Deconstruction of my Double Page Spread


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Inner form and Outer form

For every film, there are always two sections; the inner form and the outer form. The concept of the inner form represents the film's thematic qualities which can account for themes, morals, messages, characters, and storylines. A typical storyline of the horror genre would be when a boy and girl are at an isolated location, camping in the woods for example, and a 'villain' finds them and kills them because one is more stupid than the other. On the other hand, the outer form refers to the iconography of the film - what makes it so special, so iconic. The outer form involves the film's location, colour, marketing and mise en scene which involves anything that one can see in a scene - props, weather, lighting, facial expressions etc.
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Conventions of a horror poster

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There are a variety of codes and conventions that are tied to media publications that define them and differentiate them from other publications. In particular, film posters of the horror genre predominantly employ the use the colour scheme of white, red and black. This is to convey a sinister quality, thus helping to promote the product of a horror film. Sometimes a lack of colour can be effective too as it could connote death or a sense of emptiness.   The horror poster often has edges that are considerably darker compared to the centre of the poster, the purpose of this is to put more focus on the central image, and to also add a shadow effect. I plan to incorporate this using a vignette effect as I believe in following the conventions of a horror poster. Furthermore, most posters, regardless of genre, follow the rule of thirds. This involves having the title of the film positioned in either the top or bottom of the poster, the ma...
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Theories of Horror

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In his The Philosophy of Horror , Noel Carroll developed the attraction/repulsion theory, which is when we are attracted by gore and transgression and repulsed to it. He said; "Horror genre gives every evidence of being pleasurable to its audience, but it does so through the means trafficking in the very sorts of things that cause disquiet, distress and displeasure." A prime example of the attraction/repulsion concept in horror would be when we fear vampires, yet we fancy them because of their sex appeal. Like Damon Salvatore, for example, in The Vampire Diaries .   Damon Salvatore     A problem with Carroll's theory is that he does not take into account the interplay between attraction and repulsion, and he also rejects psychoanalytic accounts: does not consider role between conscious and unconscious - he only considers the cognitive side to psychology in regards to schemas. In her essay titled "Visual Pleasure and Narrative Cinem...
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