Category Archives: Horror

Reimagining Halloween in the Parks this Year: the Mind of Horror v. the Eye of Terror

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After taking break from posting last week, as it was a holiday, I am happy to provide you with another stimulating article once again on the themed entertainment industry! All week long, I have been thinking about what to write this week. I’ve covered some of the recently opened or previews of attractions and theme parks opening soon; but, I thought that I would take a slightly different approach this week. Over the last year, the United States and other countries have been experiencing a rise in violence. Whether that violence has (1) always been there, but because of the great mediation of society (a proliferation of media capturing devices and distribution outlets), we simply see it more often or (2) if there truly is a signifiant rise in mass violence compared to past decades, is not what I am here to discuss. I would, however, like to discuss the upcoming Halloween events in the parks this year, and specifically, how they might have to adapt or change as a result of the recent mass shootings.

HHN2016Already, Universal Orlando has alluded to the fact that it may be revisiting some of its offerings for this year’s Halloween Horror Nights (HHN), and it would not surprise me if Busch Gardens Tampa Bay makes a similar decision with Howl-O-Scream (HOS), as both parks primarily draw from the Central Florida area and of course tourists still flock to the parks for the annual celebration of the macabre. The recent massacre at the Pulse Night Club will undoubtedly have an affect upon the planning and logistics of primarily HHN followed by HOS to a lesser extent. Since the horror film, and by extension the haunted house attraction (or scare zone) are both grounded in the same anthropological (inclusive of sociology) and psychological theories, there is definitely an opportunity to explore this area of themed entertainment. As Disney’s Mickey’s Not So Scary Halloween Party and SeaWorld’s Spook-tacular do not include glorified violence or death, I will not spend time analyzing how those events may change, because they are mostly benign. Suffice it to say, there will likely be some changes coming to HHN and HOS this year. What are those changes? Well, I am not prevued to those decisions; but can extrapolate from logic and theory what may happen in light of recent events in Orlando and beyond. It is important to note that both Universal Orlando and Busch Gardens Tampa Bay mostly likely have to revisit some of the scare zones or houses this year but not implement changes that may have a negative affect upon drawing from guests outside the Central Florida area. Striking a balance between curtailing some of the violence in respect to those who died and still satisfying those who were not emotionally or psychologically impacted is the key.

HOS2016The events certainly still have to feel like Halloween but perhaps reimagining some of the offerings will aid in finding that delicate balance. It is entirely possible that many who have enjoyed going to HHN and HOS in the past may back off this year in an effort not to come face-to-face with violence as it has greatly impacted many people. Here’s an interesting question: does horror have to be violent? Yes and no. Some of the greatest horror movies of all time are not terribly violent at all, but the eye witnessing violent acts certainly creates terror in the minds and bodies of the audience (or park guest). Alfred Hitchcock once said, “there is no greater threat than an unopened door.” This is indicative of the master of suspense’s ability to generate the fear of something or someone that may not even be a threat. There is another Hitchcock quote (or, at least I believe it’s Hitch) to the effect of “greater is the fear that’s in the mind than on the screen” (if you know of this exact quote, please let me know). That being said, likewise, seeing Freddy, Jason, Leatherface, or Michael is equally terrifying because of the trademark violence they have displayed on the screen over the years. It is important to year-round or seasonally operating Halloween-themed attractions to include both the physical and psychological/emotional aspects of horror in order for the guests to have a dynamic and full experience facing that which terrifies them and from which guests would otherwise run away.

