Film Genre Analysis: The Orphanage and the Horror Genre

"A woman brings her family back to her childhood home, where she opens an orphanage for handicapped children. Before long, her son starts to communicate with an invisible new friend" (IMDB). Already without seeing J.A. Bayona's 2007 film, The Orphanage, it is clear that it will fall under the horror genre. Stemming from the French term meaning 'type' or 'kind', genre is a particular way of grouping texts that aims to privilege specific similarities, and dissimilarities, from other films and television programs (Stadler & McWilliam, pg. 218). However, what is it that classifies this film in the genre that it has subconsciously been placed? Why is it that it has been already labelled as a horror film? Based on the analyse and critical thinking's of the aesthetic genre approach, this essay will primarily focus on what defines genre itself and how The Orphanage was able to adapt to Hollywood horror conventions, keeping in mind that this approach has its advantages and disadvantages. In a nutshell, the aesthetic approach emphasises patterns of variation and repetition, as well as similarity and difference. Its primary focus is on familiar textual elements of genre conventions, including characters, settings and plots, together with stylistic factors such as mise-en-scène, performances, lighting, costuming, cinematography and iconography, that are slightly altered and rehashed from film to film (Stadler & McWilliam, pg. 235; Watson, pg. 157). Furthermore, because films of the same genre tend to utilize "traits of repetition and similarity", many are dubbed as formulaic, clichéd and stereotypical (Stadler & McWilliam, pg. 235). Subsequently, according to Jane Stadler and Kelly McWilliam, "[unlike the socio-cultural approach] ... the aesthetic approach focuses on the creative variations and differences that distinguish films in a genre, as evidence of their artistic worth and innovation" (235). The aesthetic approach has been especially alluring to those that are apprehensive with logical explanations. Strengthening this approach is its rational consideration of the different fundamentals in films of the same genre (Watson, pg. 157). Providing tangible standards and principles for the categorization of films in to their perspective genres, this approach is based on a text-centric temperament which permits comparisons to be evaluated between films.

