It so often happens that the spectator sees, under the images of people and things, that which has never been produced in reality, but which he has repeatedly, in his ego, deeply thought out, desired or feared. With reason, therefore, the extraordinary power of the film finds its most profound explanation in the intimate structure of the psychic fact, and the show is all the more compelling, the more the film stimulates its processes. With the movies online now you can also explore this.
As a consequence, the director himself is continually encouraged to refine his psychological sensitivity and his perspicacity by the effort to find the most effective form to communicate to the film the aforementioned power, which can act according to a good or evil moral direction. In fact, the intimate dynamisms in the ego of the spectator, in the depths of his nature, of his subconscious and unconscious can lead him thus into the realm of light, nobility, beauty, as in the dominions of darkness and depravity, at the mercy of ultra-powerful and unbridled instincts, according to which I show highlights and stimulates the elements of one or the other field, making it the centre of attention, of desire and of the psychic impulse.
The condition of human nature is such, in fact, alongside these fundamental causes and explanations of the attractiveness and importance of the film, another active psychic element has been widely highlighted. It is the free and personal interpretation of the spectator and the prediction of the future development of the action, which procures, to some extent, the delight of those who create a story. Also from this element the director profits with apparently blurred moves, as could be, for example, the movement of a hand, a shrug, a door left ajar.
With its own methods the film has thus adopted the canons of traditional fiction – also based on the laws of psychology – the first of which is to always keep the reader’s attention until the last episode, provoking in him suppositions expectations, hopes, Fears, in a word, making him anxious about what will happen to the characters, who have already become, in a certain way, his acquaintances. It would therefore be a mistake to present the plot of narration or vision from the clear and limpid principle.
Halloween (1978) by John Carpenter, Friday 13 (1980) by Sean S. Cunningham, Nightmare – from the depths of the night (1984) by the late Wes Craven, but also Alien (1979) and terminator (1984) represent the quintessential films of gender slasher. Each of these films also sees the presence of the “final girl” leitmotif, in which only the last survivor (female) can mock the killer.
Many of these films also stereotype depict young adults who are killed by solitary murderers, often masked, because of their use of alcohol or drugs, or because they have had sex outside of marriage. While many have highlighted a possible “conservative program” behind the production of these films, they could just as easily be seen as useful products to attract the young of the time, who felt the overwhelming pressure of their parents in the Reagan era, a continuation of the theme of the intergenerational conflict already touched earlier. In 123movies you will be able to discover all these.