House Of 1000 Corpses movie trailer.

In "House of 1000 Corpses", two young couples take a misguided tour onto the back roads of America in search of a local legend known as Dr. Satan. Lost and stranded, they are set upon by a bizarre family of psychotics. Murder, cannibalism and satanic rituals are just a few of the 1000+ horrors that await.

Jerry, Bill, Mary, and Denise are two couples out on the road in hopes of writing a book on offbeat roadside attractions. When the four meet Captain Spaulding, they learn of the legend of Dr. Satan. When the four take off in search of finding the tree that Dr. Satan was hung from, they pick up hitchhiker Baby. When their car breaks down, Baby invites them into her house. This is where the two couples meet the Firefly family, a murderous clan of bizarre people. As the family attacks the unsuspecting couples, Jerry and his friends try to survive the house of 1000 corpses and it's dark secrets.

It is a sadistic, torture-porn horror movie made in 2003 by director and musician Rob Zombie. The 2003's were the pivotal point of torture-porn horror movies, with movies released at the time including Saw and Hostel, which focused in on the killers drawing pleasure from pain, and this film does likewise. However, it is generally low budget in comparison to it's contenders at that time, and so it reached a much smaller audience. It was first due to be released by Universal Pictures, but they passed up the offer, due to it possibly having a NC-17 rating, and so was instead released by Lions Gate Entertainment. The film starts lesser known actors, mainly the directors friends, and so the audience does not know the actors from other films and does not have a pre-set expectation of them, which increases the threat in the movie.

The film trailer consists of roughly 120-130 shots. They increase in speed as you view the trailer. Around the midway point, it starts to introduce rapid successions of shots, which work to unsettle, disturb and surprise the viewer. This is amplified by the shots being twisted, tense and shocking in imagery. For example, immediately after the tv commercial of the clown, a burst of short shots is shown, which sets up the mood for the trailer  establishing it as a horror trailer. The shots in themselves are of a bloodied man being held prisoner, although the camera does not linger or focus, so it makes the viewer feel anxious and heightens the 'fight or flight' experiences. The scene itself is less than a second long.

Amongst these burst of quickfire shots, there are more normal paced shots, starting to introduce the characters. These have a blue cool tone to them to show loneliness and hopeless. Focus is placed on the faces of the characters (the four victims and Baby), and also the car as this shows the location is deserted, and there is also mist around to increase mystery and the unknown in the trailer. 

In the shots towards the end of the trailer, when we are introduced to the villains  and also in the quickfire episodes, there is more of a warm tonal range, as this symbolises blood and pain, and enhances the threat. It is also used when a villain is onscreen as to link the audiences mind in with them being a danger.

 Each shot at it's longest is still only two seconds long, so it makes for a fast paced trailer which gives the impression that the movie will be jam-packed full of events and will be exciting.

In a brief synopsis of the trailer, the first scene consists of an old television advert, showing the viewer that this is set in the past, with two clown on screen asking if the viewer likes blood, violence and freaks of nature, all of which do not fit in with the clown image of 'fun'.
This sets the theme for the trailer, one of conflict, confusion, and sadism. 

It progresses to show the victims driving along a deserted lane, then stopping to pick up a hitchhiker  Typical horror movie storyline, and it goes along with the stereotypes of the genre. Immediately after the hitchhiker is shown being picked up an inverted effect is used on a separate scene (this is one of the quickfire successions) which works to link her to strange, odd and disturbed things. The clown is shown again, and it plays on the fear of clowns, and gives the trailer a twisted sense of 'fun', followed by another inverted effect of a grave, which then links the clown in as a villain. 

The trailer then focuses on the characters being invited into the villain's 'lair' by the 'innocent' hitchhiker. It follows with scenes of one of the female victims running away and being threatened throughout the rest of the trailer. This again goes along with the stereotypes of the horror genre as the female being the weaker, more feeble character. However, this is challenged by the character of Baby, who is one of the main villains and is shown to be a strong, powerful character in the trailer. 

However, it does show her in a sexual context, luring the guys into the villain's house and shown dancing provocatively. I feel that the audience connects with the character of Baby, although she is not the typical Final Girl (virgin-victim-hero), however they do connect with her as she has a gender fluidity and contains many female traits mixed with male traits, which both attract the mainly male audience and allow them to connect with her, as according to Carol Clover's theory.

