'FANGORIA' magazine cover analysis

As the title suggests this horror magazine is devoted to fans who are obsessed with gore. ‘FANGORIA’ mostly advertises 18 certificate films within the genre of horror, slasher, splatter and exploitation films. It’s been in regular publication since 1979. ‘FANGORIA’ also has an online site that features daily updates about the world of horror, allowing the ‘FANGORIA’ brand to remain relevant to those who do not typically read print magazines. As you can see, ‘FANGORIA’’s colour palate itself screams horror. The title uses the bold colour of red not only to stand out from the dingy black background but to connote blood, danger and of course, gore. The whiteness around the titles font helps it to stand away from the other images and text on the front cover, but also symbolises innocence and ‘good’ against the ‘’evil’ of the rest of the text itself but the whole background also as the colour black connotes death and misery. The films that ‘FANGORIA’ tend to advertise for seem to always be horrors that base themselves around gory body horror effects. This is because the target audience highly approve of body horror and so attracts the correct audience. To emphasis the target audience further the main image on the front page is normally heavily made up with body horror makeup to look frightening, spooky and bloody. The model used for this issues front cover of ‘FANGORIA’ is staring directly at the camera. Not only does this engage with the audience in the way that it breaks the ‘fourth wall’ and makes the audience feel more involved it also portrays the typical horror convention that the ‘bad, evil’ character can see us which increases the element of excitement and fear. The films advertised, ‘The Descent’, ‘Blade’ and ‘Texas Chainsaw Massacre’, all have one thing in common other that the genre, they are all very famous for their extensive latex effects. ‘FANGORIA’ plays very close attention to special effect auteurs such as Tom Savini, Dick Smith, and Rick Baker. The background of the cover lines is green, which draws attention to the ‘gooey’ genre. The colour green is a slight paradox for a horror based magazine because the colour itself connotes life and freedom, whereas horror is mostly about deaths and entrapment. The colour also reminds the audience of a lot of things that happen during horrors, for example, goo, vomit and pus. 

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DAWN OF THE DEAD (2004) image analysis

Within this image we see Ana killing Steven. Ana is blonde, and obviously a woman, so stereotypically we see her as a ‘sex icon’ that is vulnerable and we expect her to get killed off. However, Ana is what is known as the ‘final girl’. Carol Clover in her book ‘Men, Women, and Chain Saws: Gender in the Modern Horror Film’ speaks about this concept of films having a ‘male hero’ in a feminist voice.  Although most action/horror films seem to offer sadistic pleasure to their consumers, Clover argues that these films are designed to support not the male tormentor, but with the female victim. This shots evening diegesis created by low key lighting unsettles the audiences; it generates a gloomy, dangerous atmosphere. The over the shoulder camera shot angle allows the audience to see Stevens face has he gets shot by the final girl, and gives us an insight into what Ana is seeing. The blood down Stevens face, and the paleness of his skin allows the audience to see him not as alive, but as a zombie, creating a sense of panic and terror.

DAWN OF THE DEAD (2004) image analysis

This scene from ‘Dawn of the Dead’ (2004) introduces the idea that this film has links to the America vs terrorism conflict. A lot of horror films during the 2000’s reflected the historical context of the Iraq war which can also be seen in the film ‘Hills have Eyes’ when the male American hero stabs one of the mutants through the head with an American flag. Horror is often popular when reality is going through a harsh time, as the audience can relate to it because it’s fresh in our mind, making context very important. This still image uses awful pixels from a ‘video phone’ to portray the idea that this reporter is out in the Middle East reporting on terrorism.  In the background we can see the top peeks of mosques giving the audience an idea of setting within the mise-en-scene, and although nothing of terrorism is actually mentioned it gives the viewer an idea and conveys the idea that the zombies within the film are symbolic of what was going on in this world at the time. Although as a generation we have grown to find horrors more acceptable, and we are a harder audience to scare, scenes like this still unsettle us because they are very realistic, and almost hit a ‘sore spot’ due to historical context. Scenes like this that seem very genuine and relatable seem to get through to our generations audience on a more psychological level much more than gore does.

DAWN OF THE DEAD (2004) image analysis

This image from ‘Dawn of the Dead’ (2004) illuminates the fact that historical context has changed since the 1797 version of Dawn of the Dead. Now (due to actors like Will Smith, Eddie Murphy and Ving Rhames) having a strong black character is not considered to be a shock within films. Horror is always shows a strong positive representation of other races and sexualities. An example of this is the relationship between two different ethnicities, André and Luda.  Another example is the fact that Kenneth survives. Usually, in old fashioned films, black people would have been portrayed as dangerous, in a typical ‘gangster’ stereotype but Kenneth’s character challenges this assumption due to the fact that he is a final character, and conveys the notion of wise-ness and agility throughout the film, being seen as in fact a male hero, not a victim or ‘bad guy’. Within this seen Andre himself, although he doesn’t survive and does kill a human over a ‘zombie baby’, highlights how the representation of difference races is changing over time. He discusses how he wants to ‘change’, and admits that even though he has done some immoral things in his life, he wants to give the best for Luda and child. Andre’s attempt of a change within his character is a microcosm for exceeding racial stereotypes within the contextual society.
Another noticeable thing within this shot is the use of costumes within the mise-en-scene. Kenneth is wearing a white top, connoting purity and ‘goodness’, but Andre is wearing all black, foreshadowing his ruthless attack on Norma later on in the film. 