unheimlichThroughout history, from the fights in the Roman Coliseum to Michael Myers’ slaying of people in Halloween, audiences have been both entertained and repeatedly drawn to stories and shows that highlight horrific acts of violence or feelings of terror and anxiety. Perhaps there is a deep seeded reason as to why millions of people find entertainment value in horror films. This question has been tackled by many psychiatrists and psychologists, each has come up with a different explanation as to “why horror?” Most notably, famed psychiatrist Sigmund Freud provided great insight into an explanation of why people find horror films fascinating in his essay on the Uncanny.  In his study on the uncanny, Freud takes on the literary imagination (this same literary analysis can and is used to analyze film and themed entertainment) by dividing his theory up into three sections. He first defines the concept of the uncanny, then performs an examination of the context required for understanding the experience of the uncanny, and finally explores the affects of the uncanny on the psyche through literature and fiction. Some of the running themes throughout his essay are loss of eyes, castration, the double-ego, and self-reflexivity. Through the framework laid out by Freud, scholars and film critics can explore the themes in horror film as it relates to the human subconscious; and for purposes of our discussion, the horror attraction.

Freud explains the realm of the uncanny as the place at which aesthetics and psychoanalysis merge, because it deals with a particular feeling or sensation combined with emotional impulses. The substances or manifestations of the uncanny are elements that are fearful and frightening. Proceeding with Freud’s definition of the uncanny being a class of frightening elements, plaguing the psyche, ushering an individual back to what is familiar (heimlich) and known (as opposed to what is unknown). Freud refers to the uncanny as that “which should have remained secret and hidden, but has come to the light.” Furthermore, he goes on to further describe the uncanny as the “mark of the return of the repressed.” The concept of the uncanny is a type of unwilling or mistaken exposure to something surprising, unexpected, or horrific. Freud claims that the source of the uncanny in literature is the recurrence of something long forgotten and repressed. However, not everything that returns from the psychic depths of repression is uncanny. The mere return of repressed feelings and experiences is not sufficient for the uncanny to occur. It requires something repressed having returned but represented by an unexpected and outside the realm of reality. This is easily accomplished in literature (and by extension, movies, theme park attractions, and plays) because fantasy is different from reality.

Just because something works as uncanny in a work of literature doesn’t mean it can work in real-life as well. During times of tragedy felt by an entire group of people or nation, the same concepts which work in literature and film may not work as well, for a period of time anyway, in themed entertainment. Within literature, if the author makes a pretense to realism, then he or she opens the door to supplying the story with the uncanny. Often times, the uncanny in literature and film is the projection of the psyche of the central character on another object or person combined with a warped view of the objective and subjective of a given situation. It’s like something within the fictional world creeps into the real world. Within the horror genre, there are many different stories or narratives that exist. And, each type of horror film tells its story in different ways; however, they are all concerned with getting the same emotional response from the “people out there in the dark,” as famously stated by Norma Desmond in the timeless film noir classic Sunset Blvd. Sometimes the audience will go on a journey into the crazed mind of a psychopathic serial killer or they may witness a supernatural monster terrorizing a small Bavarian village. In either case, Freud believes that the writers of horror, and by extension themed entertainment designers, are concerned with exposing the audience to “other” scenes. And, these “other” scenes are rooted in the subconscious.

eyeofhorrorMoreover, Carol Clover also provides insight into the fascination with the horror theme park attraction. After all, horror films and theme park attractions are mostly concerned with what you actually see. Horror attractions, much like their movie counterparts, are visual stories that are translated into experiential narratives. The Halloween themed attractions in the parks have to include different eyes. The three principle types of eyes used in horror attractions are the assaultive gaze (active, penetrating), reactive gaze (passive, penetrated, the most common in horror storytelling), and repeated gaze (masochism for characters and spectators alike). This is one reason why extreme closeups (ECU) of the eye are popular in horror films turned attractions. The eye is extremely symbolic in narratives driven by fear. The design of horror attractions and films is extremely fascinating because of the convergence of visual storytelling and engineering. It’s more than blood, gore, screams, and knives; there is almost a poetry behind it. A brilliantly insightful quote from Clover is, “Inasmuch as the vision of the subjective camera calls attention to what it cannot see–to dark corners and recesses of its vision … and what might be … just off-frame–it gives rise to the sense not of mastery but of vulnerability.” At the end of the day, both HHN and HOS highlight our vulnerability and prey on our fears of that which assaults the eye and should remain hidden.

