Module 1: Discussion: Name Instructor FMS 360 Date
Module 1: Discussion: Name Instructor FMS 360 Date
Name
Instructor
FMS 360
Date
1
Module 1: Discussion
The Cabin in the Woods is the film has been the driving force for the renaissance of
modern horror genre. It contributed a lot in ensuring that films confined to cult would be
accepted by larger audiences (mainstream), and also critics. Indeed, it has been proven that great
One key element of the film is ‘fun horror’. Additionally, it utilizes satire as evidenced in
slasher flicks. It thus comets out as scary yet hilarious film. The role of the ‘harbinger’ in
offering a warning to the protagonists’ early one is a classic example (Lockett, 2015). There is
use of the spooky basement, the cellar, which is a common horror trope. This is due to its
darkness, having of just one way out and being underground. This somehow links it with the idea
of death, subconsciously. The cellar is crammed with creepy items such as occult orbs, ancient
journals and dolls. The smorgasbord of the scary stuff is conjoined with a funny scene (Lockett,
2015). There are several terrible decisions in the film, a good element of the horror genre. For
instance, getting frisky in the damp and cold of the great outdoors, which hardly ends well.
Indeed, The Cabin in the Woods embodies all the elements of the horror genre.
and visual distortion to convey inner fears, turmoil and desires of that moment (Figura &
Jelavich, 2011). It uses deep shadows, extreme tilting of camera, high angles and impossible sets
among other characteristics. These seem to be wildly geometrical and non-realistic absurd sets. It
was utilized particularly in the 1920s to reflect the inner conflicts of the German audience. This
was done through giving their afflictions an inexorably external presence. Some films that
utilized this art movement include The Student of Prague (1913), Metropolis (1927), From Morn
to Midnight (1920) and The Cabinet of Dr.Caligari (1920) among others. It is a great artistic
References
Figura, S., & Jelavich, P. (2011). German expressionism: the graphic impulse. The Museum of
Modern Art.
Lockett, C. (2015). ‘we are not who we are’: Lovecraftian conspiracy and magical humanism in