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Zo Freeman A2 Media Mr McDermott

How does the Halloween trailer adhere to the codes and conventions of the Slasher
Horror sub-genre?
John Carpenters genre defining slasher horror film Halloween (1978) seemingly created and many of
the codes and conventions audiences expect to see from a trailer representing such a sub-genre. The
trailer of this film adheres to many of the paradigms of a slasher horror for example, the killer is
shown but masked, the murder weapon of a knife is revealed, and the victims follow the
stereotypical representation of young females in horror films. Producers kept the cost of production
low by using minimal locations for short periods of time, something following slasher films took into
account when being produced. Advances in technology also considerably age this trailer, when
looking at contemporary slasher horror trailers such as The Crazies (2008) and Sinister (2012), the
editing appears to be sharper, contemporary music is used to evoke emotion and techniques such as
fading in/out are present. Contemporary slasher horror films adhere much more to the codes and
conventions of the sub-genre the gore and brutality are much more evident in these trailers as
production budgets and the audiences expectations have raised considerably. In part, this is due to
what Foucault and Lacans theory of structuralism that what we understand is based on our
cultural environment. However, Halloween (1978) is of great importance and value to the slasher
horror sub-genre, and the fact that it was branded a sleeper hit adds to its cultural significance.
The trailer opens with a voice-over contextualising the plot, starting with an exert that was
supposedly 15 years ago when the first murder was committed. At a time when the slasher sub-
genre dominated the horror industry, the plot reveal at this early stage in the trailer would have
been something which enticed the audience due to its growing popularity. Use of a serial killer is a
popular way of maintaining the mystery element of slasher horror film; it also allows the audience to
focus on how a single, often masked, character is committing multiple murders. Although this
follows the codes and conventions of slasher horror films, the sub-genres decrease in popularity has
allowed only a few slasher horror films to find success in recent years these include the Scream
(1996) series, and the sequel films to Halloween (1978). The killers name in this scene is revealed to
be Michael something which goes against the codes and conventions of some slasher horror
films as the identity of the person usually remains a mystery, or is revealed at towards the end of the
film or a sequel.
Use of a handheld camera and a point of view shot reveal a house which presumably will have great
significance in the film, the unsteadiness and gradual zoom of the house add to the concept of it
being a central element which will be easily recognised by the audience. In terms of mis-en-scene,
the dark lighting combined with the isolation of the house add to the house being haunted and as a
result, a paradigm of the slasher horror genre. Use of a jump cut and continuity editing direct the
action to a point of view shot from the eyes of the murder significantly this shot is seen from
eyeholes in a mask, and in reference to Todorovs theory of narrative, is the moment of
disequilibrium. Inclusion of a mask is iconographic for a horror film, especially one that revolves
around a particular event in which masks are commonly seen (Halloween). Masks also suggest
concealment and an alternate identity something most slasher horror films take into consideration
when creating their killers. This scene also supports Barthes theory of the hermeneutic code, the
mask being used as an element of mystery to entice the audience and temporarily explore the
possibilities of who the killer is.
Zo Freeman A2 Media Mr McDermott
Halloween (1978) significantly reveals a child to be the murderer, a plot device in which the
innocence and purity children are supposed to represent becomes subverted and distorted. In the
case of this trailer, the child could represent the denial of experience and desire to rebel. A medium
close-up shot of the child and the knife encompasses many of the conventions of the genre the
bewildered expression confirms either the lack of remorse he feels, or the inability to comprehend
his actions. Similarly, the juxtaposing image of the child holding the knife signifies that the film is a
slasher horror at the point of the first stabbing the audiences are able to recognise this paradigm.
The knife as a prop is an important piece of iconography for horror films, and possibly the most
identifiable element of the slasher sub-genre.
Sound is an integral part of horror trailers the diegetic sound of the storm during the second attack
of the trailer overpowers the non-diegetic music which can be heard in the background to intensify
the scene. Sharp cuts are used to symbolise the chaos and disorder of the scene, the pace increases
as a result of the different camera angles which reveal the facial expressions and fear of the victim.
The juxtaposition of the male speaking in a monologue form with the disorder of the attack
maintains interest whilst providing a backstory to the events that follow. His final piece of dialogue,
I think hell come back is a clear adherence to the conventions of a slasher horror film as the initial
killer murders others in the preceding scenes of the trailer. Use of tone cards also reinstall the eerie
feeling of the trailer, the simplicity of the word Halloween connotes the fright the day is iconic for,
and as the title, it focuses on the single night which the film in a sense revolves around. Many slasher
horror films also follow this notion; The Texas Chainsaw Massacre (1974) and Friday the 13th (1978)
for example derive their titles from the plot.
The audience are introduced to many of the significant characters of the film in the Halloween
(1978) trailer, an important element of slasher horror trailers as a relationship with characters in
horror films need to be built quickly to maintain interest. The majority of the victims in the trailer are
female, a very typical attribute of horror films as the general perception of women is that they are
weak, defenceless and the first to die due to their apparent lack of initiative. The tracking mid-shot
of the three girls walking towards the camera connotes the solidarity girls find with each other in
horror films, their ironic happiness is short-lived as the following scenes are plagued with dietetic
screams and visual attempts to escape from the killer. Presumably, the girls featured will become a
typical character paradigm being either promiscuous, a virgin or the lone survivor who is able to
overcome the killer.
To conclude, the Halloween (1978) trailer adheres to many of the codes and conventions of the
slasher horror sub-genre. Use of multiple paradigms allows the audience to easily recognise the
genre of the trailer, particularly those which are iconographic to horror films such as the knife as a
murder weapon and the different character types. Halloween (1978) does however deviate from the
contemporary generic conventions of a slasher horror, the editing is not as refined due to
technology being less advanced; also it is not very gory in comparison to the few that are produced
in modern times.

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