The Genre of Horror as Cult Cinema - Essay Example

WITH REFERENCE TO EITHER THE SLASHER SUB-GENRE OR HAMMER HORROR DISCUSS THE REASONS FOR THE GENRE BEING AT THE FOREFRONT OF WHAT IS CONSIDERED AS CULT CINEMA. By Author’s Name Name of the Class Name of the Professor Name of the School City, State 30 January, 2015 Introducing cult cinema The definition of cult cinema in the film industry is often limited by critical opinions from the filmmakers, editors, media and market in general. Most attempts restrict it to audience discourses and textual attributes in relation to aesthetic transformation of the films. Ernest and Xavier denotes a cult “to the worship of a religious belief or worldview: there negative and positive cults based on rituals of prohibition and exhibition” (2008, p.17). Cult film/cinema can be traced from the 70s and fifty years down the line are known to have acquired a fan base and raised contentious issues within the society. For someone keen in film studies, it’s clear that the few chosen characteristics of cult cinema are often in opposition with those of mainstream cinema as well as the differences in their audience. Irrespective of the different opinions in theorizing cult cinema, several of its features are inarguable; a cult film is defined through a sub cultural ideology, which marks it to exist in opposition to the mainstream because of their niche appeal, and composed of identifiable textual divergence. Besides their nature to appeal to viewers’ subversive instincts, the sense of nonconformity and irrationality in the film, Bentley-Baker reiterates Corrigan and White depiction of cult films as “ephemeral or non commercial films that, despite their lack of traditional cultural value, have survived to yield fascinating glimpses of the past” (2010). Some consider it a private genre with egregiously eccentric characters, often featured for exhibition at odd hours like midnight and known to trigger passionate attachments. Criteria set to establish cult films entail marginality, violation of boundaries (transgression), composed of iconography and cause self identified audience group among others. Horror/slasher film and purpose of the essay The popular genre of horror films together with fantasy and science fiction films are the few that lend themselves for the treatment of cult cinema. Based on the newly formed idealist and dystopian characteristics of horror films, especially the slasher sub genre, they have acted as the intersection with, or a vehicle in production of cult films. Looking into it, you will establish that most modern directors and film makers began with mastery of horror movies, before graduating in cult film makers. Slasher films which gained popularity from the 80s is composed of generative storylines involving psychopathic killers trailing on selective victims, has formulaic portrayals of violence, drenched in taboos and with pursued interest of causing audiences’ fear and disgust (Grant p, 2015). The document discusses (why) the reasons for the horror genre in reference to slasher films is at the intersection of what is considered a cult cinema. At the core of it argument are the issues of hybridity to deliver films beyond expectations, digressing from the conventional norms, consumption behaviour, intertextuality, innovations, loose ends, Post revelation of identities, combination of fear and disgust among others. Innovation that create shock By looking into most modern slasher films, you acknowledge the subversively ingrained innovation feature applied in the art formation, which is a common element of cult films. Such innovation stems from the themes or structural development which the creative teams delve into to keep the audience attention, but also challenge conventions. Slasher films portray concepts of innovation that allow characters in the films to exhibit outstanding performances a midst of the traditional norms acceptable in the society. The effect of well cultivated and innovative roles of actors or narrative in the slasher films ends up shocking the system, just like the cult cinemas. Consider the redefined and challenged issue of gender in slash films. While male characters were always given the lead roles especially for the hero scenes, films today are developed with female characters breaking beyond the given stereotypical victim roles into heroes. Irrespective of the feminine sexual promiscuity, female actors have been projected to have masculine abilities and mental intelligence, which makes them smarter and powerful over the psychotic killers. Ana examples is the final girl in Friday the 13th where she unleashes her feminine character, strength and competence that set her apart from other girls and boys; it owes to the slasher tradition of challenging the society’s sexual norm (Grant, 2015, p. 88). Innovation also trickles down to animation of characters. Innovative practitioners create imaginary and unique figures in attempt to subvert conventions by introducing non-conformance to cultures of the society. Most producers seek to create something new that can capture the audience attention. Some have incorporated use of clothes and culture used by particular sub-groups in the society, but twists the principles to break the norm. Tools of violence are structured in a manner to resemble a particular group of people in history, killers end up taking forms of animated incarnation or gores, which are not