Vladamir Propp's suggestion of the '8 Character Roles' could fit here. In horror movies, there is usually a strong lead female who emerges, and eventually continues to survive. However, in this trailer, this character is filled not by a hero, but a villain  There is no particular hero to this trailer (nor the movie) as a happy equilibrium is not shown. Baby also plays the role of the donor, who provides them a location that they can stay at.

In this trailer it seems as almost the villains take the heroes place in the movie. It shows the viewer the events through the eyes of the villains, and so confuses them with a strange new look at things, and perhaps identifying with things that they may not necessarily want to identify with. The story in the trailer is shown through the villain's eyes with them playing the dominant force in the scenes, and thus the villain gets a helper, and there is also a false hero, and also dispatcher and donor, although the character's fulfilling these roles are actually evil, whereas in the original Propp theory, they would be good.

The male victims in this trailer prove to be non-hero's too, with them both being portrayed as slightly nerdy and useless, with no typical scenes of a horror movie where they are shown fighting back or defending; one scene actually shows a male dressed as a bunny rabbit crying. This gives the viewer a helpless feeling for the characters.

The movie starts to also show Todorov's forces theory. Although the trailer doesn't start with the equilibrium of everything being 'ok', it starts with things being manageable  The event follows in the trailer - the meeting of Baby. The recognition sets in once they are shown in the trailer inside the villain's home, however for the audience it sets in at a much earlier date, as soon as the quickfire clips arise. The attempt to fix the event is shown throughout the second half of the short clip; the scenes of the girl running away. Of course, the new equilibrium is not shown, as this would give the game away and the audience would have no reason to venture out and watch the movie. It instead ends with clips of an abandoned victim and a villain slurring the sentence 'I hope you like what you see'.

This trailer fits very much in with the 70's fascination with the devil and religion, with movies such as The Omen and The Hills Have Eyes being released at this time. It is also set in the past, estimatley in the 70's aswell. It also ties this satanic theme in with the modern craze of torture-porn with focus on scenes where characters get hurt in the trailer and an abundance of blood. This film for sure is part of the torture-porn horror genre.
The Hills Have Eyes (1977)
Amazingly similar to the plot-line of House Of 1000 Corpses, with the use of uneducated villains and innocent  victims getting tortured in a desolate location.

The trailer uses many moving angle camera shots, in a surreal, twisting way as to confuse and disturb the audience; these are usually during the quickfire shots. Shots in the trailer are mid-range shots, introducing us to the characters. Those shots are more still, straight-forward shots. These allow us to be introduced to the characters.

The trailer also uses more special effects added post-production than usual trailers, such as inversion effects and also mirroring effects, to double, and 'twin' the character's on-screen. I feel this is done to present to the audience how disturbing and weird this movie is, as to set up their expectations for the movie.

Stereotypes are mainly followed. The trailer is mainly shot at night, the victims are young, the villains are dirty and uneducated, the location is deserted and off the map, the lighting creates dark shadows and is low-key, with scenes of high contrast.

Transitions are used in this trailer. A key one is the sharp transition from a long shot or establishing shot to a close up or extreme close up, making the audience jump, and is in this trailer, of the villain. Transitions are sharp and snappy, keeping timing to a minimum, making this trailer only just over one minute.

The horror and homogeneity argument is agreed with, as the final girl is the purest, virginal one - a typical damsel in distress, however she, in the end, comes to the same fate as the rest of the victims.

Sound in this trailer starts off being produced by a male commenter with a deep voice, using a narrator's commentary to describe and enhance what is happening on screen. As the pace of the trailer speeds up, diegetic sound is used through the medium of dialogue to push the story along, and to also enhance the feeling of fear in the movie; in the last third of the trailer sound is mainly screaming and panicking noises. On the last third of the movie, an operatic style soundtrack is added to the background noise to further enhance drama.

Jigsaw charactor analysis

Jigsaw is the main villian of the horror franchiese, ‘Saw’. He is portrayed as the ‘anti-hero’ for the succession of the seven films created so far, although dies in the third film. The series, however, continues through Jigsaws clever ploys which set up many back-charactors to continue on his plans after he has died, so that a ghost of the charactor continues to expand through the following films.

