Key Changes in Poster of Supernatural Horror Films

1973 2013

Georgia Pastos

Key Changes in Posters of Supernatural Horror Films (1970’s – present)

Supernatural Horror Poster of the 1970s

Analysis of the typography used on the poster

Analysis of the colours used on the poster

Analysis of the image/s used on the poster

Film title: The ExorcistYear of release: 1973Certification: 18

Director: William FriedkinProducer: William Peter Blatty

Budget: $12 millionBox office: $441,071,011

Official poster of the film:

The purple typography acts as a connotation of power that may be reflective of the power of the antagonist, and therefore may foreshadow the empowerment of the antagonist in comparison to the protagonist. In addition, it may serve to be reflective of the recurring theme of the horror genre – good vs. evil. Whilst the colour of the typography, purple may symbolise ‘good’, the black background is a connotation of ‘evil’ and therefore, the contrast in colour between the colour of the typography and the colour of the background establishes the contrast between good and evil. Due to the fact that purple (the colour of the typography) is not conventional to the horror genre, it will not be applied to my product. However, the plain font of the title may be applied to the poster of my short horror film, as it is similarly utilised in other supernatural horror films, including The Conjuring. From the 1970s, a simple typography has been adopted for the use on a poster of a horror film and continues to be used this day.

Throughout the years and over a number of decades, the colours utilised on a poster for a horror film have remained similar to a great extent. It is evident on the poster for The Exorcist that dark colours are applied, combined with a minimal amount of bright colours. This contrast between both bright and dark colours is effective, as it is symbolic of the recurring theme within a horror genre – good vs. evil. It can be suggested that the colour purple used for the typography mirrors the ‘good’ within the narrative of a horror film, whilst the black background connotes the ‘evil’. Meanwhile, the sinister contrast between light and dark on the poster is reflective of another recurring theme of the horror genre – the supernatural vs. the natural. Although the colour purple will not be applied to my own media product, a contrast between light and dark will be applied to my short horror film as it is conventional to the genre and may act as a form of both entertainment and escapism for the target audience.

The image on the poster is of a silhouette of a male character. This silhouette highlights an air of mystery that is conventional to the horror genre; the image is unknown to the target audience – they are unaware of who the image depicts and why they are there. As a result, an enigma is created, which is conventional to the horror genre as it serves to establish and inject fear into the minds of members of the target audience. Since horrors rely on overwrought emotions of terror in order to successfully entertain the target audience. Therefore, a similar image will be applied to my media product, in order to similarly achieve the same effects that the poster for The Exorcist did. Meanwhile, the realistic setting adds an element of verisimilitude to the product, which allows the audience to relate to and identify with the product and, thus the appeal is heightened. Images that are similar to the the images on the poster for The Exorcist continue to be used in recent decades and will be used in my poster.




Analysis of the image/s used on the poster

Film title: Poltergeist Year of release: 1982 Certification: 15

Director: Tobe Hooper Producer: Michael Grais, Steven Spielberg, Mark Victor

Budget: $10.7 million Box office: $121,706,019


Within the poster for the horror film Poltergeist, the typography connotes innocence and purity, which may serve to establish the characters of the narrative as weak and vulnerable, in comparison to the antagonist. As a result, the target audience may feel inferior to characters and subsequently, feel fearful of them. This terror may take the form of escapism, as the target audience are removed from their comfort zone. Therefore, the uses and gratification theory is applied to the media product. A similar white typography will be applied to my own product, as it is conventional to the genre and will heighten the audience appeal. Meanwhile, the target audience may be able to relate to/ identify with the typography of the poster, as the simplicity it possesses is easily relatable. In addition, the white typography contrasts against the black background and as a result it reflects a recurring theme that is conventional to the horror genre – good vs. evil, which will be applied to my horror film. The spacing between each letter of the typography for the poster is limited and may reflect how the force of the product latches itself onto the characters.

Similar to the previous decade dark colours are applied to the poster of this supernatural horror product – Poltergeist. The darkness is greatly conventional to the horror genre, as it creates a sense of foreboding and impending doom. It provides a form of insight into the narrative, but does not reveal too much, thus creating an enigma. The element of mystery that is created as a result of this enigma acts as some form of entertainment for members of the target audience and the application of the uses and gratification theory may heighten the audience appeal. In addition, a minimal amount of lighting is utilised on the poster of the media product, and serves as a stark contrast against darkness. It is reflective of a recurring theme of the horror genre – good vs. evil – as the light source may be imagery for heaven and therefore mirrors the ‘good’ aspect of the narrative, whilst the darkness is associated with death and thus may symbolise the ‘evil’ within the narrative. The contrast in colours will be applied to my own short horror film – the typography will be white, whilst the background will be dark. What is more, the darkness consumes any light within the product, which will also be applied to my product.