realistic but act to upset the viewers and create shock in the first instance. Consider Black Christmas film, it breaks traditional conventions by the act of incest between mother and son and explores on the culture of murder in a family, which are not part of the social order. Transgression Most cult films are known to ignore conventions of filmmaking to end up shocking and causing an upsetting experience to the audiences. According to Yau, “transgression is an important feature of cult film which expresses violation of boundaries like style, time, cultural conventions and genre or aesthetic evaluation to demonstrate volatile energy to cross constraints of these established boundaries” (2001, p.97). Slasher films have embraced such concepts by working productively towards undermining viewers’ expectation and threatening the status quo by going beyond the set limits of the social system. Various transgression expressed in the slash films compose of illicit drugs intake, acts of polytheism and condemned sexual activities among others. Following the theme development, individual characters that practice such activities become the target of the psychic killer for a bloody punishment. a. Sexual transgression There multiple movies whose victims are projected to engage in sexual activities that either entice or irritate the killers to want destroy former. Consider two examples here; from Friday the 13th and Halloween where sexual transgressors come up with creative ways to commit the act only to later face destruction. In the Halloween the killer (Michael) is identified to have killed his elder sister through stabbing for her sexual relations with her boyfriend while on his parents’ bed. Michael escapes prisons and is eager to kill Laurie (whom she likens to his sister), but eventually ends up murdering her friends, all this hatred stemming from the outrageous sexual transgression he experienced in his young age. The theme of sexual transgression is developed from the youths’ behaviour in reference to the cultural mores that condemn pre-marital sex. As a teen slasher movie, the stalker seeks to punish the teenage characters in the film for a related youthful transgression. A film produced immediately after the period of Cultural Revolution in the 60s expressed individuals’ aspect of sexual freedom, but to enforce the acceptable norms, the film also demonstrates the sexual behaviour has its negative effects. It goes ahead to personify such effects in the character of the slasher (Michael). b. Drugs abuse and other transgression A mixture of transgression among them sexual, drug and alcohol intakes occurs in Friday the 13th. A number of youths seemingly from rich backgrounds take sometimes off to enjoy themselves in camp site. It happens on a selected day of 13 (normally a Friday) superstitiously accepted to be an unlucky day in the western culture. These youngsters constantly express the violation of boundaries in the cultural and moral values by the endless drinking games, rich jokes based on their families’ wealth and legacy, smoking of weed and to the extreme of sexual intercourse among friends and depiction of their nudity while the killer keenly stalks them (Muir, 2009). They engage in open caresses, necking and post coitus enjoyment in the cars all which express their loose morals. Already in hunted land by Jason (killer), these youths pay through horrifying deaths for their unruly behaviour. Clearly, most characters in the slasher films delve on provocative misconduct with women more than men expounding on sexual transgression. The effect is that transgressors as victims meet their painful deaths in time. Transgressive style films extend beyond simplistic film making into exploitations and experimentation in their graphic content. They demonstrate the will to sacrifice artistic values to create films that do not conform to others produced, such that they are beyond accepted limits. For example, graphic display of merciless killing of animals, a sacrifice of living beings and production of torture pornographic scenes in a films exhibit extreme brutality to nature and human beings. By aesthetically evaluating such slasher films, audiences are induced with powerful emotions from style of content and graphics display, which gets to feature the violence and physicals sexual assaults. Loose Ends Storylines in cult films are known to feature loose ends. The viewer can watch long ninety or more minutes but still left wandering what happen to the remaining characters. Either the audience are left more confused in the end or unsatisfied. Some slasher films vividly express certain loose ends in their narrative that can take approximately ten minutes or more to merge the two linking scenes. If you have watched to sir with love you would concur that its one film with notable loose ends that leaves the viewer with numerous answered questions. The film takes unexpected twist in the course introducing confusion to the viewer. Out of the complete story, you never get to grasp the whole truth because the film failed to clearly explain what happened and what did not happen. They may trigger such endings by leaving one in suspense after series of release. The audiences may be left to fill in the remaining gap with their imaginations, where no continuations are expected. Similarly, those fond of Scream film from 1to 4 would agree that though the killers are finally established after