Tragedy and Horror Forms of Art - Essay Example

Outline Introduction and history of tragic and horror works of art: Evolution of ancient tragic drama into modern horror art forms (Par. 1 and 2). Thesis (Par. 2) The advent of horror films and movies: The role of films in depicting cultural issues as tragic/horror elements (Par. 3). Important Elements of Tragic/Horror Art Forms in Human Existence: Factors that establish a meeting point between human existence and horror forms (Par. 4 and 5). Personal Experience with Horror (Tragic) Genres: Examples and observations of contemporary horror works and their relevance (Par. 6). The Connection between Tragic/Horror Movies, Cultures, and Nationalities: A brief outlook of horror forms in the Western and African contexts (Par. 7 and 8). Summary and Conclusion (Par. 9) Citations Page Tragedy and Horror Forms of Art Introduction Tragedy as an art form first gained prominence in the Greek literary and art scene as a type of dramatic enactment that portrayed human suffering. The main objective of staging tragic plays was to spur the attainment of catharsis, relief, or pleasure in the viewers or audience of the dramatic enactment. Notable tragic drama forms in Greek theatres were staged over 2,500 years ago and included works of outstanding writers such as Sophocles and Aeschylus (Barnes 45). Tragedy then transcended its ancient origins to feature in other western art scenes and civilizations such as Roman, Elizabethan and Shakespearian works in the Middles Ages. Tragedy continues to evolve from its original variations such as epic, lyrical or poetical forms to incorporate increasingly advancing technologies and evolving societies. Tragedy and horror forms of art have become elements of culture, civilization, human and historical identity (Shapshay & Wagschal 167). Most recently, art and drama forms have moved from play scripts and theatres into television and movie productions in the form of horror movies and films. The enduring elements in both traditional tragic art forms and horror movies in contemporary times remain the depiction of human suffering and fear, violence aimed at attainment of catharsis or relief in the viewers or audience (Barnes 50). The question is, how do movies bring about the horror genre as a form of tragic expression and how does it reflect the cultural values of the society that appreciates it? The Advent of Horror Films and Movies Movies are an offshoot of the film industry that gained prominence starting in the early 20th Century. Just like art forms such as Gothic novels and tragic drama, horror films and movies had to defend their legitimacy and acceptance before critics although the early films were mimic in nature. The legitimacy of films and movies was pegged on their cultural, political, and artistic significance; horror of art began emerging as formidable socio-political and cultural works of art (Grant 2). For instance, early films in the 1930s reflected the Western folk narratives that Horror forms of art tell stories through scare tactics. However, horror movies and films are hybrid in nature; blending literary artistic forms, films, music, video and media technologies to enhance their efficacy of effect on viewers. Horror movies are designed to attain mass appeal with the most popular ones in recent times being The Mummy, Harry Potter and Twilight movie sequels (Jarrett 812). Important Elements of Tragic/Horror Art Forms in Human Existence The interconnection between human existences can be deduced from various perspectives including life elements such as pain, violence, mystery, fear and other manifestations of feelings and emotions. Art forms since the Aristotelian times have depicted life as a process punctuated by intermediate periods of pain such as birth, violence, as well as death. Consequently, human beings have sought to devices ways of dealing with the pain, fear, and violence which art forms have provided for people to watch tragedies (Shapshay & Wagschal 163). This need to purge the pain is among other reasons why humans prefer to watch violent acts that tragic works of art such as movies and films provide. Before and after Shakespearian literary era, other writers also satisfied this human thirst. They include; John Webster who wrote dark pieces of literature such as The Duchess of Malfi, The White Devil among other works (Jarrett 815). Racial tensions and fear of aliens have also been depicted by horror movies such as the Anita Blake Vampire series as well as Outbreak (1995). Modern manifestations of horror and tragic forms away from movies are soap operas which create a cathartic effect in viewers in the forms of violence, murders and treachery and fearsome suspense (Grant 16). Personal Experience with Horror/Tragic Genres Many tragic and horror movies of contemporary times are adaptations of similar literary or other works of art. They are similar to works of art like films and videos that were popular in the previous generations of the 1970s, 1980s, and the 1990s (Schoolman n.p). For