Characteristics of the Postmodern Horror Film

Characteristics of the Postmodern Abhorrence Blur In our apple today, box offices are abounding with bemused teenagers gluttonous a adventure from abhorrence movies. Abhorrence movies date aback all the way to the 1890’s so what is it absolutely that keeps admirers absent more? According to Isabel Cristina Pinedo, there are four key elements to the success of the abreast abhorrence film. Today’s acknowledged films aggregate a agitated disruption of the accustomed world, breach and breach boundaries, bandy into catechism the authority of rationality, and abandon anecdotal closure. The cine Final Destination (2000) is a added contempo abhorrence blur that consists of three out of four of Pinedo’s elements. While the cine does not administer to all four elements, the characteristics of the three present are able abundant to acquiesce the blur to still be advised a abhorrence film. Final Destination is loaded with alarm approach that carefully resemble the characteristics declared by Pinedo. The blur is based off of a alternation of deaths that are ambiguous and unpredictable, analogous the aboriginal aspect of characteristics of the postmodern horror, “horror constitutes a agitated disruption of the accustomed world” (Pinedo 17). More accurately apropos to this aspect are the abstruse tragedies that booty abode throughout Final Destination. In this blur afterlife comes at accidental times actionable “our acceptance that we breathing in a predictable, routinized apple by demonstrating that we breathing in a minefield” (18). Afterlife is aloof that, a minefield. The characters feel they accept no ascendancy over their lives because while Alex, the capital character, abstracts out that there is an adjustment to these deaths, cipher is assertive absolutely back their time will come. Additionally accidental to the students’ connected abhorrence is the way the deaths are occurring. One boy, Todd block in the bath and is accidentally abashed from the battery clothesline, addition girl, Terry, is hit in the average of boondocks by a dispatch bus, and a abecedary is asleep from an absurd abode explosion. All three deaths amusement “violence as a basic aspect of accustomed life” (18). The incidents action in accustomed settings involving items about acclimated on a circadian basis, creating abhorrence that one cannot escape. Not abandoned are the deaths strange, they are acutely agitated and gory. Pinedo states, “the disruption takes the anatomy of concrete abandon adjoin the body” (18). Blood is arresting in the afterlife scenes as able-bodied as anamorphosis of the bodies with the use of aciculate objects, knives, electrocution, and hanging. Pinedo’s abstraction that afterlife can appear anywhere does not abridgement in this cine and the astute claret provides added affirmation to abutment the abstraction that this blur is afterwards a doubt, a abhorrence film. In abhorrence films, abashing is a abundant way to actualize alike added fear. The deaths in Final Destination are affecting and in our apple exceptional of and abatement appropriate into abode back exploring Pinedo’s characteristics of recreational terror. The way these deaths appear “[throw] into catechism the authority of rationality” (17). The abstraction of applesauce is Pinedo’s third aspect and is huge in her eyes. She claims “characters who survive charge appear to agreement not abandoned with the applesauce of the bearings but additionally with their own adeptness to be as single-mindedly annihilative as the monster” (24). Final Destination begins with Alex and his classmates boarding a even for a academy cruise however, that cruise is brief due to a baleful access that abnormally enough, Alex had already apparent in a alarming premonition. Alex’s apprehension makes little to no faculty but he chooses to accept it and is able to bluff death. This is aloof as Pinedo explains. The adherence of Alex’s apple is gone and his apprehension leaves him to admiration what is accurate in his life. The alternative characters throughout the cine abide to anticipate Alex is crazy for accepting these account that afterlife is afterward them. They “insist aloft rational explanations in the face of affirmation that does not accommodate itself to adherence [and] are destined to become victims of the monster” (24). Throughout the cine Alex makes it actual bright that he believes there is a specific time and abode for anniversary character’s death. Alex does not agnosticism himself or his apprehension already and is able to abide breathing until the end of the film. This is aloof what Pinedo agency back she claims “the ones that survive necessarily append their rational presuppositions and assurance their gut instinct” (24). There may be a added astute account for these deaths or, there may be no account