corridorBut what about HHN and HOS this year? Looking to the past, and how Universal Orlando handled mass violence in society that had a profound impact on a group or whole culture of people may help shed light on what might be expected this year. During HHN XI (2001), Universal Creative pulled Eddie, the chainsaw wielding maniac with a complex and fascinating backstory, from the lineup after the attacks on 9/11/2001. It was decided that the mood of the United States was such that it would have been in poor taste to include such a violent icon in the theming. In addition to the removal of the HHN icon, most signs of blood, gore, and the glorification of violence were removed–even names of characters and zones were modified. Because of the recent deaths of nearly 50 people (some of whom were connected to the parks as employees, bloggers, or past performers), we might witness a similar reimagination of events at Halloween Horror Nights and Howl-O-Scream this season. Hopefully, I have been able to open a discussion on how things could be reimagined at the annual Halloween events this year. An attraction can be equally terrifying even if there is no violence to be seen. However, the inclusion of cliche horror film violence is an integral part of the modern Halloween attraction experience. Even Carol Clover explores the importance of men, women, and chainsaws in horror storytelling. Perhaps the creative engineers and designers at the parks will look beyond what has typically been a staple of these events and embrace other avenues of terror that will still prompt screams. In all likelihood, we will probably see the dial turned back on the knives and guns during HHN and HOS but that certainly does not mean that the attractions will be any less terrifying. It’s entirely possible that the mind of horror will outweigh the eye of terror in the theming, planning, and design of HHN and HOS this year.

“The Purge: Election Year” movie review

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PurgeElectionElection results are in! Get ready once again for this year’s annual purge. From Universal Pictures and Blumhouse, The Purge: Election Year is a cinematic rollercoaster of espionage, action, revenge, campaigns, and of course the trade mark unbridled violence. Horror is one of my favorite genres to discuss because this genre often includes fantastic themes and subtext that act as social commentary on gender, politics, religion, economics, sex, or technology. Going into this movie, I was already prepared for the political themes, but there are many more themes for one to discuss with this film. In many ways, I am not even sure how to proceed with analyzing it. Cinematically, or from a technical perspective, the movie is fantastic. Yeah, a little campy at times but that is par for the course. Contains just the right amount of comedy, albeit dark, to balance out the darker or heavier elements. The fact that this movie is truly prompting me to think about its content is fascinating. Often times, I have a good idea of how I am going review a movie while I am driving home from the theatre; but this one is definitely requiring me to think about it more than I typically need to. I suppose that entire articles could be written on any one theme in the movie, but I only have 1000-1500 words to analyze it. Haha. The biggest question is whether or not this movie is actually counterproductive.

Two ideas of how life should be in the United States are at war, or at least that’s how it plays out on the debate stage. Minister Edwidge Owens (Kyle Secor) and Senator Charlie Roan (Elizabeth Mitchell) are going head to head over the purpose and necessity of the annual purge as started and supported by the reigning New Founding Fathers of America (NFFA) regime. Just two days before the annual event, the NFFA makes the decision not to exempt anyone, not even government officials ranking 10 or higher, from this year’s purging. After an inside job threatens the life of Senator Roan in her own home, she and her trusted chief of security bodyguard Frank Grillo (Leo Barnes) must seek safety. With only Senator Roan standing in the way of the NFFA winning another election, the NFFA and hires assassins will stop at nothing until she is defeated. After a chance meeting with supporters of Roan, Frank and Senator Roan team up with the small band of rebels to survive the night at an attempt to end the chaos and win the election.

