Part 2: Source Review

​

In developing the visual style of Chinese Folklore horror through the lens of production design, it is essential to engage with a body of literature that explores the intersection of myth, culture, aesthetics, and narrative structure. This chapter reviews key texts that inform the theoretical framework of this study, providing a scholarly context for the project 'Sister Drum'.

 

2.1 Freud's Theory of the Uncanny

 

The unsettling sensation of the uncanny, as discussed by Sigmund Freud, offers a valuable perspective on horror aesthetics that is particularly relevant to the production design of 'Sister Drum'. Freud himself acknowledged the atypical nature of his foray into the realm of aesthetics, noting, "It is only rarely that a psychoanalyst feels impelled to investigate the subject of aesthetics even when aesthetics is understood to mean not merely the theory of beauty, but the theory of the qualities of feeling." His psychoanalytic approach was distinct from traditional studies of art which typically focused on the beautiful or the sublime. Freud's interest lay in what might be considered a neglected corner of aesthetics: the aesthetics of horror. As he elaborated, "He works in other planes of mental life and has little to do with those subdued emotional activities which, inhibited in their aims and dependent upon a multitude of concurrent factors, usually furnish the material for the study of aesthetics." Thus, in the context of 'Sister Drum', Freud's insights are not merely academic footnotes but active ingredients in creating a visual style. They inform the way production design can render the familiar strange and the mundane unsettling, embodying Freud's idea that, "it does occasionally happen that he has to interest himself in some particular province of that subject; and then it usually proves to be a rather remote region of it and one that has been neglected in standard works."

 

By integrating Freud's exploration of the uncanny, the design elements in 'Sister Drum' are meticulously crafted to evoke this sense of discomfort, utilizing the psychoanalytic approach to tap into the deep-seated fears and unease that folklore horror aims to arouse. Freud's assertion that a psychoanalyst sometimes ventures into "a rather remote region" of aesthetics resonates with the intention behind the visual conception of 'Sister Drum', which seeks to illuminate the relationship between art and the human psyche, particularly through the lens of horror.

 

2.2 Understanding Horror Aesthetics

 

In understanding horror aesthetics for the production design of 'Sister Drum,' Paul Wells' insights in "The Horror Genre: From Beelzebub to Blair Witch" prove to be invaluable. Wells provides a thorough examination of the horror genre's mechanics, including the utilization of suspense, surprise, and mystery. A key concept from Wells’ analysis is the “monstrous element,” which he defines as an exploration of the essence of evil within the horror narrative. Wells describes it as, "The monstrous element in the horror text is usually an interrogation of the amorphous nature of evil, or an address of the limits of the human condition; physically, emotionally, and psychologically."

 

In the context of 'Sister Drum', this monstrous element becomes a critical tool for the production design. The prevailing archetype of the monster, as outlined by Wells, is not merely a symbol but a narrative device reflecting the myriad ways in which evil manifests. The design will reflect on the human condition, pushing its boundaries to create a visually compelling representation of the character's inner and outer turmoil. The costumes, hero props and makeup design will all carry echoes of this monstrous element, ensuring that each frame contributes to a cohesive horror aesthetic that is as unsettling as it is authentic to the Chinse folklore origins of the narrative. This adherence to the horror genre's core principles, as elucidated by Wells, will ensure that the film's production design is not only visually striking but also deeply rooted in the storytelling traditions that evoke fear and dread.

 

2.3 The Role of Production Design

 

Jane Barnwell's work, particularly highlighted in "The Designer’s Story: Filmmaking from the Perspective of the Production Designer," offers a comprehensive examination of the nuanced and influential role of production design in visual storytelling. Barnwell articulates a methodological approach to production design, which she has developed over years of scholarly and professional engagement. She describes, "The Visual Concept Methodology I have been developing a methodology called Visual Concept Analysis."