Having been described as "one of the best, yet simplest, horror films of 2007" (Peter Howell, Toronto Star), whilst possessing the ability to provoke terror and trepidation, The Orphanage can easily be categorized under the horror genre of modern cinema. Immersing the audience into the supernatural domains where the lines between the living and the dead are blurred, The Orphanage manages to steer clear of the typical ghost story conventions, similar to films such as Ji-woon Kim's A Tale of Two Sisters (2003) and Guillermo del Toro's The Devil's Backbone (2001) (Butler, pg. 12). Furthermore, The Orphanage has been noted as more emotionally and psychologically charged than other films of the horror genre, particularly those that focus more on action and gore, with A.O. Scott, of the New York Times, stating that the film perfectly blends "the creepy with the weepy". With this in mind, although The Orphanage, and the above films mentioned, are evidently included in the horror genre, a more accurate categorization of these films would be the supernatural horror sub-genre. For these reasons, The Orphanage features an abundance of aesthetic representations that classify the film as a supernatural horror. The most prominent is the representation of the 'unknown', particularly with the depiction of the foggy atmosphere that encircles the orphanage. Mainly presented at night, the mansion adheres as a representation of something sinister and disturbing to the audience, playing on their fears of the unknown. Conversely, the setting provides an almost nostalgic, yet eerie, feeling for Laura, who has returned to her childhood orphanage. In terms of the mise-en-scène, the use of dark, low key illumination lighting and the setting of an isolated and aged mansion, similar to that of Alejandro Amenabar's The Others (2001), adds to the common traits exemplified in the horror genre(Tudor, pg. 445). At the most basic level, all these fears of the unknown and the unnatural add up to induce a sense of fear and terror amongst the audience (Beal, pg. 18). Likewise, the fear of the 'unknown' is interestingly represented in the form of Tomàs. Like most villains or monsters of the horror genre, Tomàs' identity is confined and obscured by a mask, allowing the director to stimulate fear amongst the audience. Having been deformed as a child, Tomàs was restrained from any contact with the other children living at the orphanage, and ultimately met his tragic death at the hands of the children he was restricted from. Similarly to the characterization of Leatherface in the 2003 remake of The Texas Chainsaw Massacre, because Tomàs was subject to the cruel ridicule of his peers, the audience develops a sense of sympathy and pity towards him. Thus creating an ironic situation where fear and compassion fuel an interest in Tomàs' motives and fate (Buxton, pg. 324). However, the choice to portray Tomàs as a child, as well as characterize the children has villains, is a common aspect of the horror genre (Beal, pg. 18). Ordinarily seen as virtuous figures, the notion of villains in the form of children is one that places them "on the edges of our personal an cultural landscapes" (Beal, pg.18), particularly in films such as Richard Donner's The Omen (1976) and Tom Shankland's The Children (2008). In extension, the use of the nursery rhyme in The Orphanage adds to the disturbing atmosphere of the film, chiefly during the scene where Laura engages in a game with the children in aid of finding Sìmon. Essentially, the combination of the nursery rhyme and the villainous children is widespread facet of the supernatural horror sub-genre, which is evident in such films as Wes Craven's A Nightmare On Elm Street (1984) and Victor Salva's Jeepers Creepers (2001)(M. Dawson). Nevertheless, the film's portrayal of the 'unknown' is further amplified with its use of a creepy musical score, along with the addition of ambient noises. These particular sound combinations reached notoriety with the séance scene, as well as the scene that depicts Laura's discovery of the old woman in the shed. Additionally, professional film critic, Roger Ebert, rejoiced at the film's lack of 'cheap scares', affirming that "[The Orphanage] is an excellent example of why it is more frightening to await something than to experience it". Robert W. Butler asserts that these ambient sounds and musical scores are constantly used with the horror genre believing that they help "create horror through a slow tightening of tension rather than with lurid 'gotcha!' moments"(pg. 12). Keeping this in mind, the film's plot also conforms to the conventions of the supernatural horror sub-genre, with regards to its indifferent pacing, the three act structure and its refusal of a 'happy ending'. Despite Laura discovering the horrific secrets of the orphanage and her reunion with Sìmon, she and her son have passed away leaving her husband behind. Whilst this is a more realistic and open-ended finale (Tudor, pg. 444), it breaks the rules of a traditional Hollywood joyful conclusion; a rule the horror genre is renowned for breaking, especially with such films as Jeff Wadlow's Cry Wolf (2005) and Oren Peli's Paranormal Activity (2007). Moreover due to its vague ending, The Orphanage is provided with the possibility of a sequel, another horror genre stereotype that is taken advantage of in several successful films such as Sean S. Cunningham's Friday The 13th (1980) and John Carpenter's Halloween (1978). However, the aesthetic approach has several limitations, including its lack of consideration for the audience's reaction. With regards to comedy and horror genres, the viewer's reactions are key in determining what genre a film belongs to. With this in mind, the generic audience composition is also of vital importance, understanding that they can be considered in defining genres themselves (Stadler & McWilliam, pg. 220). In addition, several have suggested that this is too unyielding and narrow of an approach to apply to films (Watson, pg. 154), particularly those that consist of no borders or boundaries and are therefore incapable of being box-in or confined to a single idea (Jones, pg. 160). Knowing this, because different genres share defining characteristics, it is comprehendible that these 'overlappings' can lead to numerous films being accounted for by other genres. For example, because horror's and thriller's contain certain similarities, such as iconography, there is often a thin line that determines which film belongs to which genre - a problem which can't be solved using the aesthetic approach (Watson, pg. 157). Lastly, this approach faces even more ambiguity in terms of the “traditional 'empiricist dilemma': pre-selecting a group of films for study, the study of which then supposedly identifies the appropriate criteria for their selection” (Jankovic 23). In conclusion, through the use of the aesthetic genre approach it is clear that The Orphanage is a part of the supernatural horror sub-genre. As demonstrated, the aesthetic approach has accounted for this genre classification in terms of the film's combination of a stylised mise-en-scène, eerie musical score and traditional horror film plot, iconography, lighting, setting and cinematography. It is these filmmaking aspects that create a sense of nightmarish panic that induces fear and anxiety into the audience. Based on the analyse and critical thinking's of the aesthetic genre approach, the essay successfully focused on what defines genre and how The Orphanage was able to adapt to Hollywood horror conventions. Although this approach doesn't account for all the aspects that would help class this film as a supernatural horror, it certainly covers enough to justify that its belong within this genre.

Bibliography

• Beal, Timothy K. “Our Monsters, Ourselves.” The Chronicle of Higher Education 48.11. 2001. pg. 18-21. Proquest. Accessed: 21st October 2012. Web.