The image on the poster depicts girl who is drawn to the TV set. This girl is wearing clothing that is often associated with young children and thus, this character is established and vulnerable. Her vulnerability is heightened by the composition, as she takes up a minimal amount of space of it. Similarly, the image of the man on the poster of the film, The Exorcist, the young girl is placed towards the centre of the poster. As the primary image, the focus of the target audience is on the young girl, with whom they may be able to relate and identify with and consequently, the uses and gratification theory is applied to the media product. Therefore, the audience appeal may increase. Moreover, due to the fact that the images establish a clear sense of familiarity between members of the target audience and the film, the emotions that the audience feel may be similar emotions to those felt by the characters. These feelings may be developed of a period of time, and therefore the cultivation theory is applied to the media product. Although during the 20th century images were kept fairly small on the posters, my aim is to stand out and therefore, the images on my poster will be large.




Analysis of the images used on the poster

Film title: Candyman Year of release: 1992 Certification: 18

Director: Bernard Rose Producer: Clive Barket and Steve Golin

Budget: $8 million Box office: $25,792,310


Similar to the posters of films from the 70s and 80s, the title is placed towards the bottom of the poster. This serves to capture the attention of the audience on other aspects of the poster, including the images and the slogan, which is placed on the top of the poster of the film, Candyman. The black typography is used to create a strong sense of foreboding and impending doom, as the colour is often associated with death. The connotations of the colour black are conventional to the horror genre, and may act as a form of entertainment for some members of the target audience. Meanwhile, the simplicity of the typography establishes an element of realism and verisimilitude, that allows the target audience to relate to and identify with the product. As a result, the audience appeal may be heightened. What is more, the 90s witnessed an introduction to the use of slogans – in this case, the typography of the slogan is black and serves to further foreshadow the sinister events of the product. Additionally, the typography of the poster is conventional to the horror genre, since the black connotes evil and the supernatural, which are both recurring themes of the genre and will be applied to my product.

Three primary colours are used for the poster of the film, Candyman – red, white and black. Each colour is conventional to the horror genre, and therefore, similar colours will be applied to my short horror film. The red acts as a clear connotation of blood and danger, and therefore creates a sense of foreshadowing. It may serve to provide some form of insight into the narrative of the film, however; it does not reveal too much information and thus, creates an enigma. Meanwhile, the shades of black further create a sense of foreboding and impending doom, due to the fact that black is often associated with death. What is more, the colour black may act as a connotation of both evil and the supernatural, which are recurring themes that are conventional to the horror genre. Furthermore, the colour white and its connotations act as a stark contrast against the connotations of red and black. As a result, the theory of binary opposit-ions is applied to the film. Also, the contrast between the colour white and shades of red and black mirror an additional theme of the horror genre – good vs. evil. It may be suggested that the colour white is a connotation of ‘good’ and the reds and black connote a sense of ‘evil’.

The silhouette of a man that is seen in the centre of the media product creates an air of mystery and the unknown, which is conventional to the horror genre. Due to the fact that the target audience is unable to see the features of the man as a result of the obscure image, an enigma is created as they question who… or what the man may be. In addition, members of the target audience are immediately fearful of this character, and therefore the hyperdermic needle theory is used within the media product. What is more, the image of the bumblebee entering an eye is an unusual image and therefore, provides a form of escapism for the target audience. In addition, the images within the poster of Candyman may remove members of the target audience form their comfort zone, and thus fear and dread is immediately injected into the minds of target audience members. The application of a bee onto the eye demonstrates the development and progression of technology as the decades pass. Since a bee would not have been able to physically be placed on an eye, CGI was utilised in order for this to be possible. Therefore, the images demonstrate the changes in technology over recent decades.





Film title: The Blair Witch Project Year of release: 1999 Certification: 15

Directors: Daniel Myrick Eduardo SanchezProducers: Gregg Hale Robin Cowie

Budget: $25,000 Box office: $248,639,099


The white typography of the poster of The Blair Witch Project is similar to that of previous posters of films of the genre and can be dated back to the 1920s when it was utilised for the highly influential horror film – Nosferatu. It acts as a connotation of innocence and purity, and it may be suggested that this can serve to demonstrate the vulnerability and weakness of various characters in the narrative. Thus, the typography may foreshadow the fact that the characters may be in a weakened and vulnerable state. In addition, it may serve to establish a number of the characters as relatable, and as a result may enable members of the target audience to identify with them. The uses and gratification is subsequently applied to the media product, which may heighten the audience appeal. Moreover, the distance between each letter of the typography is a connotation of the isolation and desolation that the characters may experience, and as a result, the target audience may similarly feel isolated. Since this idea develops over a period of time, the cultivation theory is applied to the product. A similar typography will be applied to the poster of my short horror film, due to the fact that it is conventional to the genre.