example, the Harry Potter films sequel is an adaptation of a series of novels going by the same title popular in yesteryears by author J.K Rowlings. Harry Potter and the Philosopher’s Stone (2001), introduces an element of folk culture, a wizard, as well as aspects of horror such as attempted murders and mysterious actions such as curses and casting of spells. The main character in both Harry Potter books and movies/films, Harry Potter, though a young boy, proceeds to become a renowned wizard at the Hogwarts School of Witchcraft and Wizardry. Following in the same pattern of adapting literary works into horror movies are author Mary Shelley’s Frankenstein 1818 publication which was transformed into Frankenstein horror films of the 1930s (Grant 11). Most recently, consumption of horror movies and films especially by young people is fuelled by online marketing and sharing of information. The popularity of such movies is motivated by the current generation’s experience of violence such as schoolyard shootings, mystery murders and deaths as well as acts of terror and terror threats such as the September 11th Bombing. Horror action/thriller movies such as Oren Peli’s Paranormal Activity series, Antoine Faqua’s Olympus has Fallen (2013) and Kevin Smith’s Tusk (2014) reflect the fear and violence in which the current generation constantly lives in. They reflect the vulnerability of the modern society to terror attacks as well as violence in the society. Olympus has Fallen (2013) depicts the fall of a superpower; the United States, to an invading foreign force. The superpower barely survives the attack with massive casualties that illustrate the fear in the American society (Jarrett 813). The Connection between Tragic/Horror Movies, Cultures and Nationalities The popularity of horror or tragic forms of art such as films or movies is directly linked to the societal perceptions and how viewers relate the content of the movie to their culture and surroundings. Literature and urban legends that establish a direct relation with a particular have been converted into horror films that attain commercial success (Grant 7). For example, legends and tales of witches in the Western world that has been adapted into literature and films record phenomenal success as they cover themes majority of the audience can relate to. The Harry Potter series which was adapted from old western folk tales of wizards, witches and magic resonates with most people in the Western Hemisphere since it explores themes that are familiar with the audience. Societies with prevalence in violence also identify with and appreciate horror films and movies because they portray happenings they can relate to. At the same time, even in modern times, the thrilling ability of horror films makes them achieve their current appeal (Shapshay and Wagschal 163). Similarly, audiences from other nationalities such as African communities in Nigeria appreciate their version of horror/tragic films and movies. The reason being that they cover themes they identify with such as voodoo or witchcraft in their version of Hollywood christened Nollywood (Olayiwola 36). Modern entertainment has also displayed human appreciation of horror and tragedy in a variety of forms as a leading form of entertainment material. Conclusion Horror films and movies of the modern era are equivalents of cultural myths and legends of the past which were passed across generations by word of mouth or written forms in literate ancient societies. However, human societies across the world share the common fear of the unknown, experience violence, death, and pain and appreciate the catharsis effect in watching or listening to occurrences of the same nature. Horror and tragedy continue being a staple ingredient of film and movies industries from Hollywood, Bollywood to Nollywood as the Dracula, Frankenstein, and Harry Potters continue to draw massive viewership. Regardless of the transition of horror and tragedy from oral, written to modern audio-visual technology, the main defining point is the effect on human emotions. Human emotions like fear, revulsion, terror, and at the same time reflecting human cultural and historical anxieties. Works Cited Barnes, Daniel. "The Art of Tragedy." Think, 10(28) (2011): 41-51.Web. Fahy, Thomas. The Philosophy of Horror: The Philisophy of Popular Culture. Lexington, KY: The University of Kentucky, 2012. Print. Grant, Barry, Keith. Screams on Screams: Paradigms of Horror. Academic. California: Brock University Press, 2010: 1-17. Web. Jarrett, Christian. "The Lure of Horror." The Psychologist, 24(2) (2011): 812-815. Print. Olayiwola, Abiodun. "From Celluloid to Video: The Tragedy of the Nigerian Film Industry." Journal of Film and Video, 59(3) (2007): 34-42. Print. Schoolman, Morton. Reason and Horror: Critical Theory, Democracy and Aesthetic Individualty. New York: Routledge, 2010. Print. Shapshay, Sandra and Steven Wagschal. "Contemporary Cinematic Tragedy and the Silver- Lining Genre." British Journal of Aesthetics, 54(2) (2014): 161-174.Web. Read More