 

This methodology underpins the visual storytelling in 'Sister Drum'. It is through this lens that the production design for the film is crafted, aligning with Barnwell's structured process of establishing a visual concept based on a detailed interpretation of the script and extensive research. As Barnwell states, "In summary, the Visual Concept is first established by the PD, in order to visualize any particular project - defined through close scrutiny of the script and related research. Once established, the PD constructs a visual contrast to ensure the concept is clear, this then usually transforms through the course of the film, often reflecting the protagonist’s journey."

 

The approach to production design in 'Sister Drum' therefore is not static but dynamic, echoing the shifts in the storyline and the characters' development. Further elaborating on the elements that comprise this visual orchestration, Barnwell explains the significance of 'mise en scène': "The term mise en scène refers to the contents of the frame and the way they are organized - everything that appears before the camera, including; light, costume, color, décor, props, space, action, and performance. The framing and interaction of these elements in relation to the camera is analyzed to produce a textual analysis of the visual style of a production."

 

By incorporating Barnwell's analytical framework, 'Sister Drum' becomes a narrative expressed as much through its visual design, with every aspect of the mise en scène meticulously chosen to advance the film's storytelling objectives, ensuring that the visual evolution on screen is intimately tied to the overarching narrative, particularly in conveying the thematic elements of fear and horror.

 

2.4 Horror's Aesthetic Principles

 

In "The Philosophy of Horror: Or, Paradoxes of the Heart," Noël Carroll delves into the psychological appeal of horror, proposing an intricate analysis of why horror stories fascinate and terrify us simultaneously. Carroll ponders on the paradox of our attraction to horror, despite its engagement with fear and disgust. At the heart of this paradox is the monster, the linchpin that disturbs our conceptual schemas and excites our curiosity (Carroll). In the realm of Chinese Folklore horror, the use of production design to evoke this disturbance becomes a key artistic strategy.

​

​

He delineates monsters as anomalies, entities that "challenge our understanding of the world" by existing as categorical contradictions to established norms. Monsters that embody fusion, such as the werewolf, are violations of category, combining disparate elements into a single being. Applying this to the project, design elements might blend human features with those of mythical creatures from Chinese lore, creating entities that are unsettlingly familiar yet foreign.

​

​

Moreover, magnification and massification as explained by Carroll—exemplified by giants and swarms, respectively—offer avenues for representing terror through sheer scale and numbers. For 'Sister Drum,' this might translate into exaggerated proportions or numerous small details within the set that collectively contribute to an overwhelming sense of dread.

​

Directly quoting Carroll, one finds that these monstrous forms are not mere fabrications but are reflective of profound anxieties: "The monstrous figure is paradoxical in other respects; it is both a presence and an absence. " (Carroll). This conceptualization drives the visual strategy of 'Sister Drum,' where the production design seeks to create a tangible representation of the paradoxically absent presence, manifesting the unseen fears and the suppressed narratives of Chinese folklore.

​

2.5 The Monstrous-Feminine 

​

Barbara Creed's exploration of the monstrous-feminine in "Horror and the Monstrous-Feminine: An Imaginary Abjection" is critical for understanding how production design can invoke horror through cultural symbols of femininity and power. Creed notes, "Images of blood, vomit, pus, shit, etc., are central to our culturally/socially constructed notions of the horrific" (Creed, 1986), emphasizing the use of abject imagery to convey horror.

​

The production design can utilize her theories to challenge the conventional representations of femininity in Chinese folklore, emphasizing elements that historically signify the abject and, by extension, the monstrous-feminine. Blood and decay, symbolizing a rebellion against patriarchal constructs, can be woven into the visual narrative to represent a subversion of the 'law of the father,' a concept that resonates deeply within many patriarchal cultures, including traditional Chinese society.

​

Incorporating such potent symbols into the set, costume, and prop design, 'Sister Drum' will aim to create an environment that is both profoundly disturbing and deeply rooted in the cultural psyche. The project's visual style will aim to draw upon these elements of abjection to create a horror aesthetic that aligns with the tradition of Chinese folklore while also pushing the boundaries of the audience's comfort zones.
 

​