series of accusations, the film still ended without ever establishing whom raped Rina. Although such information could later be revealed in the subsequent the latest films, it’s a common phenomenon for some characters to be presumed dead in earlier films, but later emerge in new films. Expression of disgust Disgust is a common feature of cult cinema expressed as a reaction by the audience. In the film development they attempt to solicit the performance of disgust from the audience. Church reiterates Krzywinska’s “observation of how disgust (a common response to various violent and sexual elements of cult films) blurs the distinction between authenticity and artifice, transcending traditional forms of representation because disgusting images evoke the same visceral response when viewed onscreen as when viewed in real life” (2007). Similarly, slasher horror movies portray elements of disgust. It occurs in the process of developing themes of transgressions and horror, which moves on to arouse disgust among the offended group of audiences. First are the disgusting horrible deaths of the victims that leave the viewer in shock. Acting has ways of creating something artificial look real and to warrant disapproval at the first instance by the viewer. From Friday the 13th the victims experience such horrible bloody deaths. In one account, the killer puts the victim in a sack and raises it few inches above the fire through his trap for the victim to experience slow deaths. At any ones imagination, the victims flesh is ‘roosted’ alive and the viewer gets to see the disgusting melt down of a living human . Vividly as the victim’s flesh is burnt beyond recognition, she continues to scream for help in a helpless state. Most slashers’ victims are executed through sharp objects that are used to piece and cut open their bodies. Examples are body drillings, neck slashes, slit with axe on head among other torturous and abhorrent methods that sound humans cannot approve to. Victims are projected to have experienced heinous deaths, which most human eyes cannot continuously endure gazing unless it causes psychological disturbances later. For example victims’ body parts are left apart from each other drowned in pools of bloody scenes. Similarly, bloody painting of the victims all over their bodies and face leave a gruesome scene that most viewers choose to repel from. You would be impressed by the innovative animation and makeup effects of the victims that would you either vomit at the sight or irritated by the fact that you wish to forward the part. Some are smeared with blood or it get to ooze from every body’s openings among other out of the odd accidents. On another angle, where the scenes of sexual transgressions are depicted and women become the major victims of death, slasher films specifically those with torture and pornographic elements tend to disgust other female audience, other than generating serious controversies on how integrity of female body is violated and gender transgressions. Killers in slasher films play significant roles in development of disgust element. The largest percentage of slasher films have capable killer characters with extra abilities, deformed in certain parts or mentally unstable to appear disgusting by looks or engage in abnormal behaviour that shock the viewer. Consider the works of the legend Lucio Fulci, immersed in filmmaking of the Italian horror version of the American slashers. His major works of interest here are the zombie slasher films where the killers are projected as disgusting dead people. Since he ventured in the realm of Giallos, his style of horror implemented “heavy use of realistic (but disgusting) gore effects” (Trunick, 2014). Such effects give slasher horror films a cult status in presentation of the uncomfortable materials and cannibalistic creatures. Lucio uses zombie creatures which are people returning from death, which feed on human flesh and are characterized of decayed bodies. From Zombie 2 film, Lucio portray the Zombie killers to be infested with worms that spill from the nostrils and mouth, the kill and spread the contagion by biting and only get to be killed by smashing its head. Lucio employs extreme artistic horror to create such unusual contents. Irrespective of how one is a horror/slasher film enthusiast, you do not get to escape the rush feeling of repulsion at the first instance of the zombies and their cannibalistic tear of human flesh. You have to appreciate the effect of reanimation in the film, which highly contributed in expression of transitioning bitten humans and themes of disgust. The zombie’s case not only defiles the human body physical integrity, but also goes beyond the normal conventions. Expression of fear Cult films accumulatively incite fear by tapping into real and unrealistic issues that relate to the present or even historical happenings that shaped an event. As cult cinemas revisit styles and behaviours in the past, model existing social conduct among youths from specific societies and introduce themes from rich ritual/cultural societies for the films, different types of fear are often projected in the social context. Majority are the fears of crime and incited violence due to copycat behaviours introduced back in the social settings. In relation to slasher films, much of the modern urban lifestyle among youths has been adopted in the developing countries as part of the influence depicted