The Thing Representing Two Film Genres
Rasif Choudhury
When observing
the scene in John Carpenter’s film, The
Thing, in which the shape-shifting alien infects Bennings, viewers can see
that the film contains characteristics of both the sci-fi and horror film
genre. Bruce Kawin’s excerpt, “The Mummy’s Pool”, warns readers that the two
genres, “…are regularly confused with each other and often draws on the same
materials…” (Kawin, 5). This statement can easily be understood when viewing
the alien within the film. The alien fits the extraterrestrial trope of sci-fi
films, while also acting as the monster within the horror film. By observing
the lighting, sounds, and prop choices within this scene and viewing works of
scholars within film studies, observers can view how the film maintains its
function as a horror film while also containing characteristics of a sci-fi
film.
The camera is only focusing on the back of Bennings
The scene
opens up with the alien consuming Bennings, in order to imitate and shape shift
into his body. As the other members
enter the room, they find Bennings running away from them. During this scene
the camera plays a vital role in how we perceive the alien. As the camera
focuses on Bennings, it is on a low angle and focused on his back. This is done
in order to keep the audience questioning whether or not the alien infected
Bennings. This part of the scene holds some characteristics of the sci-fi
genre. The reintroduction of the alien complies with the sci-fi trope of the
extraterrestrial or the unknown from the outer galaxy. At this moment, the
character poses no threat to the others, and the audience is not sure if they should
fear the infected Bennings. This moment demonstrates how the scene contains
slight characteristics of the sci-fi genre.
The camera is still not giving the audience a full view of Bennings
As Bennings slowly turns towards
the camera, the alien quickly takes up the role as the monster in the film.
When the camera first focuses on Bennings closely, the audience is still not
given a chance to decipher whether he was infected. Finally as the camera
slowly shows his mutilated hands, viewers can confirm that the alien had
shape-shifted into a form of Bennings. The music, sounds, and color of the
scene indicate that the alien is indeed a threat to the others. The constant
siren playing in the background, the red flare glimmering in Bennings face, and
the bone chilling scream from the character are all indicators that the alien is intended
to instill fear within the audience. The emotion that is triggered in this
scene can be explained by Steven Schnieder’s excerpt, “Monsters as (Uncanny)
Metaphors Freud, Lakoff, and the Representation of Monstrosity in Cinematic
Horror”. Schneider depicts how monsters in horror films instigate surmounted
beliefs that we may have about them (Schneider, 182). Schneider explains how
one of these surmounted beliefs is the fear of the existence of doubles and
replicas (Schneider, 183). This further demonstrates the fact that the alien takes
on the role as the monster, and signifies that the movie strongly holds the characteristics
of a horror film.
The camera finally gives the audience a glimpse of what happened to Bennings
Within the Bennings scene, the alien contains characteristics of both the sci-fi and
horror genre. As the alien is introduced in the scene, the audience is not sure
whether or not it is a threat to the others. This goes along with the sci-fi
trope of the extraterrestrial, and the curiosity of the unknown. However as the
scene progresses, we are shown the horrific nature of the omnipotent alien. This
one scene in this film is a small observation of what scholars in film studies
are claiming. This phenomenon of genres overlapping with one another can be
explained by Rick Altman’s concept of the cycle of genrification. Altman
depicts how, “Genres are not just post
facto categories, then, but part of the constant category-splitting/category-creating
dialect that constitutes the history of types” (Altman, 65). This demonstrates that films are easily able to contain more than one genre, and are
not scrutinized for jumping into the borders of other genres. This allows directors
to have an unlimited amount of choice in how they tailor their films to certain
genres, and gives society an opportunity to witness new genres throughout time.
Works Cited
Altman, Rick. Film/Genre. London: British Film Institute, 1999.
Print.
Kawin, Bruce. “The Mummy’s Pool.” Planks of Reason. Barry Keith
Grant & Christopher Sharrett, eds.
Scarecrow Press, 2004.
3-19.
Schneider, Steven. "Monsters as (Uncanny) Metaphors: Freud,
Lakoff, and the Representation of Monstrosity in Cinematic
Horror." Horror Film Reader. Alain Silver & James Ursini,
eds. Limelight Editions, 2000. 167-187
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