• Butler, Robert W. “The Orphanage.” Tribune Business News [Washington] 11th January 2008: 12. Proquest. Accessed: 21st October 2012. Web.

• Buxton, Rodney A. “The Horror Film: An Introduction.” Journal of Film and Video 61.2. 2009. pg. 70-71. Accessed: 22nd October 2012. Print.

• Dawson, M. "Analyse: Horror Movies as Modern Day Morality Tales - Conclusions". Left Field Cinema. <http://www.leftfieldcinema.com/analysis-horror-movies-as-modern-day-morality-tales-%E2%80%93-conclusions> 2008. Accessed: 22nd October 2012. Web.

• Ebert, Roger. "The Orphanage". Chicago Sun Times. <http://rogerebert.suntimes.com/apps/ pbcs.dll/article?AID=/20071227/REVIEWS/712270301> 28th December 2007. Accessed: 22nd October 2012. Web.

• Howell, Peter. The Orphanage: Dark Look Into Make-Believe. The Toronto Star. <http://www.thestar.com/entertainment/article/287525> December 26th 2007. Accessed: 21st October 2012. Web.

• Humphries, Reynold. "The Orphanage". 101 Horror Movies You Must See Before You Die. Ed. Steven Jay Schneider. Quintessence: London, 2009. pg. 409-410. Print.

• Internet Movie Database. "The Orphanage". <http://www.imdb.com/title/tt0464141/> (2007). Accessed: 23rd October 2012. Web.

• Jankovic, Mark. "'A Real Shocker': Authenticity, Genre and the Struggle for Distinction." Continuum 14.1 (2000). pg. 23-35. APA FT. Accessed: 21st October 2012. Web.

• Jones, Mike. “Official Sites: Movies, Games and the Blurry Lines of Genre.” Metro 148 (2006). pg. 160-163. APA FT. Accessed: 23rd October 2012. Web

• Scott, A.O. “The Ghost Down the Hall Is Scary in Spanish, Too". The New York Times. Late Ed. <http://movies.nytimes.com/2007/12/28/movies/28orph.html?_r=0> 28th December 2007. Accessed: 21st October 2012. Web.

• Stadler, Jane & McWilliam, Kelly. "Genre: Something New Based On Something Familiar". Screen Media: Analysing Film and Television. Allen & Unwin, 2009. pg. 217-243. Print.

• Tudor, Andrew. “Why horror?: The Peculiar Pleasures of a Popular Genre.” Cultural Studies 11.3. 1997. pg. 443-463. Print.

• Watson, Paul. "Critical Approaches to Hollywood Cinema: Authorship, Genre and Stars". An Introduction to Film Studies. Ed. Jill Nelmes. Routledge: London, 2003. pg. 129-181. Print.

Filmography

• A Nightmare on Elm Street. Dir. Wes Craven. New Line Cinema, 1984. Film.

• A Tale of Two Sisters (Janghwa, Hongryeon). Dir, Kim Ji-woon. Cineclick Asia, 2003. Film.

• Cry Wolf. Dir. Jeff Wadlow. Focus Features / Rogue Pictures, 2005. Film

• Friday the 13th. Dir. Sean S. Cunningham. Paramount Pictures / Warner Bros. 1980. Film.

• Halloween. Dir. John Carpenter. Compass International Pictures. 1978. Film.

• Jeepers Creepers. Dir. Victor Salva. United Artists / Lionsgate Entertainment. 2001. Film.

• Paranormal Activity. Dir. Oren Peli. Paramount Pictures. 2007. Film.

• The Children. Dir. Tom Shankland. Vertigo Films / Icon Productions / Ghosthouse Underground. 2008. Film.

• The Devil's Backbone (El Espinazo del Diablo). Dir. Guillermo del Toro. Warner Sogefilms A.I.E. / Sony Pictures Classics. 2001. Film.

• The Omen. Dir. Richard Donner. 20th Century Fox. 1976. Film.

• The Orphanage (El Orfanato). Dir. J.A. Bayona. Warner Bros. / Picturehouse. 2007. Film.

• The Others. Dir. Alejandro Amenabar. Dimension Films / Warner Bros. 2001. Film.

• The Texas Chainsaw Massacre. Dir. Marcus Nispel. New Line Cinema / Focus Features. 2003. Film

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