Although the first movie did not exactly have much in the way of social commentary themes beyond greed, Purge: Anarchy and this present installment are certainly drenched with rich themes that could fuel discussions for hours. One could surmise that the principle theme of the second installment in this thriller franchise was rich v poor. A very apropos theme considering the US economy was only-then emerging and beginning to grow from the worst financial crisis since the Great Depression. Walking into this movie, I was prepared for political themes; but politics was only a principle element in the plot by extension and used as a highway to get from beginning to end. Not even in subtext, but the predominant theme of Purge: Election Year is clearly white v black. I find this concept and theme is dangerously and carelessly carried out because it really serves to perpetuate the idea that there is a difference between whites and blacks in the Unites States. Instead of the movie showing audiences what could, albeit unlikely, happen in a future America if not challenged or changed, it serves to add fuel to the fire that there is a difference. Furthermore, I find that the movie is unfair to both whites and blacks. It’s unfair to whites because it shows most of them having a hatred from blacks and nearly unanimously in favor of the purge while it depicts the predominant demographic of violent offenders as blacks. Now, I am sure the intention of the movie is not to be counterproductive or perpetuating a negative idea, after all it is produced to be entertaining; however, it’s difficult to watch the movie without wondering if it really is counterproductive in message and theme.

Beyond the social commentary on white v black, the movie also spent a lot of time on the perversion of organized religion. Although the religious aspect to the NFFA was included in the previous installment on a minor level, Purge: Election Year spends a great deal of time connecting a perverted organized version of warped Christianity (very much Catholic or Anglican in structure) to the driving forces behind the NFFA’s passion for and dedication to the annual purge. Just like I feel that the producers and writers of this movie crossed the line with the white v black violence, I feel that this version of organized religion only serves to perpetuate the idea that those in organized relation (mostly Christianity) are hate mongers. Obviously, most people know that this isn’t the case; however, that idea is certainly out there because of differing views on some socio-political areas of community and life in general. Perhaps the movie is commenting on how different groups of people may perceive one another. If that is the case, then the groups of people depicted in the movie can gain a better understanding of how an opposing side views them. Sometimes seeing your actions through another’s eyes helps to ignite positive change. I think that is a beauty in a film like this. It can be read in so many different ways and dissected to support one theme or another.

Quite the antithesis of the U.S. holiday most will be celebrating in one way or another this weekend, The Purge: Election Year paints a picture of a fractured country. In light of the recent massacre at Pulse in Orlando and other massively violent acts around the world, I am not entirely sure how well this movie will do over the weekend. Certainly around here, it may not be well-attended since I live in the Central Florida area and have been there many times myself. Universal Studios Florida is even revisiting the inclusion of The Purge as a house at this year’s Halloween Horror Nights. If for no other reason, this movie stirs may emotions whether they are motivated by race religion, or socio-economics. Like with most horror movies, I suggest watching this one with a friend or two. That way you can have fun discussing it afterwards.

“The Conjuring 2” movie review

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Conjuring2Outstanding horror film! Director James Wan has once again provided audiences with a brilliant work of the macabre and supernatural. From the writing to the directing to the acting and cinematography, Conjuring 2 is on par with, if not better than the first. Sometimes the best stories are true ones. And, although elements of the story have to be fictionalized in order to construct a cinematic narrative, grounding the Conjuring movies in the real work of Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) infuses a dynamic emotional response that directly impacts the increased frightening nature of these films. One of the observations that I appreciate most about, not only this but the predecessor, is not relying upon the jump-scare to curdle the blood. Are jump scares part of the movie? Well, of course! What fun would a horror film be without the entire theatre gasping for breath, jumping, or screaming together??? But Wan goes beyond the jump scare and channels his inner Hitchcock to build suspense and intrigue. The horror film is best appreciated in a group setting. It is a genre that specifically engages the audience on a visceral level. Wan is truly a master at his craft; and I love witnessing how he continues to prove his ability to develop creative horror films.