from the western transgressions in the film industry. The fear of the society is losing the teenagers into lavish and gruesome lifestyle, which they are attracted to. Moral panic over drugs abuse, sexual immorality and vandalism amongst becomes the norm of the day in societies’ whose youths prefer venturing into imitation of film transgressions. Fear responses are direct effects to viewers of films that develop on horror genre and themes of violence. Slasher films are notoriously known to develop story lines that explore on psychological perspectives of the characters. However, fear element is induced through supporting themes of transgressions, disgust and consequences borne of sufferings and pain. Narratives are formed around sociopaths and psychopaths who turn against innocent individuals, stalk, terrorise and murder them in a violent manner. While watching a slasher movie likeTexas chain saw massacre, where the character (Sally) is constantly in struggle and escape from death, the viewer is introduced in a scary world and filled with intense fear, despite them not necessarily been in danger. They sympathise with the troubled girl chased with machine saw and what awaited her. On another angle, slash films involving ghoul, freaks and horrible killer characters with plot setting on haunted territories invokes the primal nature of humans and their fears of death, injury and unknown among others. In Friday the 13th induces the fear of death, but in Zombie 2 by Lucio the fear of contact with the raising dead, their bite and infection of the spreading diseases. Fear is inescapable during climax where the main characters are in cornered situation where escapes seem s impossible. Use of blood paints and body parts/organs to mark a forbidden territory invokes the viewers’ worst hidden fears of the unknown, and in anticipation of what happens next either goes unthinking or shouting to the characters to escape because of the sensed danger. Receptions by audience Both slasher and cult films share the critical reception in society. The modern day technological evolution, freedom and civilization of societies emerged to be forces behind acceptance of certain cult and horror films in the media industry. Before such revolution occurred, several cult and slasher/horror movies had previously been banned from showcasing, with some even on the verge of ending developed film production careers for the grounds that they crossed cultural conventions or attributed to be perversions of societal morals by introducing detrimental psychological effects from psychic actions. Following suit, slasher films are often given high negative reviews by the audience after trailer’s review not to necessarily to ban them, but to call for restriction in its showcase. They still remain harshly criticized by the mainstream viewers who tend to black list such films that draw away from accepted norms. Demand of slasher films is also categorical to specific niches and selective markets like the cult films. The largest group of slasher views fall in the teenage and youths category that depict certain tastes in content and main characters in the films. Its fan base composes of selective groups whom are enthusiasts of horrors and people normally in support of challenging social conventions just like in cults. According to Jancovich , research on female viewers of horror films ranked slasher films 5th after vampire, supernatural, psychological thrillers and hammer films (2002, p. 170). Though arguable, some slasher films as Friday the 13th and its consecutive multiple sequels experienced long terms of public presence. Just as most horror cult films are given broadcasting regulations, most slasher categories have ended up in such regulations. Through censorship of both of film categories, their status and extreme of transgressions are established. To censor the horrific and violent bloody scenes in slashers, film episodes are given irregular hour airing often at midnights in national TVs. At extreme levels of transgressions, either the film is banned or edited to suppress unacceptable parts before been introduced in the mainstream, but at odd hours. Though not a slasher film, USA’s Up All Night was an American a cable TV series that aired at midnight hours cult classic, sexploitation (with explicit content removed), horror and slasher films of the 80s (slasherstudios.com, 2012). It only goes to show that cult films and horror genre have long history in censorship and regulation. Intertextuality While debate between originality and innovation take precedence in slasher films, one has to acknowledge that in production of the films, creativity is vital to appeal to the target audience, but it’s also inspired/ influenced by certain scripts, words and scenes perhaps from present or past work among others. The modern context of intertextuality is broad; including are influence of a text meaning through other transformed and borrowed texts and switching of texts with images that have similar meanings (Shakib, 2012). Cult films have often been intertextual in that most are often capable of connecting with other social cultures and referring to other films texts. Slasher movies have employed such literally and artistic practice by borrowing of textual references into their scripts or artistic expressions. Take an example of Scream film (one of the 1990s produced slasher films), accredited for its high sense of