Essay on How Micro/Macro Elements Form the Narrative in The Woman in Black

The Woman in Black is a horror film that was released in 2012. It is based on a 1983 novel by Susan Hill having a similar title. The film tells the story of a solicitor called Arthur Kipps who is sent to a remote house to look into the affairs of its owner- a woman who had recently died (Hill 2011). He soon discovers that the house contains a vengeful supernatural being out to seek revenge. This essay looks at micro/macro elements in The Woman in Black and how it forms the films narrative.

The film follows Kipps as he travels to a small English village to handle the estate paperwork of the late Alice Drablow. Upon arrival, he realizes that all the villagers seem to be afraid of the deceaseds house, although no one volunteers to inform him why. While going through Drablows documents, Kipps hears noises coming from both outside and inside the house. Upon investigating by checking outside the window, he briefly observes a woman dressed in black, who then vanishes abruptly. Kipps goes back to town only to find out that a young girl had committed suicide by taking poison. He is told that the girls death was as a result of him visiting Drablows house. The villages believe that each time someone sees the woman in black, she murders a child as a way of avenging her own childs death (Hill 2011).

The films plot is definitely compelling and contains many instances that scare the audience. Given its brilliant art direction and cinematography, The Woman in Black is much better than most similar supernatural horror films. A house located in the middle of a swamp may not be scary enough. However, photography is done in such a way that the audience can feel the slightest change in the background, and can flinch even without the main character realizing something is wrong.

Tim Maurice-Jones, who was the cinematographer for the film, put a lot of effort to make it look like the classic Hammer horror films. This is evident given the large, gothic mansion and the rather scary ghosts. He used camera depth of field and motion to reveal things that may not have been part of the setting. The effect is that the entire Drablow house appears as if it is alive; always shifting and moving. The old house turns out to be more than merely a place haunted by supernatural forces- it becomes a kind of an entity and an extension of the ghosts.

One of the scenes that highlight the films brilliant cinematography is the opening scene. This scene is conceived and filmed using a dream-like style that pulls the audience into the unconscious where the scares dwell. It is almost completely visual, with the last cry from outside the window after the girls jump jolting viewers the reality that they have died. Several different types of shots are used, including a few close-ups of the objects in the room. They are meant to create as the characters are not shown; something that induces mystery. This is followed by long shot of the three characters that introduces the scene. Another shot is a close-up that introduces the girls so that the scene focuses on them.

The opening scene does contain elements of intrigue and suspense. Viewers will wonder why the three girls are behaving weirdly, and whether they will actually jump from the window. Once they jump to their deaths, the audience will want to know why they did. Also, the girls mismatched dolls somehow predict upcoming creepiness. Before jumping, they step on a dolls head and a china teapot, thus crushing them. Children love their toys and are unlikely to destroy them. The scene makes it clear that something creepy is taking place.

Everything about The Woman in Black is eerie and creepy. For one, Drablows home has all the elements of a haunted house-it is filled with old and dusty objects from previous tenants that are covered in cobwebs. Kave Quinn, who was the production designer, did an excellent job of making the home appear like an old and abandoned house full of ghosts. It even has a room containing old toys such as dolls with spooky facial expressions, crazy crowns, and unruly monkeys playing cymbals-exactly what makes up nightmares. Together with the isolated location and the fog, the old home makes it quite frightening and the ideal setting for a supernatural horror film.

Set in England in the 1910s, The Woman in Black is heavily reliant on atmosphere and tone. Its titular character is a superstition believed to be behind the deaths of several in a small coastal village. The opening scene shows three little sisters playing with dolls when all of a sudden they become entranced by an unseen force. This force compels them to abandon their play and move to the rooms window where they all at once jump to their deaths. The spooky first scene introduces an ominous tone for the remainder of the ghost story.

Kipps, the films main protagonist, is an estate attorney sent to the village to look into a deceased womans home. When he arrives, he is given a cold reception by residents who are afraid that his investigation of the home would draw out the ghost of the feared woman in black. It is believed that the supernatural being haunts the home as a way of mourning her deceased child. Kipps befriends a wealthy villager called Simon Daily, who directs him to the estate referred to as the Eeel Marsh House. The home can only be accessed through a long road stretch surrounded by marshes, and which becomes covered by fog and water whenever the tide is high.

