Introduction
Genre theory is a framework that enables understanding and categorizing films based on their shared characteristics. Genre theory is crucial since it aids in creating precise standards for a movie (Barry, 2012). One of the most popular genres, horror has produced several critically acclaimed films.
Common Conventions of the Horror Film Genre
One may recognize typical characteristics in this category ranging from the plot, topic, and mise-en-scene elements. For instance, when it comes to the plot, horror movies often incorporate concepts of dread, suspense, and supernatural phenomena (Shapiro & Storey, 2022). Furthermore, themes of the unknown, the fragility of life, and the human psyche are recurrent in this type of film (Shapiro & Storey, 2022). Lastly, lighting, atmosphere, and sound are the mise-en-scene components that create a horror setting (Shapiro & Storey, 2022).
Film Selection: Genre Representation
The 1980 film The Shining, with Stanley Kubrick as a cinematographer, illustrates a film that falls within the horror category. The film’s top-billed cast included Jack Nicholson, Shelley Duvall, and Danny Lloyd. The Shining challenges the horror genre’s conventions by blending evocative narrative, unsettling psychology, and an acute sense of visual detail, demonstrating the disintegration of the human psyche.
The Shining has a unique storytelling approach by gradually increasing tension and blurring the lines between reality and hallucinations. The film revolves around the experience of Jack Torrance and his family, his wife Wendy, and his son Danny. In the beginning, the audience sees that the Torrances moved to the Overlook Hotel in Colorado to take care of it during winter (Kubrick, 1980). As the plot progresses, the audience observes the paranormal activity, with Danny being the first to encounter an inhuman presence (Kubrick, 1980). The viewers see how the film depicts the hotel as a vast and isolated space, which contributes to the sense of dread.
The elements of spectral presence are essential in the genre and are the driving forces of the hero’s insanity. With time, Jack becomes exposed to supernatural forces, observing not only ghosts but hallucinations involving dead people and corridors (Kubrick, 1980). While first experiencing the “most horrible dream [he’s] ever had,” toward the end, the evil forces corrupt Jack’s sanity (Kubrick, 1980, 45:49). With slow, deliberate pacing, the cinematography of the film is capable of conveying the haunting atmosphere and the deterioration of Jack’s well-being.
Analyzing Genre Conventions in The Shining Film
Supernatural Elements
One of the most prominent genre conventions exhibited in The Shining is the use of supernatural elements. In the film, supernatural forces are present in almost every scene. In general, paranormal activity ranges from ghostly apparitions to hallucinations that are practically impossible to tell apart from reality. With the progression of the plot, all characters become exposed to the evil forces that affect the sanity of the Torrance family. For example, in the elevator scene, Wendy is first seen wandering through the hotel’s corridors (Kubrick, 1980). However, after turning the corner, the heroine sees blood gushing from the elevator at high speed (Kubrick, 1980). As a result of such an experience, Wendy seems paralyzed with dread. Such a scene could symbolize the forces of the past and the release of evil spirits that will haunt the characters. In other words, this experience lets the characters know that their doom is awaiting them.
Exploration of Human Fear
Another genre’s convention seen in The Shining is the exploration of human fear, especially fear of the unknown and dread of being vulnerable in the face of danger. While in the beginning, the audience observes the paranormal activity from the external forces, toward the end, the viewers see how the protagonist loses his sanity and becomes affected by supernatural powers. The transformation from a writer who seeks inspiration to a madman who chases his family with an axe sets the fearful environment and suspense. In the end, Wendy and Danny are seen escaping the husband and father whose only intention is to murder them.
What adds more tension is the combination of the mania in Jack’s eyes and his smile as he looks for his family. His phrases, such as “Come out, come out, wherever you are,” show Jack’s complete detachment from reality and a loss of control over his actions (Kubrick, 1980, 1:39:06). Besides the insanity of Jack, Wendy, and Danny’s attempts to escape add to the growing tension and gradual increase in fear. At this point, the audience, Wendy and Danny, understand that Jack is deranged and cannot be saved.
Visual Elements
Lastly, Stanley Kubrick delves deeper into the horror genre to expand its boundaries and create an unsettling atmosphere. On the one hand, the director focuses on the use of visual elements, organizing all scenes meticulously. The use of geometrical forms contributes to the setting that affects the sanity of all characters. As a result, Kubrick’s framing, composition, and mise-en-scène create a sense of disorientation, which also involves the viewers.
An example of the third convention is the scene where Danny is seen riding through the hotel corridors. The young boy meets two girls who are ghostly apparitions (Kubrick, 1980). As the camera effectively switches the angle, the audience sees two girls dressed in the same kind of dress at the end of the corridor, which is the perfect rectangular shape with an equal number of doors on both sides (Kubrick, 1980). Therefore, this convention is booming since the scenes’ precision and symmetry allude to the instability and suspicion in the place.
On the other hand, the subtext in the film contributes to the deterioration of the character’s mental state. For example, recurrent cycles of violence, which are seen through blood gushing from the elevator doors and drowned bodies, directly influence the character’s mental state.
Conclusion
Hence, by fusing compelling storytelling, disturbing psychology, and an exquisite sense of visual detail, The Shining challenges the norms of the horror genre and eventually conveys a message about the breakdown of the human psyche. The Shining uses a distinctive storytelling technique that progressively builds suspense while obfuscating the distinction between reality and hallucinations.
Incorporating supernatural aspects is one of the genre stereotypes that The Shining prominently displays. In general, paranormal activity includes anything from ghostly apparitions to hallucinations that are hard to distinguish from reality. Examining human anxiety, especially fear of the unknown and dread of being susceptible to such situations is another genre convention evident in The Shining.
Lastly, Stanley Kubrick expands the parameters of the horror genre and establishes a spooky at hand; the director pays close attention to how visual components are used, meticulously planning every scene. On the other hand, the movie’s subtext causes the character’s mental health to deteriorate.
References
Barry, K. G. (2012). Experience and meaning in genre films. In K. G. Barry (Ed), Film genre reader IV (pp. 133-148). University of Texas Press.
Kubrick, S. (Director). (1980). The shining [Film]. Warner Bros.
Shapiro, S., & Storey, M. (2022). The Cambridge companion to American horror. Cambridge University Press.