at all but one affair is for sure: the characters who accept to not accept annihilation at all is happening, are asleep by the end of the movie. In this blur Alex would be advised the advocate or the hero. Back discussing the hero, Pinedo claims, “postmodern abhorrence compels its hero…to await on intuition; it requires [the advocate and the monster] to be both agitated and to assurance their gut instincts” (25). Alex fights adamantine to get the others to accept in his aboriginal apprehension as he tries to stop the adjustment in which it will come. He abstracts out who is abutting on the account and uses all ability to save the actual students. Generally speaking, the best important allotment of a abhorrence blur is the ending. Viewers delay on the bend of their seats in abhorrence that the advocate will not prevail. About according to Pinedo’s fourth aspect of postmodern horror, it “repudiates anecdotal closure” acceptation that “the blur may appear to an end, but it is accessible ending” (29). Throughout Final Destination admirers watch Alex try to break the abstruseness of death. At one point in the movie, Alex and his acquaintance appointment their backward acquaintance Todd area a mortician tells them “in afterlife there are no accidents, no coincidences, no mishaps, and no escapes…we’re all aloof a abrasion that a cat has by the tail. Alex is assertive that now that he knows afterlife has a plan, he will be able to break the arrangement aural his aerial school. Although, by the end of the movie, there is still no resolution. Afterlife continues to seek casualty and “we are larboard with this accessible ending, clumsy to actuate area the daydream begins or ends, or whether it ends at all” (33). Alex cheats afterlife one added time and the actual acceptance are assuredly able to booty their cruise to Paris but in the final arena of the cine a auberge assurance swings bottomward and comes appropriate for Alex’s head. The admirers never does acquisition out whether or not Alex survived or if afterlife is stopped. Pinedo is appropriate on ambition with this aspect and this abhorrence blur about analogously matches her characteristics. Abandon is a abstraction calmly apparent in this film, however, does not assume to anon chase what Pinedo describes as “horror transgresses and violates boundaries” (17) area she goes into abyss about the accent of a specific monster. Pinedo states “the monster violates the boundaries of the anatomy in a two-fold manner: through the use of abandon adjoin alternative bodies…and through the confusing qualities of its own body” (21). In Final Destination the monster is unexplainable. The “monster”, death, does use abandon adjoin alternative bodies by murdering the acceptance in actual agitated amenities although it does not agitate through the use of its own body. The feared “monster” in Final Destination does not appear in a concrete anatomy appropriately creating a added circuitous abstruseness for the characters afterwards harming itself. Addition point Pinedo makes is that “it is abandoned back the monster is absolutely asleep and accountable to adulteration that it ceases to abuse the amusing order” (22). Because afterlife is the monster in this cine and is not an breathing object, it is clumsy to be accountable to decay. Alex discovers that if the adjustment of afterlife is disturbed, the arrangement will be rearranged and he who cheated afterlife is placed at the end of the account instead. He seems to accept able absolute abolition of the “monster” by analytic its abstruse afterlife arrangement however, breathing or dead, it is absurd to abstain blackmail to the amusing adjustment appropriately proving Pinedo’s point incorrect in this case. In classical abhorrence films an admirers got a little alarm yet larboard the amphitheater with the abundance of a bankrupt ending. As discussed in Pinedo’s fourth aspect of postmodern horror, movies today leave their admirers apprehensive what will appear next. Perhaps the fourth aspect is the best important because it is what follows the admirers into their accustomed lives. A acknowledged abhorrence blur gives the eyewitness a air-conditioned alarm and again leaves an appulse on their activity afterwards the final scene. It is those movies that leave us abashed to attending beneath the bed, abashed to airing abandoned at night, or abashed of assertive sounds and images. Pinedo does an accomplished job of activity into detail about crisp avant-garde abhorrence films. Although, Final Destination does chase Pinedo’s characteristics and leaves admirers with one disturbing question: Can you bluff death? Works Cited Final Destination. James Wong. New Line Cinema, 2000. Film. Pinedo, Isabel Cristina. Recreational Terror. Albany: State U of New York P, 1997. Print.

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