The Eeel Marsh House presents all the elements of a horror film given its excellent set design. The spooky home and neighboring land are cinematically engaging as they are ancient and neglected. Its interior is just as impressive considering that it is filled with candle-lit interiors and gothic relics. Tim Maurice-Jones did an excellent job since the dimly-lit cinematography for inside the home heightens the feeling of fretful trepidation. The weather in the village, which is always raining, also contributes to the somber atmosphere of the film with its grey skies and dull nature.

The film excels in matters to do with suspenseful pacing and set design, although the scriptwriters manage to avoid gore and excessive violence. Despite this, however, there are instances when it appears a bit systematic in nature. For example, there are several cases of jump-scare that go hand-in-hand with unbearably loud sound effects meant to jolt viewers. Given that The Woman in Black prides itself in having all the elements of classic horror, the inclusion of such sounds is disappointing. Also, there are several instances when Kipps sights the woman in black at one moment only for her to vanish at a second glance. This strategy seems to lose its effectiveness since its done too often in a manner that it becomes overused. The numerous shots of evil-looking toys are also overused although they do play their intended role of adding spook to the films setting.

The lighting used throughout the film is constantly dull. The color grey is used to create a foggy and murky atmosphere that makes The Woman in Black even more creepy and eerie. Scenes set during the day are bright in a way that makes the audience feel more relaxed and comfortable. However, those set at night are dark and gloomy; meaning that characters dont observe their surroundings well and tend to feel unsafe and scared. Most scenes in horror films take place at night, and the lighting suits the elements of their storylines (Williams 2014).

Tim Maurice-Jones ensured that sound played a crucial role in the film. If it did not have that particular soundtrack, then it is unlikely would have been as scary. The music played throughout the film is quite tense and makes viewers expect something unpleasant to happen. As it gradually increases in volume, tension builds and the audience begins to freak out. This was a rather clever strategy utilized by the films directors, editors, and producers. It is evident in the scene set inside the Eeel Marsh House that features a rocking chair. As Kipps gets nearer to the room, the sound made by the chair becomes louder. This builds tension in the viewer that does not stop until the sound reaches its climax. Another example is when the music builds up to a crescendo and then water spurts out of a sink tap just when the audience expects something to happen. While the action itself is not scary, the music tricks viewers to become frightened.

The Woman in Black was edited in a brilliant manner. For instance, there is plenty of fast cutting that induces tension in viewers and makes it even more intense. Also, there are flashes of various images and scenes such as flashbacks that build on the films plot and induce a sense of apprehension. Flashbacks are presented in a different way from the ongoing narrative, as their scenes appear blurred in order to differentiate between current events and those that took place a long time ago. According to Hanich (2011), an archetypal horror film utilizes special effects and some editing to make any supernatural element appear more morbid and scary. This film, however, tries to make the ghostly characters as realistic as possible in order to make it more frightening.

The films cinematography is done excellently as it capitalizes on the contrast between long-range shots and close-ups. A good example is a scene in which the woman in black is filmed walking towards the lens only for the shot to abruptly cut to a face close up. Such strategy is effective since it makes the character appear closer than is actually the case-while the audience expects to observe her face much later. Plenty of over-the-shoulder shots are also used in The Woman in Black, such as those of Kipps looking straight ahead while some scary events are taking place behind him.

The Woman in Black is a riveting piece of classic horror film which incorporates several genre cliches while maintaining an excellent story. Atmosphere and mood happen to be the main elements that work rather well in making audiences enjoy the film. The plot effective builds suspense and tension and is boosted by some brilliant cinematography and amazing atmospheric visuals.

Bibliography

Hanich, J., 2011. Cinematic emotion in horror films and thrillers: The aesthetic paradox of pleasurable fear. Routledge.Hill, S., 2011. The Woman in Black: A Ghost Story. Vintage.Williams, T., 2014. Hearths of darkness: The family in the American horror film. Univ. Press of Mississippi.