Theory into Practice

We can now put some of our film knowledge into practice by examining a selected movie. Prepare yourselves; we are taking a trip into horror. We’ll take a look at the genre, read  an influential director’s mini-biography, consider study questions for the film, and look at a sample essay.

Background: The History of Horror

Dark elements of folk and fairy tales from the oral tradition of storytelling became early Gothic literature and theatrical performances of the Grand Guignol;; horror—before it was classified as such—developed into a genre focusing on the grotesque, sensational, bizarre, and terror elements that connect its audience to an overall sense of fear and dread.

Representative texts include Horace Walpole’s The Castle of Otranto (1764), Mary Shelley’s Frankenstein; or, The Modern Prometheus (1818), John Polodori’s The Vampyre (1819), Sheridan Le Fanu’s Carmilla (1872), Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886), and Bram Stoker’s Dracula (1897), all of which were later adapted into films. These written works and their complements featured monsters (werewolves, vampires, ghosts, witches, and demons), unexplainable phenomenon, and things that went bump in the night to frighten characters. Over time, 20th-century authors gained recognition for their works contributing to the world of horror fiction: H.P. Lovecraft, Robert Bloch, Shirley Jackson, Stephen King, Anne Rice, Dean Koontz, Clive Barker (all listed authors have had works adapted into film). Along with these writers of adult fiction, children’s literature and young-adult fiction authors such as Edward Gorey, Roald Dahl, Mary Downing Hahn, Christopher Pike, and R.L. Stine published material for younger audiences that linked to the horror genre. Contemporary horror fiction is more overt in its genre elements, but from Walpole’s Otranto to Bloch’s Psycho (1959), the foundation formed and continues to develop over 255 years later.

Film productions had a similar growth pattern; they exhibited early Gothic elements that became more formative for horror as its own category. One of the earliest productions, Georges Méliès’ Le Manoir du diable (1896), is categorized as horror much like Otranto because of its story elements being connected to the supernatural: the appearance of a devil figure, a bat transformation, a skeleton, a cauldron, and use of a crucifix to vanquish the devil. The early Gothic writings were adapted into films not long after, as previously mentioned, and the horror-movie industry grew from the creation of original stories. As the movies proliferated with international influence and development, so did the natural need to further categorize them, most often in the form of hybrid-genre combinations: body horror, psychological horror, found-footage, sci-fi horror, the slasher, comedic horror, horror romance (yes, that exists), supernatural horror, and the creature feature to name a few popular categories. Modern filmmakers in Italian and American cinema—Dario Argento, Mario Bava, Alfred Hitchcock, Herschell Gordon Lewis, John Carpenter, Wes Craven, John Landis, Mary Lambert, David Cronenberg—became household names for their explorations of witches, the human psyche, the afterlife, blood and gore, and transformation. Contemporary and up-and-coming directors—Eli Roth, Rob Zombie, Takashi Miike, Jennifer Kent, Jordan Peele, Ari Aster, Nia DaCosta—carry on that tradition in films that address disease, revenge, grief, race, and trauma. Though the genre is far too varied to cover all of its creators and their work, a brief list that encompasses the subgenre categories above in bold includes (same order): Tom Six’s The Human Centipede: First Sequence (2009), Kent’s The Babadook (2014), Eduardo Sánchez and Daniel Myrick’s The Blair Witch Project (1999), David Cronenberg’s The Fly (1986), Amy Holden Jones’ The Slumber Party Massacre (1982), Edgar Wright’s Shaun of the Dead (2004), David Gebroe’s Zombie Honeymoon (2004), William Friedkin’s The Exorcist (1973), and Matt Reeves’ Cloverfield (2008). Horror has a home on the small screen, as well, with contemporary anthology series like Ryan Murphy and Brad Falchuk’s American Horror Story (2011), Misha Green’s Lovecraft Country (2020), and Little Marvin’s Them (2021).

Why Horror?

But out of all the film genres, why spotlight horror? Why do we like it? Why do we hate it? Why does it continue to develop as a genre? Horror—in all of its simultaneous grandeur of excess and subtlety—relates to audiences because it taps into and exposes our shared social anxieties, cultural terrors, and all things that unnerve and disrupt normative systems (in Freudian terms, what is called “the return of the repressed.”). We like it because we can make connections to the content, and that helps us work through our own real-life problems. We hate it because we can make connections to the content, and that scares us to the core of our existence. It continues to develop as a genre because humanity has no boundary or endgame on dread: arguably, we are constantly in varying states of worry, concern, fear, anxiety, and terror about the smallest of things (Did my package from Amazon arrive yet?) to global thoughts (What will happen when that new law is passed?). From monsters to human villains and unexplainable phenomenon, horror’s scary elements and fear tactics are typically metaphors and symbols that make connections between the films and its willing and/or reluctant audience members. We spotlight horror for these reasons and the simple fact that it is the most synthesized genre, combining elements from all cinema which makes it an interesting category to investigate. At any given moment watching a horror film, the viewer might find themself cowering in fear, laughing at absurdity, turning away in disgust, crying at the loss of a beloved character (human or animal), sighing in relief after a suspenseful moment, and even smiling or clapping from a demonstration of love and strength to overcome the impossible.