Born John Kramer, he is in the series’ narrative, a former civil engineerdying from an inoperable frontal lobe tumor that had developed from colon cancer. After a failed suicide attempt, Kramer experienced a new respect for his own life and set out to force others through deadly trials to help them appreciate their own lives by testing their will to live through self-sacrifice. The tests were typically symbolic of what Jigsaw perceived as a flaw in each person’s moral character or life. The Jigsaw name was given by the media for his practice of cutting puzzle pieces out of the flesh of those who failed their ordeals and perished, symbolic of their missing survival instincts.

The viewer is left very much in the dark in getting to know the charactor of ‘Jigsaw’. He is portrayed as a mysterious, faceless killer at the start of the franchiese. His past slowly gets revealed through flashbacks that cut through the films, showing you piece by piece his story and his motives behind his actions. Looking at the backstory in itself, the viewer feels sympathy for Jigsaw. It tells of an old man, finally achieving to concieve a baby after many miscarriages, only to have his wife lose the child through a tragic accident at the robbery of her drug clinic.

Jigsaw was introduced in the 2004 film Saw through the character Dr. Lawrence Gordon’s recounting of his first killings. Jigsaw is described as a mysterious person who kidnaps people he sees as wasting their lives and attempts to “save” them. This is accomplished by administering various inhumane tests consisting of mechanical devices rigged to maim or kill the subjects or other victims if not completed within a certain time period. As opposed to other killers, Jigsaw does not actually intend to kill his subjects; the purpose of his traps is to see if the subject has the will to survive, and thus inflict enough psychological trauma for the subjects to appreciate their life and save themselves from their own demons.

Jigsaw’s image is unlike that of the usual burly horror killer. He is pictured as a lonely old man, crippled with terminal cancer. This immediatly makes the audience see him as weak, defenseless and not the type to commit such sins. This, I feel, makes his actions even more shocking, as his physical apperance tells that he is unable to physically carry them out

History Of Horror

The first movies were made in the late 1800s, when many people of Great Britain, France, and America were trying to invent a way to show motion pictures. For a long period of time, all of the many inventors met with failure, but finally success came to several people in such a short period of time that no one quite knows who first created movies.
With the kinetoscope, people were able to view moving pictures through a tiny peep-hole. In 1894, the Kinetoscope Parlor opened in New York City. It was like an ordinary building with two rows of lined up kinetoscopes, each one coin operated. 

Late 1890’s

The first tellings of supernatural events appear in several of the silent short films created by the film pioneer Georges Méliès, the best known being Le Manoir du diable (The Haunted Castle, 1896) which is sometimes credited as being the first horror film. It is also credited as the first vampire film, with the opening scene showing a bat flying into a room and then transforming into a demon. It was only three minutes long and was intentionally meant to amuse people rather than scare them. Japan made early forays into the horror genre with Bake Jizo and Shinin no Sosei, both made in 1898.

1910
 The first movies were made in the late 1800s, when many people of Great Britain, France, and America were trying to invent a way to show motion pictures. For a long period of time, all of the many inventors met with failure, but finally success came to several people in such a short period of time that no one quite knows who first created movies.
With the kinetoscope, people were able to view moving pictures through a tiny peep-hole. In 1894, the Kinetoscope Parlor opened in New York City. It was like an ordinary building with two rows of lined up kinetoscopes, each one coin operated.
Edison Studios produced the first film version of Frankenstein, which was thought lost for many years. This original film was based from a classic literature book, Mary Shelley's Frankenstein, as thus many of the horror movies were, and continue to be, (American Physco, Dracula, Dr. Jeckle and Dr Hyde). This scientifically created creature was representative of the 1910's in that they were a pivotal point in inventions, and this film emerged as the backlash of the fear that this could go wrong.

Early 20th century
The first monster appeared in a horror film: Quasimodo, the hunchback of Notre-Dame, who had appeared in Victor Hugo’s novel, Notre-Dame de Paris (1831). This movie differs slightly from the atypical as the dis-formed monster has a false image, and is revealed in the film as kind of heart.

1920s

1920’s German Expressionist film makers would significantly influence later films, not only those in the horror genre. Paul Wegener’s The Golem(1920) and Robert Wiene’s The Cabinet of Dr. Caligari (also 1920) had a particular impact. See more on German Expressionism here. Films around this time were dark and depressing in nature, with dark influences that were representational of the depression after the war, and the Expressionists channeled this into the themes of their movies.

