下面是Fanessay分享的一篇essay范文--The thrillers movie，本篇文章讲述的内容是关于惊悚电影方面的，可以供大家了解下。好莱坞的惊悚电影是很形象地去描绘人类文化里的“梦魇”式一种经历，这在电影的发展中，由这些特定的恐怖元素是不同的时期的文化与心理危机的一种映射。惊悚电影的全景式多元角度的叙事语境与边缘性的审美内涵在传统的恐怖片里和结构创意中的转型都起到了推动的作用。对于新的惊悚片的多元化效应，是具有代表性意义的。
American thrillers from the era of silent films to the present can be described as thick and impetuous. In German expressionism philosophy, the resistance to authority consciousness, the confusion of free consciousness and the expression of distorted and absurd artistic images all have an enlightenment influence on the development of American horror films. From early 20 s and s "vampire" classic series to horror movie master Hitchcock's "psychological terror" of the real scenario, Hollywood thriller movie image depicts the "nightmare" in human cultural experience, fact is, these particular terrorist elements in different periods of American culture and artistic quality projection the psychological crisis. However, since the late 1980s, with the change of social psychology and the enrichment of film types, American Hollywood horror films, which rely too much on special effects technology and bloody violence, have gradually declined. Represented by James temperature of contemporary Hollywood horror film director tried to the context of postmodern culture will be the integration of eastern and western horror elements, to distinguish it from the past traditional horror movie narrative ideas explored a road to the transformation of the new American horror movies.
The narrative context here not only refers to the deep structural context within the film text, but also refers to the external social and cultural context in which the film narrative is produced and developed. American thriller master Hitchcock has made great achievements in Hollywood film history, on the one hand, he has created the pioneer of psychological horror film. With the real life scene as the narrative background, the "psychological fear in the real scene" is emphasized. On the other hand, he artistically expressed the anxiety of the American social group at that time, further explaining to people that fear comes from the distortion of human nature in the real world. Obviously, James wen inherited master of Hitchcock's narrative, at the same time into the Oriental culture elements of modernism, created the typification narrative context set up the unique personal style. First, the untypical structural context. Different from the traditional American horror film, zhan horror film has a strong stream of consciousness in the narrative context. The director is good at replacing linear conflict structure with block splicing structure. Different from vivid plot complex pay attention to the traditional American sound film, James temperature plot is very simple, not too fancy emotional elements. The setting of the scene also strives to be close to the reality of life and completely close to the narration of nature. In terms of shooting techniques, wide Angle shooting techniques commonly used in documentaries are also adopted, and each life-changing scene is recorded in panoramic view. However, James creates a kind of suffocating anxiety and depression based on the naturalization of the narrative context. This kind of repression and anxiety originates from the strong sense of reality on the one hand, and on the other hand, it is an artistic symbol of the contradiction between the reality of American society. Its representative work, 'Insidious', was translated into Chinese as' Insidious', and the director's intention was to refer to plots that were surging in the dark. Also, the whole film is always in a quiet and depressing reality. The director deliberately played down the background sound effects, even on the necessary soundtrack, using short, mixed sound effects. The film itself is a story of the old house is haunted, seemingly mundane, clue is more onefold, but regional director layer type narrative like the movie at the end of the corridor of the old wooden door have opened up a whole new world of terror. The setting of the whole movie is pure life, and the furnishings in the room are basically unchanged. Director within the narrow space with a wide Angle lens to increase the panoramic image space, the lens as to in front of the house corner, let it with room to move, so that the audience can see another house, see a protagonist is through the door. The lamp that the first half of the film falls to the ground, sofa in the corner, the sitting room that puts piano, male and female lead a comfortable life, quiet without any background music expression. All seemed to flow in the dark with an evil force. With a calm and objective narrative perspective, the director tries to convey the message to the audience that the fear itself is hidden in the details of life, the plain truth and the true horror. It is because this is home, a familiar safe environment for the audience, and once this safe distance is violated, the fear generated by the audience is irresistible pain. Under this extreme repression of bedding, the rhythm of the later half of the film is compact, the flares in the plot of the progressive fear in the heat of a standoff with the human spirit released perfectly. Not to speak of a hearty dripping. Secondly, director James likes to place the narrative background in a completely closed space. This fear of the unknown and the sense of constraint in a limited space are the dark tone of his thriller films. This sense of bondage is also reflected in the setting of the role, the child's mother is a free creator, and the basic living space is also in this house. Therefore, this strong sense of bondage, which is hard to break free, is also the manifestation of the collective anxiety that the contemporary American youth's self-ideology deviates from the conflict of social rules.