Whist a white typography is used in the poster, a black background that contrasts against it is also adopted. The stark contrast between black and white may demonstrate the application of the theory of binary oppositions, and may further mirror a recurring and conventional theme of the horror genre – good vs. evil. The white acts as a connotation of the ‘good’ and the shades of black act as a connotation of the ‘evil’ of the narrative. Since the colour black consumes the minimal amount of white that is utilised on the poster, it may be suggested that the sense of evil within the narrative triumphs over good, and thus creates a sense of foreboding and impending doom that is conventional to the horror genre. The darkness of the poster may enforce feelings of discomfort onto the target audience, which is vital for a supernatural horror film as they rely on such emotions to act as a form of entertainment for the target audience. Meanwhile, even though not a large amount of red is used within the poster, the bit of red that is used creates a sense of foreboding and impending doom as the colour connotes both blood and danger. All three initial colours – red; white and black will be applied to the poster of my own horror film

Both images that are applied to the poster demonstrate the advances and developments of technology as the decades progress as two images are merged together. This mirrors the way in which multiple pictures were merged together to form the poster for Candyman. It is clear the 90s was a decade of progression for technology. What is more, The Blair Witch Project is a revolutionary film due to the fact that it was one of the first media productions to be produced with ‘found footage’. This ‘point-of-view’ aspect is similarly applied to the image of the female character of the poster that enables members of the target audience to relate to and identify with the film. Therefore the uses and gratification theory is applied to the product. The theory is further applied, since the images of the location of the product – in woods – adds a sense of realism and verisimilitude, which allows the target audience to relate to the product. In comparison to previous products in the genre, The Blair Witch Project, although adopts a realistic setting, does not conform to the stereotype of being set in a house (or other familiar buildings). During the opening of my film, the setting will be fairly similar, due to the fact that trees will be visible.





Film title: The Amityville HorrorYear filmed: 2005 Certification: 15

Director: Andrew DouglasProducer: Michael Bay, Andrew Form Brad Fuller



As the decades progress, the colour and font style of the typography similarly progresses. In comparison to decades prior, the typography has changed from the stereotypical blacks and whites and has adopted an additional conventional colour – red. The red is greatly effective as it serves to act as a connotation of blood and danger and subsequently creates a sense of foreboding and impending doom. Moreover, the sharpness of the typography serves to reinforce the element of danger and subsequently, creates a sense of foreboding and impending doom which is conventional to the horror genre. In addition, the sharp effect of the typography creates a sense of urgency that serves to intensify the emotions that members of the target audience may feel. This may act as a form of entertainment for the target audience, and therefore the uses and gratification is applied. Although there is a limited amount of distance between each letter of the typography, there is distance nonetheless. Consequently, a sense of isolation/entrapment (possibly away from society) is created that is conventional to the horror genre. Feelings of isolation may similarly be injected into the minds of the audience (hyperdermic needle).

Similar to the majority of posters in other decades, the colours are dark and dull to a great extent. This may serve to create foreboding and impending doom, which is widely conventional to the horror genre. In addition, this may make the target audience fearful of the narrative and thus, this may act as a form of entertainment for them. Therefore, the uses and gratification theory is applied to the media product. As a result, this may heighten audience appeal. Furthermore, the use of the colour red is of great significance. The colour red is a connotation of blood and danger, and reinforces the idea of impending doom, which is conventional to the horror genre. In addition, red is often associated with power and therefore, the red may foreshadow the power of an antagonist/protagonist and thus, it may foreshadow an element of the narrative. However, although the red does connote blood and thus, informs the audience that blood may be spilt, they are not aware as to why or whose blood may be spilt and therefore, the use of the colour red adds to an ongoing enigma. An air of mystery is created as a result of this, which may heighten the audience appeal as they are left wanting to view the media product.