The first vampire-themed movie was made during this time: F. W. Murnau’s Nosferatu (1922), an unauthorized adaptation of Bram Stoker’s Dracula. It was based so closely on the novel that the estate sued and won, with all copies ordered to be destroyed. It would be painstakingly restored in 1994 by a team of European scholars from the five surviving prints that had escaped destruction. The destruction of the vampire, in the closing sequence of the film, by sunlight rather than the traditional stake through the heart proved very influential on later films and became an accepted part of vampire lore. The director Grau had the idea to shoot a vampire film; the inspiration arose from Grau's war experience: in the winter of 1916, a Serbian farmer told him that his father was a vampire and one of the Undead.

Hollywood dramas used horror themes, including The Hunchback of Notre Dame (1923) and The Monster (1925). Other films of the 1920s include Dr. Jekyll And Mr Hyde (1920), The Phantom Carriage (Sweden, 1920), The Lost World (1925), The Phantom Of The Opera (1925), Waxworks(Germany 1924), and London After Midnight (1927). The 1920's became the decade in which horror movies made the transition from the sidelines onto the main-screens, playing a big part in the film industry at that time.

1930s
"The Monster Period"During the early period of audio film, the Universal Studios, founded in 1912, began a successful Gothic horror film series. A Gothic Horror genre description can be found here. Tod Browning’s Dracula (1931), was quickly followed by Frankenstein (also 1931). They were very much dark, monster style films, in which the villain was obvious and had always been dark. Some of these blended science fiction films with Gothic horror, such as The Invisible Man (1933) which, mirroring the earlier German films, featured a mad scientist. These films, while designed to thrill, also incorporated more serious elements.Frankenstein was the first in a series which lasted for many years; it was so popular because it foretold many people's current worries of the rapidly advancing discoveries in technology. Universal’s horror cycle continued into the 1940s, these included The Wolf Man (1941), not the first werewolf film, but certainly the most influential, as well as a number of films uniting several of their monsters.

1940s - 1950s
"Horror of the unknown/alien"With advances in technology, the theme of horror films shifted from the Gothic towards contemporary concerns. Two sub-genres began to emerge: the horror-of-armageddon film and the horror-of-the-demonic film. A stream of usually low-budget productions featured humanity overcoming threats from “outside”: alien invasions and deadly mutations to people, plants, and insects. In the case of some horror films from Japan, such as Godzilla (1954) and its sequels; Godzilla originally represented the fears of many Japanese of a repeat of the nuclear attacks on Hiroshima and Nagasaki.

Some horror films during this period, such as The Thing from Another World (1951)managed to channel the paranoia of the Cold War into atmospheric creepiness.

The Hammer company focused on the genre for the first time, enjoying huge international success from films involving classic horror characters which were shown in color for the first time.The mid-50's-70's were the time of the 'Hammer Horrors', in which a large quantity of horror movies were produced by the company. Other British companies contributed to a boom in horror film production in the UK during the 1960s and 1970s.

1960s
British born director Alfred Hitchcock’s Psycho (1960), was the first “slasher” movie, while in the same director’s The Birds (1963) menace stems from nature gone mad. Slasher achieved a cult status, paving the ways for horrors to focus in on bloody death scenes, and sometimes mindless killings.

Ghosts and monsters still remained a frequent feature of horror genre, but many films used the supernatural premise to express the horror of the demonic. The Haunting (Robert Wise, 1963) is an example of an horror-of-the-demonic film from the early 1960s, made in the UK by American studios. In Rosemary’s Baby (Roman Polanski, 1968), set in New York, the devil is made flesh. Meanwhile, ghosts were a dominant theme in Japanese horror, or ‘J-horror’, in such films as Kwaidan, Onibaba (both 1964) and Kuroneko (1968).

An influential American horror film of this period was Night of the Living Dead (1968). This horror-of-Armageddon film about zombies blends psychological insights with gore, it moved the genre even further away from the gothic horror trends of earlier eras and brought horror into everyday life.

1970s - 1980s

The rise of the occult. The Exorcist (1973), the first of these movies, was a significant commercial success, and was followed by scores of horror films in which the Devil represented the supernatural evil, often by impregnating women or possessing children.

“Evil children” and reincarnation became popular subjects. Popular Satanic horror movie was The Omen (1976), where a man realizes that his five-year-old adopted son is the Antichrist. Invincible to human intervention, Satan became the villain in many horror films with apostmodern style and a dystopian worldview.