The core content of thriller lies in the distortion and irrational expression of things. This kind of terror aesthetics in conflict with reason is also the aesthetic rule of traditional American horror films. Traditional thriller that fear comes from things that caused abnormality, but James, chose a highly rational narrative Angle of view, and at the same time build is also normalized narrative context. First of all, James is not simply rely on terrorist elements or plot caused abnormality, but set each of these elements in the rational range that they are real to touch or even come from life. But these seemingly normal elements of terror are irrational projections of rationality. They have the symbolic meaning of real life and are distorted by some external factors. They successfully create the absurd and true perception for the audience. All the characters in lurk, except the final demons, are human. Some of them even lived in this house. In this state of reasonable, James set of fear comes from deeper uncontrollable factors, that is all want to after they die boy Dalton body, the seemingly absurd but often caused the direct conflict of the film, all the evil spirit out in the dark claws, pulling the audience's fragile nerves. Set in the film the biggest bright spot is the red devils face burning flame, it by itself in the shape of a monster, but in "the latent 2," the director gives the answer, he is a transvestite children abused by her mother for a long time, this kind of crime cases often appear in the life is the irrational projected by the director, possession, the strong desire of the flesh are actually psychological wounds after the extreme distortion of struggles and longing for a normal life. This psychological alienation by the director as a burning flame lurking in the dark of the devil, be hurt, be controlled, eager to love these abnormal under normal emotional experience caused the audience a strong resonance. Secondly, the multi-level and multi-angle expression also makes the whole film in narrative tension. The flashback and flashback technique in the series and the perfect connection between the two films make the whole story full and three-dimensional. It plays an important role in promoting the plot and setting up suspense. The hero mother memories of their childhood, will have the same father and sons soul travel ability to communicate, which will be the focus of contradiction transferred to the father of success, to uncover the secret of a dusty. Another wonderful illustration is that after the hero enters the exotic space, a boy shows him the way. In fact, the hero is himself in his childhood. Another wonderful thing about the first movie is that the hero goes downstairs to find the person who rings the doorbell, but it doesn't work. The passage gives the perfect reading in part 2, when the hero's own soul rings the doorbell to protect his wife and children. The idea of this design is very clever. The use of space-time docking gives all the unknowns a reasonable explanation. The film's multi-angle, multi-threaded narrative makes the mundane story compelling. The first half of the film USES the mother's perspective to show the pain and confusion of losing her son. The latter part of the family cuts into the perspective of all family members to externalize this feeling of oppression. After the father enters the exotic world, the director USES the dual narrative scene. On the one hand, the father is searching in the exotic world, on the other hand, the real world is in the fierce conflict. Three orgasm presenting relationships until the final emotional outburst. The final open ending not only sublimates the terror sentiment but also leaves the audience daydream space. All the set type of bedding in the film is also a focal point of the film, with the paw print sheet, blood baby room mei red lights, the room was shot and killed three, all satisfy the audience to the psychological expectation on the plot. This silent danger is in the constant metaphor and symbol of the audience a little closer to the heart of the audience, to achieve the best horror effect.
The marginality of the film's aesthetic connotation is mainly reflected in three aspects: first, the marginality of the characters' psychology, which is more of an in-depth interpretation of German expressionism. The exile of self - consciousness and the challenge to authority consciousness. Violence and death are essential in thrillers. However, in zhan's horror films, it will be internalized directly in the face of violent death and division and other terrorist elements, which are hidden under the plot and more about the construction of psychological situation. Fear of the devil is actually fear of the unknown, the divided, the unruly. This strong desire of ghosts to enter the human body creates a deep fear for the viewer, which is the fear of the devouring and dying of the self-consciousness under a powerful external force. And this transformation is also the inner struggle of every viewer. Second, the challenge to authority consciousness. Most traditional American movies are simply the formation of fear. This kind of challenge of authority consciousness is the challenge of patriarchy in the film. A lot of viewer have such experience, "latent" the first half of the divided into show a maternal perspective, but the real salvation in the father bear the role of savior, the same father brought greater crisis of redemption, really be lurker is father's childhood memories brought about by the crisis. The body of the father is hidden by evil spirits. In the second film, the mother and the child have a fierce confrontation with the father and complete the redemption. This disintegration of the patriarchal consciousness and director James is the lack of father love my childhood, and his father in the mainstream consciousness as an authoritative representatives, which reflects the duality of the patriarchal film profound philosophical connotation. Third, the collective confusion caused by the lack of faith in modern American society. The whole film not only pays homage to Hitchcock's classic but also explores the modern religious view under the integration of Chinese and western cultures. How to find the lost faith in salvation is the deep theme of the film. When the heroine invites the priest and psychic medium to exorcise the house, he is strongly opposed by the hero. The uncertainty of his belief actually feeds back his fear of the uncontrollable things. But in fact, the real victims of evil spirits are the hero himself. When the director gives the viewer the real answer, that is the real fear comes from the loss of self, which is what thriller is to help the audience see more self, in the real world in search of the lost faith.
As Hollywood director James temperature, Oriental horror element model is also a focal point of the film, the eastern peculiar terror aesthetic and directly generated by the collision of western narrative landscape diversity effect of the new American thriller, is extremely representative significance. James temperature panoramic pioneered by multiple Angle of narrative context and aesthetic connotation of borderline dudu to traditional American horror film on the conception and structure of the creative transformation has played a role. This is also of great significance for the Chinese films in the developing period. In the near future, this art form integrating eastern and western cultural elements will become the mainstream of world films.