One of the most-remarked on horror films of all time is Stanley Kubrick’s The Shining, a masterful piece that comments on the topics including the American past (esp. its racial history), the pressures of capitalism, isolation, fear, and the challenges of family. With that in mind, let’s look more closely at the film’s director (Stanley Kubrick) and hfilmography and also read a sample analytical article on the film.

Biography: Stanley Kubrick

Stanley Kubrick (July 26, 1928 – March 7, 1999) was an acclaimed American film director, screenwriter, and producer renowned for his meticulous craftsmanship, innovative techniques, and diverse storytelling. Born in the Bronx, New York City, Kubrick developed an early interest in photography and filmmaking, which led him to make short films and documentaries in his youth. He began his career in Hollywood, but his dissatisfaction with the studio system and his desire for creative control led him to work as an independent filmmaker.

Kubrick’s films are celebrated for their technical brilliance, philosophical depth, and often controversial subject matter. He was known for his perfectionism and his ability to push the boundaries of cinematic art, leaving a lasting impact on the film industry. His work spans a wide range of genres, and he is considered one of the greatest filmmakers in the history of cinema.

Filmography, Stanley Kubrick

1. “Fear and Desire” (1953) – Kubrick’s debut feature film, a war drama that explores the psychological effects of combat. The film remains relatively obscure and was not widely distributed.
2. “Killer’s Kiss” (1955) – A noir film about a former boxer who becomes entangled in the criminal underworld. It was one of Kubrick’s early attempts at exploring complex themes through a gripping narrative.
3. “The Killing” (1956) – A heist film that showcases Kubrick’s skill in narrative structure and visual storytelling. The film is highly regarded for its innovative use of non-linear storytelling.
4. “Paths of Glory” (1957) – A powerful anti-war film set during World War I, dealing with the moral complexities and injustices faced by soldiers. It earned critical acclaim for its incisive critique of military ethics.
5. “Spartacus” (1960) – An epic historical drama about the Roman gladiator who led a revolt against the Roman Republic. Despite creative tensions with producer Kirk Douglas, the film became a major commercial success and is noted for its grand scale and powerful performances.
6. “Lolita” (1962) – An adaptation of Vladimir Nabokov’s controversial novel about a middle-aged man’s obsession with a young girl. The film faced censorship and legal challenges but is now recognized for its provocative and darkly satirical elements.
7. “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964) – A dark comedy about nuclear war, this film is praised for its sharp satire, inventive visuals, and Peter Sellers’ remarkable performance in multiple roles.
8. “2001: A Space Odyssey” (1968) – A groundbreaking science fiction epic that revolutionized visual effects and narrative style. Known for its profound exploration of human evolution and artificial intelligence, it remains a landmark in film history.
9. “A Clockwork Orange” (1971) – A dystopian crime film adapted from Anthony Burgess’s novel, exploring themes of free will and societal control. It garnered both acclaim and controversy for its violent imagery and provocative ideas.
10. “Barry Lyndon” (1975) – A historical drama adapted from William Makepeace Thackeray’s novel, notable for its period-accurate details and use of natural lighting. The film won several Academy Awards and is admired for its visual style and attention to detail.
11. “The Shining” (1980) – A psychological horror film based on Stephen King’s novel. The film is renowned for its eerie atmosphere, unsettling performances, and the iconic role of Jack Nicholson as the deranged protagonist.
12. “Full Metal Jacket” (1987) – A war film that examines the Vietnam War through the experiences of Marines undergoing brutal training and combat. The film is noted for its intense depiction of military life and its critique of the dehumanizing aspects of war.
13. “Eyes Wide Shut” (1999) – Kubrick’s final film, a provocative exploration of sexual desire and social dynamics, starring Tom Cruise and Nicole Kidman. The film’s enigmatic narrative and rich visual style reflect Kubrick’s enduring fascination with the complexities of human behavior.

Example Analytical Essay:

Below is an analytical essay on The Shining (title), a piece we will use as a model for our own essays in this class. While you will read much about these items in other contexts, pay attention to the author’s expertise in the following areas:

• Creating a claim-based thesis
• Organizing paragraphs with topic sentences (the majority of which are also claim-based)
• Using close-reading to both state and explain details from the text

Additional Resources

The Legacy of The Shining:

https://www.sensesofcinema.com/2020/the-shining-at-40/the-legacy-of-the-shining-in-contemporary-cinema/

Shelley Duvall in The Shining: A Perfect Gothic Heroine

https://www.nytimes.com/2024/07/11/movies/shelley-duvall-the-shining.html

America in The Shining:

https://the-artifice.com/stanley-kubrick-the-shining-americana/