Ed and Lorraine Warren are back; and have been called upon, by the Catholic church, to investigate the, what’s been dubbed as the “Amityville” of London. Following a self-imposed sabbatical after the investigation of the infamous Amityville haunting on Long Island, Ed and Lorraine fly to London’s Enfield neighborhood to evaluate a reported haunting and possession. Struggling single mother of four Peggy Hodgson hopes that Ed and Lorraine will be able to drive the evil out of her home, and more specifically her youngest daughter Judy. In an effort to discover the truth behind the well-documented alleged demonic haunting and possession, Ed and Lorraine find that they have also become a target. Facing their most challenging case, Ed and Lorraine are determined to help the Hodgson family and drive the evil from the house.

Following the increasing trend for a film, including but not limited to horror, to begin with an elaborate prologue, Conjuring 2 starts with a fantastic moving shot of the famous eyelet windows of the 112 Ocean Avenue house in Amityville. Often filmed from the outside, this shot sequence takes place inside the attic. A much more intimate feel, this was an excellent choice for establishing the case that launched Ed and Lorraine Warren into the public eye. There have been numerous movies and documentaries based on the arguably most infamous haunting in the United States, so it was not necessary for Wan to spend too much time on it. It is, however, a very important scene because the plot/case of Conjuring 2 is directly related to the experience that the Warrens went through during the Lutz investigation. Beyond the establishing a connection between the Amityville and Enfield cases, beginning with the Warrens in the middle of the 112 Ocean Avenue investigation allows for Wan to visually show how and why the Warrens would seek a self-imposed sabbatical from supernatural and demonic investigations. Moreover, this sequence of events that provides copious amounts of plot development material are also instrumental in significant contributions to character development. Although this prologue lasts less than ten minutes, it contains prolific information vital to the plot of Conjuring 2.

It should not be of surprise that Wan uses the camera very strategically to tell this visually driven story. From the rule of thirds to lighting to creative use of angles and movement, the camera is instrumental in setting the macabre mood of the film. One of the visual storytelling elements that Hitchcock was most known for, especially in Psycho, is using the camera’s placement and angle to foreshadow something or someone. Wan takes a page from the Hitchcock handbook and utilizes the camera movement in such a way that you are predisposed to feeling certain that something or someone is about to appear or emerge from the shadows but your game is thrown off when that doesn’t happen–but then totally happens when you least expect it! Throughout the diegesis, you will encounter moment when the characters are faced with inner demons that parallel or symbolize the actual evil entities in the film. Having this subplot concurrent to the foreground aids in creating and maintaining an emotional connection to the characters. Shocking the audience both emotionally and physically. By eliciting dynamic and comprehensive responses to the horror on screen, the film becomes an immersive experience–that is the brilliance behind this dark and sinister tale.

Beyond the exceptional direction by Wan, part of what makes the Conjuring franchise so successful is the exquisite casting. Patrick Wilson (Insidious) and Vera Farmiga (Bates Motel) are perfectly cast in these films. From what I have read about the real Ed and Lorraine Warren, Wilson and Farmiga respectively stay true to the real-life people they are portraying while adding in the necessary acting skills necessary to increase the impact and believability of the film. The quality of the acting that Wilson and Farmiga bring to the film is outstanding. Sometimes, a horror film can have an compelling plot but the actors are so uninteresting that it prohibits the story from making the impression that it should. Wilson and Farming make the characters of Ed and Lorraine Warren interesting to watch and add a performance quality to the film that keeps your attention the whole time. The degree to which they add a sincere care for the victims of hauntings to their respective characters is refreshing and will stay with yowling after the movie closes. As the Warrens are reoccurring characters in the Conjuring franchise, it is vitally important that they are as interesting to watch as the plot itself since their cases are the inspiration for the whole franchise, at least put to this point.

If there is one negative element in the film, it is the weak showdown. Not weak in that it was anticlimactic or uninteresting, but that it felt a little rushed. At 2hrs and 15mins, the film is longer than the average horror film, so it was not necessary to rush the climax of the film. It certainly does not mitigate the experience of the movie, but I feel that it could have been a little more intense. That being said, if you are looking for an excellent movie to kickoff your weekend, then this one is it! At last check, it out-performed both Now You See Me 2 (which should’ve been entitled Now You Don’t) and Warcraft. Even if you have not seen the first Conjuring, you will still enjoy this installment. However, seeing the first one will help you to better understand the Warrens and their unconventional line of work. Can’t wait to see where James Wan and the Warrens take us next!

