Approaching the time of devising ideas for our Thriller concept, Miss Cookson advised the class to broaden our knowledge on such genre by evaluating a thriller of our choice. After careful deliberation, I wanted to find a thriller that was somewhat renowned, with obvious connotations revolving around the genre. Consequently I came to the conclusion to analyse Scream, a conventional horror/thriller hybrid of the nineties, celebrated for his riveting plotline and notoriously well known antagonist.
Following the conventional nature of a horror/thriller hybrid, Wes Craven opens the film with a title sequence. Primarily, he uses a daunting sound of the howling ambient air, which should already send pre-conceived notions of fear and paranoia to the audience at home. However, the soundscape is instantaneously drowned out by a telephone as the heading “Scream” fades in. The fact the white caption turns a blood-curdling red would connote the stripping of ones innocence and most inevitably death, which is then reinforced by the prominent sound of a heart beat.
The final humanly scream (relating back to the film name), which evidentially derives from a female, smothers all these sounds as the audience are introduced to Drew Barrymore- a stereotypical “blonde” female the audience would conventionally see in teenage dramas etc.
The fact she is a mere adolescent, wearing a white sweater, should swiftly signify that she is the cliché naïve cheerleader, who is usually portrayed as somewhat arrogant within this hybrid genre. From her mere exterior shell, the audience will instantly assume she is sexually active, with the predictable jock boyfriend, which conventionally means she will be punished by death, just by the very nature of a horror thriller. The sparse opening sequence could almost signify the time she perished in the future, and how the white sweater (white title) turns to red (red title) as she is stabbed and screams (note how the non-diegetic sound of the wrenching heartbeat instantly cuts out, to ultimately signify death).
When analysing cinematography, it is imperative to note that most shots consist of close ups. The initial close up of the telephone immediately signifies danger, as the soundbridge of the telephone and screaming connotes that danger is somewhat related to the call. The fact that Craven uses close ups on the face implies a sense of claustrophobia, in a daunting means of no escape. It could also primarily signify her naïve frenetic age, and the fact she will not live up to the Carol Clover’s stereotype of the “Final Girl”, as she seems too provocative and nonchalant to outwit the pending threat
spying upon her.
Mise en Scene plays a vital role within Scream, as in many ways it is used as a tool to deceive the audience. The fact that she wears white, and is enveloped around a pristine white room, could convey an almost safe haven of honesty and truth (which is therefore breaking the natural stereotype of colours to catch audience off-guard), which is then juxtaposed to the stereotypical isolation and eeriness portrayed outside through the proverbial ambient sound of crickets (a common theme used in the horror genre, similar to the howling wind, trees rustling and owls etc, as it conveys a sense of helplessness and segregation).
When trying to establish the mood and asserts of the genre, it is absolutely imperative that the Iconography is used to the utmost perfection, and Scream was no exception. I personally felt the substantial, metallic kitchen knives were the most prominent feature, as most conventional horror/thrillers are renowned for the antagonist’s choice of weapon (I Know What You Did Last Summer- fishing hook). Therefore, the knives almost convey what is to come- in terms of the treacherous deaths throughout the film.
What I personally discovered as a profound subconscious meaning, relating back to iconography was the popcorn on the stove and its undisclosed metaphor within the sequence. It appears that it mirrors the course of action, and when she ultimately discovers she is talking to a delusional psychopath, the camera cuts to the popcorn bulging. Accompanied by a menacing non-diegetic sound, we as an audience feel a natural growing correlation of fear and paranoia, which is a good example of key micro elements working together to force audience response.
Similarly to fellow directors who divulge in the genre of horror/thrillers (particularly John Carpenter, known as the king of horror), Craven uses musical stings throughout this climactic scene, especially towards the end where rapid editing is used to almost mirror her frenetic, almost chaotic mindset.
The antagonists attire is fairly typical within such a genre, wearing black to ultimately connote he is dark, mysterious and most prominently, a cold man, who will kill without hesitation. Before he is blatantly introduced to the audience, rapid editing and whip pans are used, as it almost conjures up an image of a predator, stealthy and universally powerful in the audience’s minds.
