An American Werewolf in London

creation of horror. Comparing this to the movie to An American Werewolf in London (John Landis, 1981) a film created in 1981 that also included a transformation scene had a different approach to special effects that had it’s different level of effectiveness, although technology was far more advanced in 1981, the transformation scene at times looked unconvincing for example, the scene where they used animatronics to make his hand grow, although it can be argued that this could also be for comedic purposes. However; due to the special effects makeup, the makeup artist, Rick Baker won an Academy award for his work in the film. This was due to the fact that the prosthetics and makeup used in this movie was particularly the most effective special effects within this film. Just like Dr. Jekyll and Mr. Hyde the makeup and prosthetics used helped add artistic value to both films as well as build the story to be more entertaining and visually appealing. Both have fantastic stories, but the effectiveness of the special effects turn the films into pieces of artwork that are visually entertaining and support the story. However, in Dr. Jekyll and Mr. Hyde there was far less blood and gore used. Although Hyde was killing, it did not show lots of blood and gore. Compared to American Werewolf in London, where there was lots of blood and gore used. This adds to creation of the horror due to the fact that the audience is seeing this werewolf tear people apart with the blood and guts tied to…

When one hears the term “werewolf,” the first thought typically tends to fall inside the general theme of the “brutal, mindless killing machine” shown in movies like “An American Werewolf in London” or “Dog Soldiers.” However, today’s werewolf simultaneously parallels and differs from the medieval werewolf. While versions of the modern werewolf take pieces from its medieval predecessor, they vastly are of their own design. This new design can be traced back to sales; new and original ideas are…

Alex’s family was on their way to Universal Studios for the Halloween Horror Nights. Alex wasn’t too excited to hear this, he was petrified of scary creatures. So Alex’s dad had promised him that he would help him get through the haunted houses if he couldn’t handle it. This year just so happened to be the 25th anniversary of the Horror Nights. The next day was when they were going to the actual horror night’s event. There were nine haunted houses, one of which Alex was okay with, “The Walking…

During this time, you saw the first movies from big names like Steven Spielberg with Jaws, Brain de Palma with Carrie from the famous novel from Stephen King. Then later came the independent films like Texas Chainsaw Massacre and Halloween 1978. After the success of the Halloween movie studios backed slasher films like Friday the 13th in 1980 and Nightmare on Elm Street in 1984. In the 1980’s came new technology, with special effects that brought horror into a new level. Now with latex, foam and…

Following the Great Depression, movie studios in the 1930’s were forced to alter their filmmaking practices in order to conserve money and turn a profit. During this period a series of films from Universal Studios dubbed the “Universal Monster Movies” made their way into theaters and began to shape the Horror genre in America. These films, which were based on classic literature, featured foreign stars, had low budgets, and saw influence from German Expressionism, were met with financial…

nuances, and tones within this genre and in the light of this genre diversity, it is difficult to state whether there can be any one “feminist theory of horror.” It would also lead one to doubt any particular theory can associate gender with the kind of looking, or monstrousness, or victimization that is typical of horror or with some work of abjection that horror films necessarily “illustrate.” Films within a single subgenre like the vampire film may present male monsters as distinctive as the…

and obviosuly Romero's Dawn of the Dead (1978). And the film's narrative is quite unusual as well. Instead of focusing on the undead and trying to get the laughs there, it treats the living characters as the main issue whose conflicts and arguments keep getting interrupted by annoying flesh-eaters. The film can be called a "comedy horror", just like one of Wright's favorite films An American Werewolf in London (1981), which he pays homage to, in this one. The reason why Shaun is one of the best…