Peering Through the Hole into “Bates Motel”

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BatesMotelTVPremiering in 2013, the longest running scripted drama in the history of the Arts and Entertainment (A&E) channel is Universal Television’s Bates Motel starring Freddie Highmore, Vera Farmiga, Max Thieriot, Nestor Carbonell, and Olivia Cooke. Based on the iconic film Psycho (1960), directed by the master of suspense Alfred Hitchcock with story by Robert Bloch, Bates Motel takes us back to Norman’s early days when he was just a teenager–who was anything but normal. If you have kept up with the series, it is at a huge turning point in the character development of Norman and it just keeps getting better and better. Often shows as dark and heavy as Bates Motel do not have staying power or begin to wane after 2-3 seasons. Not this one. Just like Hitchcock’s masterpiece Psycho continues to impress, terrify, and influence even today’s suspense/horror movies, Bates Motel provides audiences with a glimpse into how Norman came to be while concurrently focussing on others who are directly and indirectly connected to the development of the most infamous psychopath in all cinema history. From visual and verbal nods even in today’s horror films to inspiring theme park attractions to television shows, the drama at Bates Motel continues to beckon audiences and intrigue those who find the characters fascinating.

Hitch_HouseSadly, executive producer Carlton Cuse confirmed that the show’s next season is slated to be the last, and will adapt the events of the series’ namesake. Although I wish the show could go on, it is clear that we are approaching the events that started it all. That being said, this upcoming season is sure to be exciting as we get to witness the gap between where we are and where Marion Crane checks into the infamous motel begin to narrow and close. Whether we are going to end the series at the point Marion walks in or recreate the diegesis from Hitchcock’s film leaves to be seen. One of the reasons that a series like this one can even be produced is that it has prolific material from which to pull and interpret–the fact that the character of Norman Bates has been studied for years, much in the same way the film itself has been explored–provides writers and producers ample opportunity for inspiration.

Norman and NormanSince we are given little information about Norman in the movie–note: that does nothing to mitigate the experience or effectiveness of the plot–his childhood to adolescent years and transition into adulthood is open for interpretation. For many years, film scholars like myself and others have often hypothesized what psychological and emotional experiences plagued Norman and affected his development. It would be all too easy and even a copout to state that he simply suffers a psychological disorder that was present when he was born. What I appreciate about the show’s portrayal of Norman is taking the cognitive and emotional atypical condition he was likely born with and throwing other experiences into the mix. It’s nature v nurture on a whole new level. Through the storytelling of Bates Motel, we have witnessed how his upbringing has had a profound impact on his development into the single most famous psychopath in cinema and now television history.

Emma_DylanThe show is not limited to the development and history of Norman, but also includes influential people in his life. Of course there’s Mother (Norma), but we also have grown to love his estranged brother Dylan, close friend Emma, and frienemy Sheriff Romero. Obviously Norman is obviously interesting to watch, but the writers and producers of the show make sure that each of the principle and reoccurring characters are fascinating as well. Dylan represents the only male figure in Norman’s life who consistently tries to help him, even though Norman often cannot see the love in his brother’s actions. Much like Norman, Dylan has also encountered much negativity and abandonment issues as a kid. Unlike Norman though, he found ways to deal with it and build a life for himself. In recent times, Norman keeps pushing the one positive male role model in his life away to further isolate himself. His close friend and coworker Emma is a very interesting female figure in his life. Unlike Mother or other females we have encountered over the series, he loves Emma and has done nothing to bring about permanent harm to her–at least so far. Emma is the only person who really gets to see the Norman hidden behind all his bizarre actions and obsession with Mother. Like Norman and Dylan, Emma had her own struggles with cystic fibrosis. Each of the characters is dealing with their own respective psychological or physical problems.