DAWN OF THE DEAD (1979) image analysis

This scene from ‘Dawn of the Dead’ (1979) shows a zombie’s head being blown off. This highlights the fact that ‘DotD’ is much more of a gory/action horror than a psychological horror due to the explosive element within it. Explosions are much more related to action horrors, and the amount of ‘blood’ and ‘skull’ within this still image displays body horror making it a gory film. The motivated lighting from the lamp produces a gloomy atmosphere making the audience feel uncomfortable and on edge. The low key lighting generates a miserable and low-spirited feeling again making the audience feel uncomfortable but also it may create a sense of sympathy for the slow moving monsters. Tom Savini was considered to be one of the first pioneers  to conquer gore effects and was an early expert on ‘over the top’ body horror properties. He was hired by George A Romero to ‘think of as many ways of killing zombies’ as he could, and make it come to life on set.

DAWN OF THE DEAD (1979) image analysis

 This scene from ‘Dawn of the Dead’ (1979) challenges the usual conventions within a usual gory/action horror within the idea of Propp’s character theory. Usually the ‘good looking’, ‘masculine’ man is considered to be the hero of the film, but here we have a less good looking, shorter, blonde man portraying the characteristics of the hero, and the typical ‘male hero’ conveyed as hopeless. The use of the phallic symbol (the gun), and the fact that ‘flyboy’ is useless at using it foreshadows the fact that he lacks sexual action from his girlfriend later on in the film.

The evening time diegesis setting in implies that the darkness of the film starts from here and suggests that the day is wearing thin and danger is caving in bringing with it; danger. Also the setting of mise-en-scene connotes loneliness and a sense of solitude. 

DAWN OF THE DEAD (1979) image analysis

This still image and the scene in which it comes from heavily focuses on the context within the film, ‘Dawn of the Dead’ (1979). Here, George A Romero is portraying the idea of consumerism and the hold it had on people’s lives in the 1970’s. Malls were just becoming a ‘big thing’, and so, to an audience today, a film setting within a mall would mean near to nothing to us, however back then when the film was made it was a huge eye opener and a hint in the direction that consumerism was taking over. The high angle shot denotes a picture from the security camera in which Steven and Peter are sarcastically posing for, but it could also symbolise the great influence consumerism is having over these people during the context of the film as high angle shots using portray authority and supremacy. George A Romero is also taking the mick out of consumerism because they are ‘stealing’ the money, but of course there is no actual need to steal the money as there is no one’ alive’ anymore. Also within this scene contrapuntal music is used, making an idea that is slightly depressing and silly, even more meaningless and amusing. 

PYSCHO image analysis

This scene from ‘Psycho’ uses a typical horror film convention; close up camera shots. This type of shot allows the audience to connect with the character within them, in this case Marion, and understand and read their facial expressions easily. Marion’s face is greyly lit – this conveys the idea that she is innocent, but due to the immoral situation she is in (stealing money), darkness is caving in on her, symbolising the notion that she is not plain innocent and vulnerable anymore and could be foreshadowing the bad events coming her way.  The night time, low key lighting utilises pathetic fallacy to connote death and a fear of the unknown leaving the audience feeling uneasy and curious. This scene is an indication of how Hitchcock uses pathetic fallacy in ‘Psycho’ to generate a eerie atmosphere even before the infamous shower scene montage. 

PSYCHO image analysis

This scene from ‘Psycho’ illustrates Laura Mulvey’s male gaze theory (1960 – visual pleasure and Narrative Cinema) because Norman is voyeuristically watching Marion as she undresses through the poop hole. Hitchcock uses the idea of Norman examining Marion to portray an obsession like notion, intensifying the audiences feeling of creepiness. Low key lighting is used in the room Norman is in, portraying his shadowy, dark lit face in a representative form of evil. Norman’s eye however is heavily lit, suggesting that Marion conveys the idea of innocence and purity as the light symbolises ‘goodness’. The close up on Normans face allows the audience to read his facial expressions. The night time diegesis within the scene leaves the audience feeling uncomfortable using pathetic fallacy to create a powerful, unsettling atmosphere. The use of slow cinematography throughout this scene provides a sense of tension and suspense for the audience

PSYCHO image analysis

This opening title for ‘Psycho’ illustrates perfectly the weirdness of the film itself. The font used is bold and so easily read and noticed by the audience, however the font is fragmented and ‘dodgy’ symbolising Norman’s disjointed, broken mind. The use of the font used differs from most horror films fonts. Most gory horrors use the colour red as their opening title, due to the fact that the colour itself connotes death and blood. However the plain white colour of the font, that usually symbolises cleanliness and purity, and that is usually used in more psychological horrors, could relate to the ‘normal’ side of Norman before his ‘mother’ side sets in. The blackness of the titles background connotes fear and misery, and also the idea that ‘evil’ is laying its ground around Norman and the other characters within the film.