection, limited to 50,000 copies – that includes a replica hockey mask, a book that stores all of the discs and two pairs of 3D glasses for Part III. But is it worth double dipping for? Instead of dissecting each film – let’s be honest here, guys: you’re investing in a $40+ box set comprised of eight well known horror flicks, you couldn't care less about what I think of them – let’s go through the new selling points.



The new box is made of thin sheet plastic, which is roughly the same height as most other box sets out there (it’s a smidge taller than the Futurama releases, whic

Zombies current appeal (post from FinalGirl blog)

when there's no more room at the library...

Zombies, am I right? It's kind of amazing to me how resilient the subgenre has proven in recent years, considering its heyday, if you ask me, was in the late 1970s/early 80s...but then, I suppose, fads are supposed to be cyclical. At least, I hope they are; at long last, I've mastered the Macarena and I'm dying to bust it out somewhere.

But really, did any horror fan expect zombies to make such a hardy comeback? I didn't. Sure, they never went away completely, but for a while they were quiet, shuffling around in the background while other monsters had their moments. You know, monsters like Freddy, Michael, and Jason, who starred in some of the worst sequels in the history of...sequels. Or those monsters from TV shows on the WB, whose faces filled the dull posters for tepid slasher-style flicks and remakes. George Romero was making movies without a zombie in sight, while a DVD rerelease of his seminal film Dawn of the Dead was something to celebrate.

Oh, my friends, how the times have changed. Was it 28 Days Later that ushered in the new zombie era? Perhaps. Whether the opening of the floodgates can be traced back to one particular movie or book is irrelevant; the fact is, zombies have infiltrated film, videogames, literature, television, and even everyday life ("zombie walks", anyone?) like no one could have anticipated. Nothing else in horror (or fantasy, or...you know, genre-stuff) comes close- not vampires, despite the popularity of Twilight. Not witchcraft and wizardry. Nothing! Zombies are everywhere, and it seems they're not going ANYWHERE.

In Zombies! An Illustrated History of the Undead, writer/film director Jovanka Vuckovic explores...well, the book's title says it all, doesn't it? From the origins of the zombie in Haitian history to the current craze for the genre, this slim volume provides a broad look at the walking dead in all forms of pop culture.

For me, the books earliest chapters are the most informative, as I am but a humble ignoramus regarding Haitian voodoo rituals, religious rites, and the like. Vuckovic spends some time doling out the history before segueing into the earliest days of the zombie genre in film and literature. I'm not terribly well-versed in 1930s and 40s horror, say, so I found myself LEARNING. This is good. I like learning.

In later chapters, such as "Back from the Dead: Zombies in the New Millenium", the book becomes a bit more "Vuckovic on Zombies" than "History" as the author provides her opinion on films and the like. There's no denying that she's an authority on horror, and her opinion is certainly an educated one- her tenure at Rue Morgue Magazine is proof of that- but I found myself getting all defensive about a few topics at hand. She calls Zack Snyder's Dawn of the Dead an "unnecessary remake", which...I don't know, maybe it is. But I can't help but think its got merits of its own, completely independent from what George Romero did 30 years prior. Vuckovic rips much more harshly into Paul WS Anderson's Resident Evil, and again, I found myself, you know, defending my own opinions to a book. Resident Evil is probably crap- in fact, you can probably take away the "probably"- but sometimes crap is fun. Sometimes crap is good! Obviously Vuckovic is entitled to her own opinions and NO book is completely objective, but I think there were time throughout that I simply wanted more "facts" and not to be made to feel like a brainless, drooling dolt because I like a certain movie or two. I may be a brainless, drooling dolt, sure, but a history book shouldn't necessarily remind me of it.

Or maybe I'm just too much of an opinionated horror fan myself. After all, I do have a blog.

"Booooook...wait, I mean braaaaiiins...."

Zombies! works best, perhaps, as a resource. With sizable lists of films and books featuring the undead- not to mention all of the titles Vuckovic discusses in the chapters proper- there is plenty of gut-munching media out there for readers to check out. Throw in the hundreds of photos and illustrations, and the book becomes all but indispensable for zombie fanatics everywhere. Romero fans in particular will be pleased; the genre's most famous figure provides a foreword and, not surprisingly, is featured heavily throughout the book. I was happy to see two of my loves- comics and videogames- get plenty of attention.

I have a few nerdy gripes (beyond my already established, whiny "But I LIKE Resident Evil!" complaint)- where's the bibliography? Zombies Ate My Neighbors is not a first-person shooter! and so on- but overall, Zombies! is a terrific addition to any genre lover's bookshelf. It's brought ample movies and books to my attention, likely giving me undead fodder for years to come (The Chilling? What's that? I have no idea, but I'm gonna check it out)...proving yet again that zombies will never die.