Romero_AlexLastly, prior to analyzing Norma, Sheriff Romero has played a key role in the life of Norman. Like Dylan he too is a consistent male figure in his life, but Norman has grown to resent Romero for his relationship with Norma. Romero has worked through his involvement in the drug trade and has grown as a result of it. Again, we have an individual with their own personal conflicts amidst the consistent conflict of Norman. The only other character, besides Dylan, who really knows what Norman is capable of. Romero is constantly trying to protect Norma from what he dreads Norman is truly capable of.

NormaBates1“Mother, what have you done?!?” Norma Bates is probably the most fascinating character after Norman. She is the closest to him and has been directly and indirectly responsible for his atypical development from his time as a child into an adult. Although she all but denies Norman’s psycho-social and emotional problems, she truly does recognize they exist. Unfortunately, she is so incredibly attached to him, having been abused and abandoned herself in the past, that she cannot truly provide the help he needs. Fortunately, she finally got him the help he needed–and should’ve received years prior–at the Pine View facility as we have seen in this season. It’s too little help too late. For the longest time, she felt that mother knew best and that no one could help Norman the way she could. Oh the irony. The attachment she was so fond of is regrettably the very thing that would bring about her undoing. Despite her best intentions, she really was the most instrumental in creating a monster. Her fits of rage and jealousy transferred into the mind of Norman and intensified the predisposition to sociopathic behaviors already present. Had she taken him to get help as a child, it is entirely possible that he may not have turned out to be the “psycho” after all. But, mother will always be with Norman; and no woman is allowed to take the place of her in his life.

bates_motelWell, here we are! At the crossroads between seasons four and five. This upcoming season is sure to terrify and excite as we buildup to the single most famous scene in all of cinema history. The reason the shower scene is the single most famous scene can be recognized by analyzing the length, actions, and sounds included in those few seconds. You can learn more about that scene by reading my article The “Attraction” of  Horror: a “Psycho”analysis. After more than 50 years, the Bates Motel and Norman still haunt our dreams and provide direction and inspiration for today’s cinematic storytellers. An interesting thought on the direction of these immortal characters and setting is the potential for a live theatrical production. There is certainly enough dialog driven material that Psycho and Bates Motel can easily be translated into a live theatre experience. It takes rich material to be able to be so versatile. Here’s to the final season of A&E and Universal Television’s five year homage to the infamous and macabre happenings at the Bates Motel. Thank you Hitchcock for truly being the master of suspense.

The “Attraction” of Horror: a ‘Psycho’analysis (part 2 of 2)

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UnivHollywood_BatesMotelSuccessful movie-themed attractions (stage shows or rides) create an atmosphere that is often built upon a foundation consisting of confrontation and direct simulation rather than long, sustained narratives (King, 2000). This is true of the horror film as well. Horror is a genre nearly as old as cinema itself. The horror film, according to Linda Williams, contains three basic elements: narrative, character, and setting. These same elements can be found in movie-themed attractions at theme parks (2000).

Regarding Psycho in particular, the setting consists of very liminal* spaces such as the opening hotel, the Bates house, and bathroom. This same idea can be applied to a theme park attraction because the park guests are often corralled into smaller, intimate places that serve to advance the next element. Narrative is the foundation that both themed attractions and movies are built upon. The narrative, or diegesis, is the story. Diegetically, horror films contain a story that is segmented into the following sequence: order–>disorder–>order. Increasingly, the modern horror film is often left in disorder, or an order that is dissimilar from the original (2000). Movie-themed attractions usually introduce the park guests to a short-form story based on the original, and the ride is the vehicle that takes the guests through the story that can consist of threats and chases, followed by triumphs. In regards to the character element, the characters are those who are the instruments through which the plot is advanced. Normally, characters are people or animals, but can also be inanimate objects of significance (Williams, 2000). The park guests usually encounter characters from the source material along the journey of the ride.