Just as other products of the horror genre, including renowned horror – The Exorcist (‘73) and Insidious (‘10) – The Amityville Horror adopts a realistic location. The secondary image of the poster depicts a home that allows members of the target audience to relate to and identify with the product, which applies the uses and gratification theory to the film. Moreover, similar to the image of the male character on the poster of Candyman (1992), the poster of The Amityville Horror contains the silhouette of a male character. Both create mystery that is conventional to the horror genre, as it adds to an ongoing enigma that is established by the poster. Due to the fact that two images applied to the poster establish elements of realism and verisimilitude for the product, the target audience are able to relate to and identify with the product throughout. Whilst the uses and gratification theory is applied to the product, the hyperdermic needle theory is also demonstrated, since the target audience will grow more fearful with the realisation that they may similarly be in situations that the characters of the film may be in. A similar picture – but in this case the building will be a school – will be applied to my own poster.





Film title: Dead Silence Year of release: 2007 Certification: 15

Director: James Wan Producer: Oren Koules, Mark Burg Greg Hoffman



Similar to the typography of horrors including Poltergeist and The Blair Witch Project, Dead Silence adopts a white typography, which may be reflective of the protagonists of the media product that is marketed by the poster. Additionally, the white typography is a clear connotation of innocence and purity that contrasts against the remaining colours on the poster – red and black. It may be suggested that the stark contrast between the white typography and the black background demonstrates the application of the uses and grat-ification theory, which may serve to heighten the audience appeal. Moreover the blurred and obscured effect adopted by the typography is symbolic of the confusion and fragmented thoughts that various characters of the media production. This may immediately influence members of the target audience to feel a similar unease that characters feel and as a result the hyperdermic needle theory is applied. Moreover, the distance between the letters of the title may inflict feelings of both loneliness and isolation. This may further inflict overwrought feelings onto the target audience. A white typography will also be applied to the title of my short horror film, yet the effect adopted by Dead Silence will not in order to maintain realism

Although some alterations are often made to the posters of horror films, the colours applied to them tend to be extremely similar if not the same – these colours include reds, blacks and whites. Similar to The Blair Witch Project, a combination of red, white and black is utilised to form the poster of Dead Silence. All three colours will be applied to my own media product, due to the fact that they are conventional to the horror genre. The white is a connotation of the innocence and vulnerability of the characters of the narrative, and this contrasts against the remaining colours on the poster. Meanwhile, the white typography may enable members of the target audience to relate to and identify with the film. In addition, the red connotes blood and danger, which creates a sense of foreboding and impending doom that is conventional to the horror genre. The idea of impending doom may excite members of the target audience and may act as a form of entertainment for them; therefore the uses and gratification theory is applied. Furthermore, the black is often associated with death, which may further provide an element of foreshadowing. Meanwhile, the gloomy effect of the black colour may serve to unnerve the audience, which is effective for a horror film.

The primary image of the poster for Dead Silence plays on a mutual fear shared by numerous fans of horror – ventriloquist dummies. It serves to ignite an interest towards the media product that is marketed and heightens the audience appeal. This fear of ventriloquist dummies has not been explored many times prior to the release of Dead Silence which may increase the significance of the image. Due to the fact that the eyes of the ventriloquist dummy appear to be directly staring into the eyes of those viewing the poster, it may be suggested that the poster serves to engage directly with members of the target audience. Meanwhile, an immediate terror is injected into the minds of the target audience as a result of this, since they may feel they are being targeted by the doll. Furthermore, the decaying hands of the dummy may serve to create a sense of foreboding and impending doom, as they may foreshadow the ‘decay’ or death of characters in the film. Meanwhile, since ventriloquist dummies are objects that several members of the target audience will be familiar with, they may be able to identify with the media product. The uses and gratification theory is applied. A similar image will not be used on my poster, as it does not fit in with the narrative.





Film title: Insidious Year of release: 2010 Certification: 15

Director: James Wan Producer: Jason Blum, Steven Schneider, Oren

Budget: $1.5 million Box office: $97,009,150


The typography on the poster is a combination of red and white, both colours being conventional to the horror genre. Whilst the white acts as a connotation of innocence and may be reflective of a ‘good’ aspect of the narrative, the red connotes blood and danger and is symbolic of the ‘evil’ element of the narrative. The mergence of two colours that form the title of the media product may foreshadow how two worlds – the natural and the supernatural - merge together in a twisted plot of the supernatural horror production. Meanwhile, the white colour of the typography, arguably, represent the protagonists of the production, and may allow members of the target audience to relate to and identify with these particular character. As a result, the uses and gratification theory is applied to poster. What is more, the uses and gratification theory is further applied, as the red may act as a form of entertainment for the target audience, due to the fact that it acts as a connotation of both blood and danger. Each colour will be applied to my own poster, as they are conventional to the horror genre; and may heighten audience appeal. Meanwhile, the font of the typography is not conventional and will not be applied to my product.

