Horror and Mystery: The Best of Blend in the Films

The horror is linked to incomprehensibility, that is to say to an elsewhere which is profiled or manifested, which is therefore indicated, but which never occurs in its entirety. This is certainly true of films based on the suggestion of something that is never shown (from La Féline de Tourneur to Rosemary’s Baby). But this is also the case with films that are said to be gore and which insist on the bloodiest effects. In Alien, the creature is never shown in full, we only see incomplete profiles. You can click in https://free-putlockers.com/golden-page/gomovies and find the best films there.

The Other Kind of Horror

In John Carpenter’s The Thing, all the scenes which show the transformation of the thing exhibit what resists any image, any representation, because the thing is always in surplus on the countless faces it takes. The special effects, here, are subject to a very precise aesthetic sense which consists in testifying to the fact that the thing can take on all appearances. We have here an illustration of what Kant called “phenomenon”, namely what appears and resists any identification, any determination.

In this sense, the horror film gives a figuration to the indeterminable that is to say to the irrational.

  • If the original from which The Thing is drawn is not a horror film, it is because it falls back into an already-known which dissipates all terror, because not only are we showing too much, -to say that we show everything, but above all we give the creature a face or a figure (a stuntman hidden in a latex costume).
  • The same goes for intentions. In Halloween, the mask worn by the murderer illustrates the indeterminacy of his motives. You will never know what he wants and why he attacks these girls. Similarly in Scream or in Funny Games, where the total gratuitousness of the massacres committed turns out to be a pure game. We can, in this sense, fear the worst of the Halloween remake, which we are told will insist on the reasons which led Michael Myers to become an assassin.

Hitchcockian Horrors

For all these reasons, Alfred Hitchcock appears to us as the creator of the horror film. Les Oiseaux is an endless film, absolutely open, like Vertigo, with its spiral movement where the same scene is repeated as in a nightmare. Window on courtyard is based on the theme of voyeurism where the hero sees something horrible without being able to do anything (the theme will be taken up and deployed by John Carpenter, Dario Argento and Brian De Palma). And, finally, Psychosis is the founding film of the genre.

Firstly because of the shower scene, which has been quoted, copied and plagiarized countless times, as long as it suspends time, with its incredible cutting which lengthens the duration and which is pointless in point from the narrative point of view: since the information about the murder of Marion Crane could have been given in much less time, the whole economy of this moment is ordered around the will to express terror.

 

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