HitchcockBirds“Alfred Hitchcock: the Art of Making Movies” (Universal Studios Florida) was divided up into four distinct parts, with the famous shower scene being the central focus (ThePsychoMovies.com, 2014). Just like a horror movie is divided up into parts, or has a cinematic structure, so too did the Hitchcock attraction. Hitchcock: The Art of Making Movies was divided up into the following areas: preshow, 3D theatre, Psycho stage, and interactive area. There are may parallels between the famous shower scene and the live attraction. In the movie, the sequence leading up to the shower scene is very much a preshow in the same way the attraction contains a preshow area. The preshow in the movie is when Norman is gazing through the peephole into the room of Marion as she undresses. Just like Norman is visually gathering information about Marion, the park guests in the preshow area gather information about Hitchcock’s career. The preshow is the area that preps the audience for what they are too experience. By using the same principles of creating suspense that Hitchcock used, the preshow area reveals just enough to elicit feelings of anticipation and anxiousness.

Next, the park guests sit through clips of 3D versions of Dial M for Murder and The Birds. This preps the mind for experiencing the horror in the next room. Likewise, between the time Norman looked upon Marion through the peephole and puts on the wig and dress, he sits in the kitchen and presumably debates with mother on what to do. Following that scene, we return to the bathroom and enter the shower with Marion. After the 3D movie, the park guests enter the Hitchcock Stage and look upon recreations of the motel, shower, and house.

The main show at the attraction is the Hitchcock Stage where the infamous shower scene is reenacted before a live audience. In addition to the Bates House and Motel, there is a recreation of the tub/shower used by Hitchcock to film the scene. At this point in the movie, Marion is thoroughly enjoying her shower, and the audience gets both objective and subjective camera shots from inside and outside the shower. All of a sudden a shadowy figure approaches the opaque shower curtain and throws it open, wielding a knife. The sinister figure stabs Marion repeatedly and through more than fifty cuts (editing cuts), the scene is played before the people in the dark. Likewise, this same scene is brought to life for the studio audience at Hitchcock: The Art of Making Movies. Through mechanical engineering and film production techniques, the cast of the show reveals how the master of suspense filmed this iconic scene.

HitchcockAttractionFinalRoomFollowing the show on the Hitchcock Stage, the park guests walk into a museum-like interactive room revealing many of Hitchcock’s secrets and techniques in some of his most notable films. It parallels the end of Psycho when the psychiatrist is analyzing Norman and explaining how and why he did what he did. Just like Norman is the master of slasher films, so is Hitchcock the master of the art of suspense and horror cinema. A close reading of these areas reveals that they each take an element of the setting, narrative, or characters and use the tool of spectacle to bring them to life for the live audience. The preshow area acts as the prime for the horror/suspense pump that is gearing up. Watching the 3D scenes from The Birds and Dial M for Murder serves to generate feelings of ensuing chaos and acts as the big event that causes something to go wrong in the otherwise narrative that is in order (remember: orderdisorderorder). Following the 3D Theatre, is the central Psycho stage that takes any order and casts it to the wind and enables the horror of the shower scene to come to life for the naked eyes of the audience.

Hitchcock AttractionThis was a main attraction at the theme park until its dismantlement in 2002 to make way for the Shrek: 4D experience. From the aforementioned explanation by one of the producers of the attraction, the audience was completely immersed in the magic of bringing a Hitchcock thriller to life, and got to witness the most famous single scene in all of cinema history. This was all done with practical effects, just as Hitchcock would have done it. But, with the advent of computer generated imagery and incredibly accurate and time efficient non-linear video editing, most of the effects can be generated in other ways. Although it remained one of the most popular attractions at the theme park until its closure, Universal saw the future of attractions and decided to do away with nostalgia and pave the way for digital simulated attractions (Singer, 2013).

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*(adjective) 1. of or relating to a transitional or initial stage of a process; 2. occupying a position at, or on both sides of, a boundary or threshold