{"title":"‘A Hint of Joy Before it All Goes to Hell’","authors":"Josh Grimm","doi":"10.2307/j.ctv13841bg.4","DOIUrl":null,"url":null,"abstract":"This chapter discusses how David Robert Mitchell repeatedly listed John Carpenter as one of his main influences. It describes the opening scenes of Mitchell's It Follows on a tree-lined suburban street outside Detroit at dusk, which is considered a sister city of Haddonfield from the film Halloween (1978). It also explains the horror prologue as an essential component to the genre that serves as a mini trailer and provides a justification of the monster or as a way of keeping the audience tense or aware that they are watching a horror film and not a drama. The chapter assesses the striking opening vignette of It Follows, which is more than a typical horror film opening that features the killer attacking. It mentions Mitchell's first movie The Myth of the American Sleepover in 2011, which played a role in creating the world of It Follows.","PeriodicalId":377751,"journal":{"name":"It Follows","volume":"13 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"It Follows","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv13841bg.4","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
This chapter discusses how David Robert Mitchell repeatedly listed John Carpenter as one of his main influences. It describes the opening scenes of Mitchell's It Follows on a tree-lined suburban street outside Detroit at dusk, which is considered a sister city of Haddonfield from the film Halloween (1978). It also explains the horror prologue as an essential component to the genre that serves as a mini trailer and provides a justification of the monster or as a way of keeping the audience tense or aware that they are watching a horror film and not a drama. The chapter assesses the striking opening vignette of It Follows, which is more than a typical horror film opening that features the killer attacking. It mentions Mitchell's first movie The Myth of the American Sleepover in 2011, which played a role in creating the world of It Follows.