How can fear be made visible in a film when fear is a feeling and, as such, remains intangible and impossible to show? It was the director Jacques Tourneur who criticized the movies.
How can fear be made visible in a film when fear is a feeling and, as such, remains intangible and impossible to show?
It is the director Jacques Tourneur who criticized the filmmakers believing that it is enough to show a woman who cries to film fear. It is true that, in “horror films”, there is always a close-up of a woman who cries. But that remains inessential (at least in good films) and that is not what, strictly speaking, represents fear. You can search by https://free-putlockers.com/genres and get the horror genre there.
To film fear is not to exhibit the outward expression of fear, but to produce an analogon of a situation which gives rise to fear.
- Because the “horror film” being a spectacle, it is such the sublime in Kant which contains something similar to the frightening, because “it is impossible to find satisfaction in a terror really felt” (the spectator no danger).
This is why the horror film works like a nightmare – and it is precisely this that “scares” or makes fear more sensitive.
While any film presents a situation which will be modified by the action of the characters, so that one gradually leads to a completely different situation, the horror film is characterized by a break in the narrative: the effort of the protagonists to transform a given situation initially fails miserably and systematically.
When the heroes believe they have found a way out, they discover that they are still inside without managing to escape:
Like the couple who, in The Den of Madness, are struggling to find the ghostly city Hobb’s End, but can no longer get out of it once he has entered it. The horror film does not develop, but it deepens a situation which remains blocked from the beginning to the end: like a bad dream, it takes place and is only the repetition of the same. This characteristic finds an equivalent in the soundtrack, since the music of the horror film is always a little refrain tirelessly repeated during the film (and obviously in minor: the little catchphrase in A minor by Rosemary’s Baby , that in C minor by Candyman or that in D minor of Suspiria).
We understand that the horror film has no end. It is not that it ends badly instead of finishing well, because to finish badly is to finish all the same. The peculiarity of horror is that there is no completion, no resolution (which we see, for example, The Invasion of the Profaners or The Thing , as opposed to the original films of which they are the remakes).