Rmaxwel1_LMST_345_Blog

The new weird is a somewhat ephemeral genre to identify. One could relate this to the definition of pornography; You know it when you see it. As with most experimental genres that we explore in the modern age of film the concept is hard to pitch to potential investors. The low or mid budget nature of these films helps to pin them down in the faux reality that they reside within. Much like the found footage films they bring a sense of authenticity to them while residing within a truly supernatural and strange world. This sharp contrast is likely a large part of the appeal. This is perhaps the strongest portion of the formula, by giving the viewer enough to root themselves in a possible reality the supernatural reality becomes that much more believable and intriguing. Perhaps this hyperreal or surreal tendency aids in the horror aspect of the genre. The fundamentals of horror come from the roots of human nature, the untapped unknowns. This is displayed in monster myt

The modern American vampire has become a misunderstood predator, something that can attack but can also choose not to. The older variations of vampires are compulsive in nature, needing to feed and kill in order to stay healthy. Newer variations of vampire can feed on animal blood rather than humans giving them more options. The common trend seems to be the humanization of the vampire. The deconstruction of the vampire archetype seems to result in an anti-hero archetype building off of the predated vampire tropes. Vampires have become modernized as well, having more sexuality to the act of feeding, hyper sexuality, use of drugs with no consequences. The modern-day vampire trope is one of a party animal. This new variation is quite boring and has more in common with a comedic tone than that of a horror classic. Fantastic films like Let The Right One In go back to the horror classic tropes with small twists and changes and get very solid results. The use of common re

Do the assumptions of the work—the nature or even the existence of good and evil for instance—reflect a different cultural orientation than that expressed in "western" horror or the gothic? In what specific ways do the assumptions seem to differ?  In western horror media, it seems that the viewer or reader is meant to believe that there are evil forces present that are attacking "Good" people. More often than not the distinction is made clear rather quickly and with very exaggerated effect. For instance, a "Jock" archetypal character that bullies the other students might fall to his death suddenly or receive a massive injury while playing his sport of choice. Asian horror media seems to take a much slower and more specific approach to how the story is explicated to the viewer or reader. The American or western approach seems to favor the use of shock suspense or suspense with little reasoning besides the need to fit the current scene. While it can be eff