Theoretical Approaches to Horror
Noel Carroll- attraction/repulsion
Mulvey, Laura- Visual pleasure and narrative cinema
Mulvey's theory is the 'Male Gaze'. Films are made so that they position the audience as a male eye- objectifying female characters, include unnecessary sex and nudity.
Jung- The shadow
The shadow is a projection of all we fear and dislike onto an external figure- in other words, the monsters are created so that they are a physical form which represents our fears.
Cynthia Freeland
Freeland states that violence and gore can be so exaggerated in horror that it creates a 'perverse sublime', meaning that it can be so far-fetched that it can actually be enjoyed on an entertaining level.
Carroll states that people are both attracted and repulsed by gore and transgression. We enjoy watching through the killers POV and at times identify with the killer. Another example is that we fear vampires, yet we also hold an attraction to them. This can be supported by Dracula and Twilight. Both have elements of romance, even though we are supposed to be purely afraid of these supernatural creatures.
Mulvey's theory is the 'Male Gaze'. Films are made so that they position the audience as a male eye- objectifying female characters, include unnecessary sex and nudity.
Jung- The shadow
The shadow is a projection of all we fear and dislike onto an external figure- in other words, the monsters are created so that they are a physical form which represents our fears.
Cynthia Freeland
Freeland states that violence and gore can be so exaggerated in horror that it creates a 'perverse sublime', meaning that it can be so far-fetched that it can actually be enjoyed on an entertaining level.
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