Inevitably, the audience see their new protagonist portrayed by Drew Barrymore, slashed in back by the antagonist. The fact she is killed momentarily before escaping the quarantine of her house is a fundamental technique used by directors, as they lure the audience into thinking the protagonist will find salvation. However, due to the very nature of horror/thriller, the nonchalant, sexually active stereotype must be punished- which is later referenced through the films natural progression.
Following the conventional nature of a horror/thriller hybrid, Wes Craven opens the film with a title sequence. Primarily, he uses a daunting sound of the howling ambient air, which should already send pre-conceived notions of fear and paranoia to the audience at home. However, the soundscape is instantaneously drowned out by a telephone as the heading “Scream” fades in. The fact the white caption turns a blood-curdling red would connote the stripping of ones innocence and most inevitably death, which is then reinforced by the prominent sound of a heart beat.
The final humanly scream (relating back to the film name), which evidentially derives from a female, smothers all these sounds as the audience are introduced to Drew Barrymore- a stereotypical “blonde” female the audience would conventionally see in teenage dramas etc.
The fact she is a mere adolescent, wearing a white sweater, should swiftly signify that she is the cliché naïve cheerleader, who is usually portrayed as somewhat arrogant within this hybrid genre. From her mere exterior shell, the audience will instantly assume she is sexually active, with the predictable jock boyfriend, which conventionally means she will be punished by death, just by the very nature of a horror thriller. The sparse opening sequence could almost signify the time she perished in the future, and how the white sweater (white title) turns to red (red title) as she is stabbed and screams (note how the non-diegetic sound of the wrenching heartbeat instantly cuts out, to ultimately signify death).
When analysing cinematography, it is imperative to note that most shots consist of close ups. The initial close up of the telephone immediately signifies danger, as the soundbridge of the telephone and screaming connotes that danger is somewhat related to the call. The fact that Craven uses close ups on the face implies a sense of claustrophobia, in a daunting means of no escape. It could also primarily signify her naïve frenetic age, and the fact she will not live up to the Carol Clover’s stereotype of the “Final Girl”, as she seems too provocative and nonchalant to outwit the pending threat
spying upon her.Mise en Scene plays a vital role within Scream, as in many ways it is used as a tool to deceive the audience. The fact that she wears white, and is enveloped around a pristine white room, could convey an almost safe haven of honesty and truth (which is therefore breaking the natural stereotype of colours to catch audience off-guard), which is then juxtaposed to the stereotypical isolation and eeriness portrayed outside through the proverbial ambient sound of crickets (a common theme used in the horror genre, similar to the howling wind, trees rustling and owls etc, as it conveys a sense of helplessness and segregation).
When trying to establish the mood and asserts of the genre, it is absolutely imperative that the Iconography is used to the utmost perfection, and Scream was no exception. I personally felt the substantial, metallic kitchen knives were the most prominent feature, as most conventional horror/thrillers are renowned for the antagonist’s choice of weapon (I Know What You Did Last Summer- fishing hook). Therefore, the knives almost convey what is to come- in terms of the treacherous deaths throughout the film.
What I personally discovered as a profound subconscious meaning, relating back to iconography was the popcorn on the stove and its undisclosed metaphor within the sequence. It appears that it mirrors the course of action, and when she ultimately discovers she is talking to a delusional psychopath, the camera cuts to the popcorn bulging. Accompanied by a menacing non-diegetic sound, we as an audience feel a natural growing correlation of fear and paranoia, which is a good example of key micro elements working together to force audience response.Similarly to fellow directors who divulge in the genre of horror/thrillers (particularly John Carpenter, known as the king of horror), Craven uses musical stings throughout this climactic scene, especially towards the end where rapid editing is used to almost mirror her frenetic, almost chaotic mindset.
The antagonists attire is fairly typical within such a genre, wearing black to ultimately connote he is dark, mysterious and most prominently, a cold man, who will kill without hesitation. Before he is blatantly introduced to the audience, rapid editing and whip pans are used, as it almost conjures up an image of a predator, stealthy and universally powerful in the audience’s minds.
Inevitably, the audience see their new protagonist portrayed by Drew Barrymore, slashed in back by the antagonist. The fact she is killed momentarily before escaping the quarantine of her house is a fundamental technique used by directors, as they lure the audience into thinking the protagonist will find salvation. However, due to the very nature of horror/thriller, the nonchalant, sexually active stereotype must be punished- which is later referenced through the films natural progression.
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