Unit 2: Horror

Introductions

THE BRIEF:
Produce a short, short film of 2-4 mins. It must be influenced by a specific historical
cinematic movement such as German Expressionism, a genre such as Film Noir or a
subgenre, such as J-Horror. You must work in a group as film is a collaborative
medium. Groups are capped at 4. You may select any of the roles identified below or
negotiate the role with your class teacher.

Submissions for the final mark

Task Deadline

Textual Analysis Week commencing 15th Jan in your Media class

Production Screening Week commencing 11th March in your Media class

Written Commentary Week commencing 11th March (the Sunday after your Media
(1000 word limit) class)
PRODUCTION WORK (COMMENTARY) (50%)
INFORMING IDEAS (TEXTUAL ANALYSIS) (50%)

Possible roles
- Cinematographer - Camera work, lighting - Robert
- Editor - Just editing - Ikram
- Director - Script work, working with cinematographer - Agastya
- Sound designer - Making the sounds and developing the soundscape - Ethan

Link to handbook for further information: Y10 Horror Project Handbook 2023-24

Important notes
No CCP movies

2 Weeks for draft

1 Week for final
Watch the same type of movie as the one you're making
880 max (not including biography)
Must have list of citations (APA formatting)
Focus on on explaining HOW film language (cinematography, editing, sound,
mise-en-scene, lighting, narrative structure, symbols, motifs, and
themes, characters, genre codes & conventions, etc.) have been used
to create meaning for the audience. (Guidance document below and in
slides)

German expressionism
Directors wanted to show a deeper look into the human mind via expressionist films.
Germany’s homegrown film industry was stimulated after the war.
A famous example is The Cabinet of Dr. Caligari, which looked very unrealistic on purpose,
using sets that were not rooted in reality. Most movies were shown through shadow play. Dr.
Caligaris's film made people question the point of view of horror films. German expressionist
films were made to reflect Germany and it's people state after WW1, Broken and twisted. GE
films consistently use BCU to get disgusting/twisted shots of the victim.

To summarise: lots of BCUs, violence through shadow plays, Backdrop looking like broken
glass

J-Horror
- Like german expressionism, j-horror represented the fear of japan at the time, that
being things like the atomic bomb, rising technology and the increasing power of
woman
- Technology and human being meshed together, representing the fear of technology
- Fast flickering images were used in silent films to compensate for sound
- Industrial noise, the colour of navy blue are both parts of this to
- Boring from the tradition culture and tradition s of japan
- Distortion, multiple tracks
- Stillness to counter violence
- No need for a 3 stage film, can just cutaway midway through

K Horror(sub-part)
Angry woman(scary)
Alone in a dark environment
Use of mirrors
Keeping the background out of focus for setting up or expecting jumpscares
B-rolls for time passing
Unnatural camera angles
Effective use of sound and silence
Technology causing the fear
Quick cus to show fear
Rising volume in moments of tension
High angle shots to reduce protagonist status
Claustrophobic shots
Portraying a piece of tech as something alive
Unnatural sounds that represent the protagonists mental state
Monotamous sounds such as a clock ticking to create tension
Implied ending no set structure

Structure
First act: Introduces the characters and setting, and most importantly and inciting incident,
whether that be a monster appearing or maybe the characters are doing something dumb
Second act: Introduces conflict into the film, the protagonist tries to achieve their goal,
however they are very far from it
Third act: Climax, maximum stakes and usually leads to a jumpscare, after the climax, the
films denouement will maybe show an implied death or what happens to the protag

Lighting
3 main lights
Key light: The main light that illuminates the subject, only lights one side of the face while
leaving another part in shadow, and should be placed off-centre to give dimension. Can be
any light, including natural light however it must be the strongest light on set

Fill light: usually on the other side of your subject relative to your key light. Not as strong as
key light, only 50-70% power. Should light the subject's face enough that they can see the
other half of their face, but not as much as the key light

Backlight: used to differentiate the subject and the background, adding dimension and depth
to the shot. Usually placed at the back corner of the set. If used on its own, can create a
silhouette effect to show small details of the subject

Bonus
Reflector: can be used to replace light if you are outside and can't use 3 cameras. Has 2
sides, white reflective black absorption. Reflects light(Duh)and can help you spread light
around evenly

Barn doors: the flappy things that are on the camera that can block the light a little and
control the location of the light

Breakup-Screen: Can be used to block light in certain patterns (Like a cookie cutter!) like
blinds(film noir pog)

Coloured lights: Can be used as a light in a pinch, but are mainly used for a coloured
backdrop or environmental effect, such as a blue television screen or red fire. White light can
also be used to create unnatural shadows and make a character look more evil.
Shadows: Just have one big light and have the subject slightly off-centre. The lower the light,
the bigger the shadow, and the closer the subject is to the background, the sharper and
more defined the shadow.

Sound
Diegetic sound: sound that is recorded in the world of the film
Non diegetic sound: sound added to the film afterwards, like a sound track
Walla, Walla: background sound, shouldn’t be decipherable but still audible
Point of audition: sound should be heard as if you were there, for instance close up shots
would have very clear audio, however a very far away sound would sund much less clear
and at a distance.

Glossary
Tension- created through mystery, gore, suspense

Relevance - To be seen a horror movie must be relevant, either via global or cultural
relevance

Unrealism - Horror movies must be somewhat realistic, while horror movies are obviously
somewhat unrealistic, however taking it too far will only make your audience disassociate

Suspend disbelief - When the viewer is sucked into the reality of the horror movie

Uncanny - Something close to reality but not quite right

Catharsis - purging your emotions via doing something in fantasy and lessening your chance
of doing it in the real world

Excitation transfer theory - Negative feelings made by horror movies turn into happy feelings
when the movie ends and the hero triumphs

Noel Carol - Horror gives something that wouldn’t normally happen, they violate the norms of
our society

Dispositional alignment - The idea that when someone does something that defies social
standards, they should be punished. This translates to people who are considered “Socially
unacceptable” often being killed first as “punishment”

Sensation Seeking theory - people who respond well to a sensation seeking form also like
horror movies

Gender socialization theory - Boys enjoy films much more when girls are scared, and girls
are vice-versa
Societal fears - Horror movies reflect societal fears that people experience IRL such as
zombies in response to the Vietnam war

Categories of horror watchers

- Gore watching - low empathy, high sensation, identifies with killers
- Thrill watching - High empathy, High sensation, identify with victims
- Independent watching - Hight empathy for the victim, positive outlook
- Problem watching - High empathy for the victim, negative outlook

Dream state - Films are between an awake and dreamland, a time for you to sort through
your information

Found footage - When a movie presents itself almost as real via using a handheld camera
and making the cinematography “amature” on purpose