Furthermore, the choice in colour on the poster of Insidious is greatly effective, as it both challenges and conforms to the conventions of the horror genre. Although the colour red is not prominent, it does act as a connotation of blood and danger, and thus may create a sense of foreboding and impending doom. It may act as a form of entertainment for the target audience, particularly members who closely follow horror productions, as the colour is conventional to the horror genre. Green is an additional colour that is used within the poster, however; it is not conventional to the horror genre and therefore, will not be applied to my media product. Having said this, the stark contrast created between the green and the remaining colours on the poster is reflective of a recurring theme – good vs. evil – and is conventional to the horror genre. Moreover, the remaining colours of the poster of Insidious are black and white, which alone demonstrate the application of the theory of binary oppositions. The white acts as a connotation of innocence, which then contrasts against the colour black, which is symbolic of death/evil. The contrast in colours (particularly black and white) will be applied to my poster.

The images placed on the poster of Insidious are of significance, due to the fact that they provide some form of insight into the narrative and capture the interests of the target audience, subsequently, heightening the audience appeal. On the poster, the portrayal of the house establishes realism and verisimilitude to the media product that allows the target audience to relate to and identify with the narrative and thus, the uses and gratification theory is applied. This is greatly conventional to the horror genre, as it is vital that the target audience feel as if they are a part of the narrative, similar to the characters. The use of a realistic setting will be applied to my short horror film, and will similarly be applied to the poster of the product in order to allow members of the target audience to identify with my film. The primary image – a young boy - highlights power. The clothing of the boy heightens verisimilitude of the product, and allows the audience to relate to his character. Thus, the uses and gratification theory is applied. The placement of the character is similar to the placement of the antagonist on the poster of Dead Silence and may be applied to my own poster.





Film title: The Conjuring Year filmed: 2013 Certification: 15

Director: James Wan Producer: Peter Safran, Tony DeRosa-Grund, Rob Cowan

Budget: $20 million Budget: $318,000,141


The typography on the poster is similarly of great significance due to the fact that it may, arguably, be reflective of the narrative of the production that is being marketed. The black font serves to act as a clear connotation of death and thus, creates a sense of foreboding and impending doom. This may act as a form of entertainment for the target audience and therefore, the uses and gratification theory is applied. The black typography also creates an air of mystery, which is conventional to the horror genre and acts as an informative device, since it is reflective of the narrative of the media production that is being advertised. This may further entertain the target audience and thus, acts as a clear demonstration of the uses and gratification theory. In addition, the simplicity of the typography may allow the target audience to relate to and identify with the product, since its lack of elaborate style is not complex to such an extent that the audience may feel uncomfortable; the simplicity of the typography comforts the target audience and heightens the audience appeal as they may identify with it, therefore, the uses and gratification theory is further demonstrated.

Colours have also been taken into consideration within The Conjuring poster. Whilst the shades of green and brown act as connotations of a natural element within the product, the black silhouette-like image of a tree acts as a sinister connotation of death and decay, which creates a sense of foreboding and impending doom. In addition, it may serve to foreshadow death within the narrative, since the colour black is often associated with death. Although the shades of white are not clearly visible within the poster, as they are overpowered by the dull colours of it, the colour does serve to connote a sense of innocence and vulnerability on behalf of the protagonists. As a result, their characters become more relatable to the target audience who may be able to identify with the film and therefore, the colour shows the application of the uses and gratification theory. The consumption of the brighter colours by the darker colours may foreshadow the possibility that evil conquers the good in the narrative. Therefore, the poster proves to heighten the audience appeal and attract a mass audience, which will ensure great success for the media production – The Conjuring.

In the foreground of the poster is a tree, accompanied by a noose and therefore; demonstrates one of the fundamental themes of the horror film – the suicide/sacrifice of the antagonist. The fallen leaves that remain underneath the tree act as a connotation of death and decay, due to the fact that leaves fall in the season of Autumn – the season of death as nature commences its new cycle. Meanwhile in the background of the first poster, the setting is established. Due to the contrast between the luxurious farmhouse and the decaying tree, the theory of binary oppositions has been applied which is reflective of a recurring and conventional theme of the horror genre – good vs. evil. Whilst the setting, that adds a sense of verisimilitude, may act as a connotation of ‘good’, the tree that towers over the farmhouse is symbolic of ‘evil’ and therefore, acts as a demonstration of the theme, good vs. evil. This theme serves to act as a form of entertainment for the target audience, who are viewing the product with the intention of being scared, and thus; demonstrates the uses and gratification theory. Thus, the audience appeal and success of the product may be heightened.

Key Changes in Poster of Supernatural Horror Films

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