With reference to Hitchcock’s Psycho (1960) and at least two other thrillers you have studied, as well as wider research, discuss the thriller genre and its forms and conventions.
Mystery, tension and excitement are but a few of the words used to define the thriller genre. They include a substantial state of disequilibrium with plots that hold intelligence and puzzle. Thrillers provide a sense of insecurity yet excitement and mystery. We are hidden from information that is finally uncovered through the large awaiting climax the films build gradually through their typically dark, twisted narratives. Thrillers are almost boundless with their integration with many other genres including sci-fi, action, horror and drama. Several aspects that designate a thriller include its wide range of subgenres, unique complex narratives, genre defining techniques and using the art of suspense to create shocking impacts on audiences.
Thrillers include many subgenres that aid the originality of their plots and general direction. For example Crime thrillers which use the over exaggeration of stories and character involving crime, creating excitement and fascination. It takes crime as the main plot subject and turns it into an entertaining element through the narrative. A perfect example of a crime thriller would be Tarantino’s Pulp Fiction (1994) where almost every character is seen committing crime such as Marsellus’s brutal killing of Zed, which is one of many murder scenes and Mia’s constant drug taking.
Also psychological thriller is a very popular subgenre which holds deep, complex plots relating to processes of the mind. This could mean the protagonist has a conflict within their own mind forcing them to make eccentric actions or a character using their mental strength rather than physical to battle a villain.
Also conspiracy thrillers were made popular in the 1960s and 70s after assassinations such as John F. Kennedy and Martin Luther King and wars including America’s battle with Vietnam. Audiences watch these films in hope of resolving the unexplained answers from these tragedies whether the plot is fiction or not, it is clearly an attractive form of narrative. They will typically contain a protagonist in their struggle to uncover the giant question being built up through the story. Their battle is to avoid and overcome deceptions until they finally uncover the truth. The excitement that keeps these films as partly thriller genre is in the need to find the giant unanswered question being created by the narrative.
Hitchcock’s Psycho (1960) uses crime as we witness murder and theft which creates a fascinating outcome and mystery throughout. He uses conspiracy as we are attempting to find the murderer. Psychological thriller comes when we discover Norman’s battle and conflict of his mind. Also in Richard Kelly’s Donnie Darko (2001) we battle conspiracy as Donnie attempts to solve the mystery of his strange, uncontrolled actions. Deception appears as he explores time travel and Donnie must maintain his belief in order to fix his situation. Crime is used in his actions when he is manipulated by Frank adding the subgenre’s attraction and excitement further. Psychological is clearly represented as Donnie is unwillingly making extreme actions denoting a battle of the mind.
Thriller also relies on elements from other genres in order to maintain uniqueness and originality. For example sci-fi elements such as space and future technology are used in Alien (1979). Also Se7en (1995) uses Horror clearly as a tool to create a larger impact on the thrills using grotesque images when illustrating the gruesomeness of the victims and how they had been murdered. Fincher’s use of horror within the thriller genre offers a much broader selection for mise-en-scene and plot direction. Thriller films are impossible to be set into the one genre. Applying a variation of genre to a thriller film is almost essential as it depends on supplementary elements to become unique and original.
The digesis in thriller should typically create an air of menace and an unnerving atmosphere surrounding the protagonist. It commonly includes captivities, ransoms and reasons for revenge. Its characteristics should provide a sequence of thrills which keep the audience on the edge of their seats with a satisfactory climax or twist. This is effective when it is not disappointing in relation to the build up the narrative has created beforehand. For example David Fincher’s Seven (1995) where we continuously witness the murder cases that create unanticipated thrills which later build up to a captivating twist. Revenge is illustrated in Somerset’s and Mill’s need to capture the deranged murderer because his victims appear innocent to them. However it is also depicted when we discover the reason for his murders as each victim commits a sin which appears extremely offending to him. A late scene where the John Doe murderer is explaining his actions to the detectives, we discover his reason for revenge is sinful people that now ruin the world he once lived in.
Tzvetan Todorov’s theory explains three stages. Equilibrium which later turns into disequilibrium then finally resulting in the restoration of equilibrium. A thriller’s narrative is usually broken within the first and third stages although the second stage is a crucial element in the genre to maintain an uneasy and unpredictable atmosphere. An example of this rule break is Wan’s Saw (2004) which immediately puts us into a strange environment with no way of connoting who the characters are and why they are locked inside a grim bathroom. Disequilibrium remains a constant throughout the film with regular twists and thrills. Finally the third stage of restored equilibrium is absent as our protagonist is left in the room with no escape. In Caruso’s Disturbia (2007) however, if we look at thriller that is aimed at a broader, simple minded audience, some thrillers follow his theory to satisfy this category of viewer. We begin with an introduction to kale with an overall feel of equilibrium as he is fishing with his father. Disequilibrium appears as his father is killed and he is under house arrest after punching his teacher continuing with suspicion of his neighbour who turns out to be a murderer and kidnaps Kale’s mother. Equilibrium is restored as he rescues her and kill’s the Villain, an ending scene with Kale free from his house clearly represents this.
Thriller has many techniques that define it as a single genre apart from others. Methods such as the use of off screen space to create a feeling of tension and to accomplish unpredictable scares and thrills. Psycho (1960) uses this when Marion Crane’s Sister, Lila, enters the Bates house to speak with Norman’s mother whilst Sam is interrogating Norman at the motel. Hitchcock switches from both positions at a slow pace which teases us as we connote Norman will eventually find her, creating suspense in the build up. Although when we lose our awareness of Norman’s position, we shortly are unsure of when he will find her creating masterful suspense.
The director should attempt to force false connotations on the audience to create a successfully unexpected twist. Also in Reference to Psycho (1960) as we are persuaded to believe it is Norman bates as himself who commits the murder. We connote an alternate murderer as he seems too obvious a villain. But when the twist is exposed showing Bate’s split personality, it is brilliantly shocking especially to the contemporary viewer.
Extremely detailed mise-en-scene can be used to create an unsettling atmosphere. Dark lighting, night settings and disturbing iconography can give a real sense of insecurity which contributes to the thriller feel. Se7en (1995) for example has a grey filter throughout. An early scene with the detectives conversing for the first time displays rainy dark weather. In Hitchcock’s The Birds (1963) he uses crows as constant iconography for death. Illustrating a grim atmosphere is a key technique in the genre to create expectations of a twisted, unprecedented plot.
When twisting reality it creates unknown environments making it frightening for the viewer. It also creates endless possibilities for the narrative which adds to the excitement and appeal, expanding our imaginations. In Inception (2010), Nolan creates potential for absolute fantasy as we enter the dream world. This created endless possibilities in the narrative and gives us no sense of awareness or expectation making it easier to shock and surprise viewers.
Many of IMDB’s top 250 films of all time are thrillers in their own right which just proves the genre is highly appreciated and rated among film fans. Although I believe thriller has a narrower audience than comedy, action and drama as it requires a great degree of concentration to understand and follow the films correctly, which could be off-putting to younger, simpler audiences. The films appeal to fans of quality cinema that are prepared to involve themselves entirely within the narrative.
Thriller is one of the broadest genres when concerning presentation and plot. It follows fairly lenient rules when it comes to narrative structure, theme and plot direction making it one of the most comprehensive genres in cinema. The huge diversity the genre offers gives so much potential for original groundbreaking narratives. Its popularity comes with the wide range of elements it offers us. Because of this, truly unique, inspiring plots will forever be existent within thriller.
“There is no terror in the bang, only in the anticipation of it”
– Alfred Hitchcock(1899-1980)
