Identity Can Be An Ambiguous Subject In Horror But Increasingly, Horror Narratives Are Turning Towards

Identity can be an ambiguous subject in Horror but increasingly, Horror narratives are turning towards the theory of the “Other”. The Other acts as the antagonist, one that the spectator cannot identify with and that the spectator realises in quintessentially different from themselves. The Other often takes on the form of the foreigner in Horror, thus increasing the xenophobia in modern horror and furthermore, exploiting current xenophobic social fears.

The three films above, The Strangers (2008, Bertino), Funny Games US (2007, Haneke) and The Purge (2013, DeMonaco) all feature the “Other”. All three films use this technique as it places the audience as the vulnerable voyeur, enabling the spectator to fully engage in a cathartic experience with the protagonists. If the spectator does not understand the motives of the antagonist we are forced to constantly ask questions and therefore, continue to become engrossed and interpellated into the film.

One of Hitchcock’s repeatedly used narrative techniques was the concept of libido ripping it’s way through to reality, this is seen in Vertigo (1958) and The Birds (1963). However, Psycho (1960) provides a different narrative technique.

Psycho can be read as a film solely about the repression of our true desires and how horrific the release of our “Id” can be. Norman Bates acts as the embodiment of the classic Hitchcockian film whereas, Norma Bates acts as the films repressive figure. The ambiguity regarding Norman’s identity towards the end of the film further proves this, if only Norma exists than the only thing we can truly do is repress our desires as society rejects the freedom of our Id. Norma’s final actions prove this as she states, “I’m not even going to swat that fly. I hope they are watching… they’ll see. They’ll see and they’ll know, and they’ll say, “Why, she wouldn’t even harm a fly…”. This highlights how important repressing actions is to her character.

Whilst The Birds find it’s narrative progression through the freeing of our desires, Psycho (and definitely, Vertigo) highlights the horror of male desire and how the world cannot exist along with desire becoming reality.

Lost in Translation (Coppola, 2003)

“I don’t want to leave.”

“So don’t. Stay here with me. We’ll start a Jazz band.”

It’s a Wonderful Life (Capra, 1946)

“Remember, George: no man is a failure who has friends. Thanks for the wings! Love, Clarence”

“In fair Verona, where we lay our scene”

Romeo + Juliet (Luhrmann, 1996)and the colour blue

Fargo: The Crocodile’s Dilemma (S1, E1)

“Your problem is you've spent your whole life thinking there are rules. There aren't. We used to be gorillas.”