Tobe Hooper Essays

Alfred’s Psycho was one to shift classic form of horror and lead to transformation of horror conventions. The horror genre used to involve “monster movies” where man battled with supernatural creatures. Hitchcock however portrayed the ‘monster’ as a soul living in the head of Norman bates. Psycho, taken from its name has psychological horror. The motivation of this production was to simply entertain people, giving them the fear experience they want. Although Psycho was solely crafted to entertain

The short story “Roommates” by Linda Heuring revolves around OB and Brad, who are roommates. It touches subjects as jealousy, prejudice and being different. The short story also focusses on how the people you acquaint yourself with influence your behavior. Brad’s friends talk bad about OB, which clearly bothers him, but in the end he takes part in destroying some of OB’s most cherished possessions. This is a result of the friends’ influence mixed with alcohol and jealousy. Brad apologizes to OB three

In Albert Camus’ novel The Stranger, readers follow the story of Mersault, a young man living in Algiers who is dealing with his mother’s death. Right away readers can look at Mersault and see his careless and unemotional life. He clearly does not care for what people think about him, and he would never lie about himself to be recognized. He does not accept the society’s idea of happiness by the way he deals with the moments in his life. He does not believe in life after death and has no religion

various items, including lampshades, and even a full body suit that he wore around the house. After he was arrested, he spent the rest of his life in Central State Hospital for The Criminally Insane. In the film, The Texas Chainsaw Massacre, director Tobe Hooper kept most events from The Texas Chainsaw Massacre the same but changed the things the main character did to make the scenes more intense.

Tobe Hooper could not have predicted the controversy and ever lasting success surrounding his 1974 slasher film The Texas Chain Saw Massacre. A film that arguably, along with Halloween (1978) and Psycho (1960) created the subgenre of slasher horror. The subgenre typically includes a masked psychopathic killer who terrorizes a number of victims with a weapon other than a gun. Tim Henkel and Tobe Hooper’s script is replete with necessary elements in creating relentless horror true to the genre. The

who transfer to an isolated hotel. The father was possessed by a spirit and his son, who has a special psychic powers that can see the link between the past and the current events. 8. THE TEXAS CHAINSAW MASSACRE, released in 1974. Directed by Tobe Hooper and written by Kim Henkel. Cast included were Edwin Neal, Allen Danziger and Marilyn Burns. This is a story of five friends who had visited their friends, grandfather’s house. Apparently, the town was terrorized by a group of crazy, insane people

Stan Maria The Texas Chainsaw Massacre and the Proto-Indie Phenomenon In his article, The American Nightmare – Horror in the 70s, Robin Wood tries to take the American horror movie and put it in a suggestive context, both historically and socially, exemplifying trough movies that made history by their violence, gore and the shock they created to the mental matrix of the society living in that age. He believes that trying to define those ages as the Golden Age of the American horror film is a brave

Even some of the most horrific events bring out the best in people and their imaginations. Movie directors and book authors alike get their creativity from something. Whether it is their favorite bedtime story as a child or a real life experience. Think of the book The Things They Carried by Time O’Brien for example. In the book, O’Brien tells made up short stories from his experience in the Vietnamese war. Both pleasant and traumatic events make the stories seem as if he really experienced them

Media have certainly became a big part of our daily life, an important element of our daily viewable culture, and more familiar the violence and monstrosity which is described in it. Audiences barley think about this problem and they also leave aside the consequences of that. Media got a great impact on people’s culture and the way they act now a days, Media is responsible for creating opinions, myths, languages and customs. They can also create uncontrollable monsters; false fantasies and contradictory

Ed Gein grew up on a farm in Plainfield,Wisconsin. He lived a life of horror that people are still discussing today. Gein killed two people in his life. Gein is still a well known serial killer even thirty-three years later. Gein was very obsessed with women. Gein grew up with an alcoholic father. Augusta, Geins mother was a very religious woman. As Gein grew up his Father, George would be very brutal towards him, his brother, and his mother. The children and mom knew when George would come home

it. In some stories that can be enough. The story focuses on just the characters and the setting does not play a crucial role to how the story develops. In the cases of The Haunting of Hill House by Shirley Jackson and Poltergeist directed by Tobe Hooper that is far from the truth. As both of these stories revolve around haunted houses, the setting can be described as the antagonist in the stories. the setting is crucial to both the plot and character development throughout The Haunting of Hill

In Carol Clover’s famous essay “ Her body, herself: Gender in the slasher”, she explains that there are 6 explicit parts that make up a “slasher” , “the terrible place”, “the killer”,”weapons”, “victims”, “final girl” and “shock.” Carroll goes on to explain that a final girl is the one who typically has to carry the burden of the experience throughout the rest of her life, is masculinised with a uni-sex or male nickname to fit in with her counterparts, and the person in the film who personifies the

then established that killers of the slasher genre, such as Leatherface and Michael Myers, have troubled past or current predicaments. Hitchcock’s contribution to the slasher genre influenced the directors of the 70s, such as John Carpenter and Tobe Hooper. As Clover reiterates, “Between 1974 and 1986, however, the formula evolved and flourished in ways of some interest to observers of popular culture, above all those concerned with the representation of women in film.” (p. 26). The transition from