Professional Documents
Culture Documents
Terror Ingles Dia
Terror Ingles Dia
Terror Ingles Dia
There are many types of terror, and if your purpose is to know them
all to captivate your audience with a great scare, you have come to
the right place. Because we all fear something, but that something
is not the same for everyone.
We will explore the horror subgenre not only in movies, so you can
make your own, but also in books, video games and even YouTube,
since innovative ways to provoke fear have been generated in this
portal and other Internet spaces.
Slasher
That was evident in films like A Nightmare on Elm Street and Friday
the 13th, which brought us the iconic Freddy Krueger and Jason
Voorhees, respectively. Here the villain is the one who has more
narrative weight, but we will see that more in depth when talking
about what types of characters are in horror stories.
Horror
This is the most common subgenre of horror, as it deals with
paranormal presence or manifestations. It could also be said that it
is the oldest if we go back to the legends of ancient civilizations with
supernatural beings that had to be taken care of.
Its difference with types of terror such as the slasher is that the
threat is not necessarily a being as such, it can be an inexplicable
place or presence. For this reason, it is always made clear that the
things that are happening do not fit within the norm, they defy the
rules within the world created in history.
Tapes like The Exorcist fit here and, more recently, the saga The
Conjuring, which gave us the doll Annabelle and the demon Valak,
better known as The Nun. However, to better understand the
metaphysical nature of this concept of horror movies, you can see
The Shining or Pet Graveyard, both adaptations of Stephen King
books where evil has no physical presence and manifests itself
through third parties.
Thriller
Psychological terror
Tapes that masterfully handle this plot are The Sinister Island,
with Leonardo DiCaprio, and Fracture, which was released on
Netflix in 2019. But, speaking of classics, this horror genre has
Rosemary's Baby as a great exponent. Also keep an eye out for
Babadook, whose ending is rare for these kinds of stories.
The Avenger
We start with the antagonist and, specifically, the one whose
motivation is revenge. If you are a fan of the horror subgenre in
cinema, you may have noticed that this is how Freddy Krueger and
Jason Voorhees started.
The charismatic
There are antagonists who, despite being evil, cause us sympathy.
In these types of horror movies we meet again Freddy Krueger,
who could be funny without breaking the tone of the tape, and
Hannibal Lecter, who despite being a cannibal is so sophisticated
that it causes you to sit down and chat with him.
The deranged
He is one who has lost contact with reality and imagines things
that lead him to commit atrocities. They appear to be the victim at
first, which is typical in the psychological horror sub-genre, as in
the aforementioned The Sinister Island, or they can expose their
intentions early on, as Norman Bates does in Psycho.
The hero
On the hero's side of the story, no matter what types of terror we
want to do, we only find two possibilities. There is the one who is
strong from the beginning and can deal with evil, and the one who
gains strength and determination as the events unfold.
In zombie or post-apocalyptic films it is common to see that the
protagonist, from the start, has experience in the use of weapons.
Different is the case of the horror subgenre to which Alien belongs,
where Ellen Ripley is not able to face the xenomorph until the end.
The former, as the name implies, are those who help the hero to
fulfill his purpose, sometimes playing a discreet role, other times
fighting side by side with him or playing the role of mentors.
For their part, the adversaries are the ones who put obstacles in
their way, not necessarily because they are bad. In types of horror
stories such as slashers, it could be the policeman who does not
believe the version of the victims and even takes them for
suspects, preventing them from fleeing or facing the real threat.