Jason Collins
I am a pop culture horror fanatic with what some would say is a healthily unhealthy obsession with the magic of gore and special effects. When I’m not thinking about how George Romero helped give us one of the greatest genres known to man, I can usually be found musing about why two tiny lab rats truly wanted to take over the world every night.
The Sound of Fear // Why Some Horror Movies Are Defined by a Single Noise
Most people think that horror begins with what they see. Perhaps it’s with a shadow in the hallway, a figure standing too still, or a face appearing where it shouldn’t. This is why so many movies invest heavily in monster design and special effects. However, some of the most effective horror movies understand that fear is delivered with another one of our senses. It usually begins with a single noise. That’s the sound of fear.
Repeated often enough, a single noise can become more unsettling than any visual reveal. Think of Xenomorph’s clicking growl before its tail or claws even appear on screen. Such sounds are often more unsettling than anything we experience with our eyes, as they train the audience to anticipate danger before it fully appears.
You hear it a few times before the horror appears. Before long, the sound itself has become the monster. By the time something finally steps out of the dark, the hairs on your neck are already standing at attention.
Halloween understood this perfectly. Our minds rationalize threats. However, we have trouble rationalizing monsters, even when they look human. Take Michael Myers as a perfect example of this. His mask removes all personality and makes him appear empty. His breathing, especially when filtered through his mask, makes him sound inhuman.
Other movies, such as The Descent, also use sound to their advantage. It serves a terrifying purpose. The creatures’ clicking noise does more than announce their presence to the victims. It alerts the audience to the upcoming action. That sound invites the viewer to experience the film.
The Babadook does something similar with its guttural croak, which sounds unnatural enough to be disturbing. It’s less of a voice and more of a signal. It instantly changes the atmosphere among the audience, making the silence sound louder. It’s the human equivalent of a deer caught in a headlight.
The truth is that sound in horror doesn’t just accompany fear. It conditions it. It turns viewers into participants, forcing them to wait, listen, and dread. As it lingers in the background, tension builds. Before you know it, the anxiety has built to a crescendo, and fear has grabbed hold. All thanks to a single noise.
Jason Collins
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