1970s
The ideas of the 1960s began to influence horror films, as the youth involved in the counterculture began exploring the medium. Wes Craven’s The Hills Have Eyes (1977) and Tobe Hooper’s The Texas Chain Saw Massacre (1974) recalled the Vietnam war and George A. Romero satirized the consumer society in his zombie sequel, Dawn of the Dead(1978).

Yet this theme dominates the 1970s, as the crumbling family unit becomes the source of much fear and mistrust. This time around 'the enemy within' is not a shapeshifting alien from another planet altogether. This time the enemy is to be found in your own home.

It's your Mum (Shivers). Your Dad (The Shining). Your brother (Halloween). Your husband (The Stepford Wives). Your little boy (The Omen). Your daughter (The Exorcist). It's the people you see so often you don't really see them any more (Carrie). The seventies were about deep-seated paranoia, and the fear that the moral shift of the 1960s had created a culture of monsters - the archetypal successors of the shuffling zombies in Night of The Living Dead. There is little humour in 1970s horror films.

In the 1970’s, Slasher films became popular, including classics such as Friday 13th, Nightmare On Elm Street, Halloween and Black Christmas. These focused on multiple killings, and a 'rampage' of some sorts, with the focus of the scenes being on violence and gore/blood/killing. In the mid 1970s, animal horror prevailed, Jaws being the main example of this. A significant example of the low budget movies which were popular at this time is Sam Raimi’s Evil Dead movies, which were low-budget gorefests but had a very original plotline that was praised by critics later on.

1990s
In the first half of the 1990s, the genre continued many of the themes from the 1980s. The slasher films A Nightmare on Elm Street, Friday the 13th, Halloween and Child’s Play, all saw sequels in the 1990s, most of which met with varied amounts of success at the box office, but all were panned by fans and critics, with the exception of Wes Craven’s New Nightmare (1994) and the hugely successful Silence of the Lambs (1991).

Films touched upon the relationship between fictional horror and real-world horror. Candyman, for example, examined the link between an invented urban legend and the realistic horror of the racism that produced its villain. In the Mouth of Madness took a more literal approach, as its protagonist actually hopped from the real world into a novel created by the madman he was hired to track down. This reflective style became more overt and ironic with the arrival of Scream (1996).

Two main problems pushed horror backward during this period: firstly, the horror genre wore itself out with the proliferation of nonstop slasher and gore films in the eighties. Secondly, the adolescent audience which feasted on the blood and morbidity of the previous decade grew up, and the replacement audience for films of an imaginative nature were being captured instead by the explosion of science-fiction and fantasy, courtesy of the special effects possibilities with computer-generated imagery.

To re-connect with its audience, horror became more self-mockingly ironic and outright parodic, especially in the latter half of the 1990s. Wes Craven’s Scream (written by Kevin Williamson) movies, starting in 1996, featured teenagers who were fully aware of, and often made reference to, the history of horror movies, and mixed ironic humour with the shocks.

2000s
Final Destination (2000) marked a successful revival of teen-centered horror and spawned four sequels. The Jeepers Creepers series was also successful. Films such as Orphan, Wrong Turn, Cabin Fever, House of 1000 Corpses, and the previous mentions helped bring the genre back to Restricted ratings in theaters.

The success of foreign language foreign films continued with the Swedish films Marianne (2011) and Let the Right One In (2008), which was later the subject of a Hollywood remake, Let Me In (2010).

Another trend is the emergence of psychology to scare audiences, rather than gore. The Others (2001) proved to be a successful example of psychological horror film. A minimalist approach which was equal parts Val Lewton’s theory of “less is more” (usually employing the low-budget techniques utilized on The Blair Witch Project, 1999, has been evident, particularly in the emergence of Asian horror movies which have been remade into successful Americanized versions, such as The Ring (2002), and The Grudge (2004). In March 2008, China banned the movies from its market^.

The emergence of a type of horror with emphasis on depictions of torture, suffering and violent deaths, (variously referred to as “horror porn”, or “torture porn”) was present with films such as The Collector, The Tortured, Saw, and Hostel, and their respective sequels, frequently singled out as examples of emergence of this sub-genre. The Saw film series holds the Guinness World Record of the highest-grossing horror franchise in history.

Finally with the arrival of Paranormal Activity (2009), which was well received by critics and an excellent reception at the box office, minimal thought started by The Blair Witch Project was reaffirmed and is expected to be continued successfully in other low-budget productions. Hand-held camera effects put the viewer in the place of the actors, giving more terror as it made the feel as if they were part of the movie and also at threat.