Unless you shoot 'em in the head, I guess.

Horror Games: 13 most atmospheric

The games industry is now bigger than the film industry, but the relationship between the two has always been a little uncomfortable, with the history of films spun off from game franchises not a glorious one: Resident Evil and Lara Croft being prime examples of the sort of cheap schlock heavily reliant on a glamorous female to draw out the teen male gamer audience.
Can games ever truly compete though with the better end of the horror market? Will a game ever really better the still-influential cinematography that ensures that 1979's original Halloween continues to sell on DVD?
Here's a list of 13 'atmospheric' horror games (from the excellent site bloody-disgusting.com) that might point to the answer...

(NB: many of the stills featured from the listed games are gory!)

Source of following article: http://www.bloody-disgusting.com/news/videogames/1807

The 13 Most Atmospheric Horror Games

Posted By AdamDodd July 26, 2011 @ 11:58pm

33 Comments

Most games can cover up their flaws with jaw-dropping visuals, slick combat, or boobies, but horror games don't have it as easy. In fact, for a game in this genre to succeed there's one thing it always has to have, and that's a powerful atmosphere. An atmosphere is a compilation of a bunch of different things that makes the game stick with us long after we've played it. It's also a little different for each person since everyone experiences their games differently from the next.






For me, atmosphere is how the game looks, sounds, and feels. For example, if I'm walking down the rusted, broken halls of a long abandoned down mental institution with only my flashlight to illuminate the path in front of me as I instinctively jerk the beam of light toward what I could've swore was a shadow or the sound of footsteps - that's an experience I'm not going to forget any time soon. It's the atmosphere, or all the little details that sets the game apart from the rest and helps immerse you into the experience. So head past the break to see the 13 most atmospheric games I've ever had the pleasure of playing, and remember, these aren't in any particular order, so please don't freak out if your game is #5 while an obviously crap game made #3.

Rotting Hill - 4min zombie short

First off, please note its VERY gory!
Which is why I won't embed it, but you can view it, plus making-of docs, at http://vimeo.com/25010746
Its a clever pastiche of the zombie genre, turning it round into a rom-com (so, as with SotDead, a rom-zom-com).
The sophistication of the CGI included is beyond our budgetary means and timescale, but shows what can be achieved with accessible digital technology

Her Body, Himself: Gender in the Slasher Film

The following is taken from http://publishing.cdlib.org/ucpressebooks/view?docId=ft809nb586&chunk.id=d0e4943&toc.depth=1&toc.id=d0e4713&brand=ucpress
You can find further chapters and sections there on feminism, representation etc

Her Body, Himself: Gender in the Slasher Film

The Slasher Film

The immediate ancestor of the slasher film is Hitchcock's Psycho (1960). Its elements are familiar: the killer is the psychotic product of a sick family, but still recognizably human; the victim is a beautiful, sexually active woman; the location is not-home, at a Terrible Place; the weapon is something other than a gun; the attack is registered from the victim's point of view and comes with shocking suddenness. None of these features is original, but the unprecedented success of Hitchcock's particular formulation, above all the sexualization of both motive and action, prompted a flood of imitations and variations. In 1974, a film emerged that revised the Psycho template to a degree and in such a way as to mark a new phase: The Texas Chain Saw Massacre (Tobe Hooper). Together with Halloween (John Carpenter, 1978), it engendered a new spate of variations and imitations.

The plot of Texas Chain Saw is simple enough: five young people are driving through Texas in a van; they stop off at an abandoned house and are murdered one by one by the psychotic sons of a degenerate local family; the sole survivor is a woman. The horror, of course, lies in the elaboration. Early in the film the group picks up a hitchhiker, but when he starts a fire and slashes Franklin's arm (having already slit open his own hand), they kick him out. The abandoned house they subsequently visit, once the home of Sally's and Franklin's grandparents, turns out to be right next door to the house of the hitchhiker and his family: his brother Leatherface; their father; an aged and only marginally alive grandfather; and their dead grandmother and her dog, whose mummified corpses are ceremonially included in the family gatherings. Three generations of slaughterhouse

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workers, once proud of their craft but now displaced by machines, have taken up killing and cannibalism as a way of life. Their house is grotesquely decorated with human and animal remains—bones, feathers, hair, skins. The young people drift apart in their exploration of the abandoned house and grounds and are picked off one by one by Leatherface and Hitchhiker. Last is Sally.