originality. The film adopts the title ‘scream’ and imagery expression of the white mask as the ghost’s face wear from pre-existing expression of a horror painting dating back in 1893 by Edvard Munch (Lisi, 2014). Release of different versions of slasher films exhibited in the western culture also moves to the edge of implementing cumulative hypertext. The fact remains that beyond the already established scripts text an additional dimension of text could occur so that to enrich or modify the scene. Cumulative hypertextuality is a concept featured in latest versions of Friday the 13th and Halloween remade in 2009 and 2007 respectively by adopting contents from original franchise, subsequent sequels and texts (Redfern, N.d). Others engage in allusion to critical discourses to call pre-existing film ideas into their modern creation of slasher films. Identity game and post revelations Cult films are notorious of developing their films and characters in a manner that would instigate multiple viewing among of its fan base. Its element of post revelation of the character’s real identity either in the end or mid serves to create the twist in the narrative, but keep the viewers anticipating to uncover the identity and existing facts about him/her. According to Bloch and Ferguson, visual identity games are well orchestrated in slasher films “by letting audience view the action in the first person long before revealing who or what the 1st person is” (1989, p. 216). Visual identities are concealed from the audience who may only be alerted by the terrifying sounds that the killer is within the victims’ vicinity. Some slasher films only show movements of the feet, dragging of the weapons of destruction, specific articulate breathing of the killers or shadows that leaves the audience without a clue of the killer’s identity. Inclusive of the strategy are also gender identity games, where repetitive incidences suggest to the viewer different genders of the characters only to confuse them. It’s through such hidden identity in the film, which story developer gets to play with, and engage both the characters and viewers’ psychological aspect to create confusion. For example, in the original franchise of Friday the 13th most have presumed the killer to be male, but the killer is revealed to be Jason’ mother. Audience are left in speculation until towards the end, where much is revealed pertaining to the murders by Jason’s mother. Gender and visual identities are practically concealed through rugged clothing difficult to suspect. Most people never get to understand that some of such confusion experiences are intentional, in order to develop themes of suspicions and division among characters. Characters are depicted to break trust with their immediate friends/partners and go against each other in the event of confusion. In scream, though the killers (Billy and Stu) are among the friends, they remain unidentified among the characters. Eventually, suspicion sets in and accusation are made to the wrong person, later towards the end, randy and Stu accuses each other after an episode of violence that wipes out most characters in the most confusing manner. Conclusions It is clear enough that slasher (of horror genre) and cult films do share certain characteristics that puts horror genre at the intersection/forefront of what is considered cult cinema. Such features entail slasher film’s ability to challenge moral and cultural conventions, expressive innovations that leave the audience in shock, implement post revelations of 1st person in the fill, their visual identity and hidden gender, and receive critical reception like cult fills for violation of boundaries often which digress from mainstream taste and standards. Lastly are developments of storylines with loose ends that leave viewers in suspense or perhaps unsatisfied and also demonstrate that just like cults, slasher films are inspired through intertextuality to develop themes and ideas. References Bentley-Baker, D. 2010. What is Cult Cinema? A Checklist. [Online] Available at [Accessed 30 January 2015] Bloch, H.R., and Ferguson, F. 1989Misogyny, Misandry, and Misanthropy. Berkely, CA: University of California Press Church, D. 2007. Notes towards a Masochizing of Cult Cinema. [Online] Available at [Accessed 2February 2015] Ernest, M., and Xavier, M. 2008. The Cult Film Reader. New York: Open University Press Grant, B.K. Ed. 2015.The Dread of Difference: Gender and the Horror Film. 2nd Ed. Austin, TX: University of Texas Jancovich, M. 2002. Horror the Film Reader. Psychological press| Routledge: London Lisi. J. 2014. The Rules of Reviving a Genre: ‘Scream’ and Postmodern Cinema. [Online] Available at [Accessed 2February 2015] Muir, J.K. 2009. Cult Movie Review: Friday the 13th (2009). [Online] Available at [Accessed 30 January 2015] Research on Slasher Films. [Online] Available at [Accessed 2February 2015] Shakib, M.K. 2013. Inevitability of Arts from Inter-Textuality. International Journal of English and Literature Vol. 4 (1), pp. 1 – 5. Slasher Studios Remembers USA Up All Night: Do You? 2012. [Online] Available at [Accessed 2February 2015] Trunick, A. 2012. Guest Analysis: Pelican’s Trevor de Brauw on the Horror Films of Lucio Fulci breaking down six of the Horror MastersFilms. [Online] Available at [Accessed 2February 2015] Yau, C. Ed. 2001. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis, MN: University of Minnesota Press Read More