FILM TITLE, SLOGAN, AND MAGAZINE NAME

1. The BasementThis is the current working title of the horror film I am creating within my promotional package, as well as being my first idea for a film title. It follows a very conventional pattern amongst supernatural horror films, with a ‘the’ being the first word of the title, lending significance to the next word and demonstrating a sense of sophistication. A ‘basement’ is also a conventional source of evil in many horror films, and it can therefore be said that this title will immediately signify the subgenre to the target audience.

Its simplicity and short length is misleading, however – although I am creating an atmosphere-driven horror film, a complex narrative and unique premise will turn the conventions of the title and all they imply into something entirely new. By keeping it

this ambiguous, audiences will be compelled to go and find this out by themselves.

2. A Door in the DarkI like this idea for a title for several reasons. Firstly, it differs from the standard conventional film title, as it uses alliteration to convey memorability and disregards the typical ‘The’ at the beginning. It is also more ambiguous, and encapsulates the uncertainty of the characters as they stumble through the series of events that lead to their demise. However, the issue with this film title is that it serves as too ambiguous and daring for a film that is part of a promotional package. Abiding to the more conventional title of ‘The Basement’ satisfies audiences’ ideas about the genre of film immediately, and will therefore be likely to entice them to watch the film.

3. THE DEVIL IN THE BASEMENT

This idea further opens up associations with conventions of the supernatural genre by referring to

‘the devil’, a common antagonist in horror films. However, this idea was

disregarded quickly, as I feel it provides too much of an insight into the narrative as well as giving the

audience a ‘set’ idea of what the film will be like – which may lead to their

disappointment upon viewing the trailer. It also ruins the unique scare at the end of the trailer, depicting the silhouetted devil in the dark.

4. A Breath on your Neck

This is the least conventional of all the titles available, and similar

to ‘A Door in the Dark’ in the strong feelings of fear it evokes. I

feel it is less successful than ‘A Door in the Dark’, however, as it fails to give any indication as to the unique premise of this film.

Although the title clearly resonates within the genre of horror, it is too ambiguous to serve as the title of my film.

FILM TITLES

FILM TITLE FONTS

The Basement – Times New Yorker: This font is perfect for this title as it is reminiscent of the Hammer horror films of the past, while retaining a serif font to elevate it above this status and root it within the supernatural genre. This shows how the film will replicate the more atmosphere-driven horrors of the past in a more modern setting, with a completely unique narrative. Blotchy, clouded letters are reflective of the characters’ slow descent into madness as the film progresses.

A Door in the Dark – Arial: This font encapsulates the supernatural genre, lending the unconventional text of the title a firm placement within familiar territory for an unsure target audience. More modern horrors such as The Conjuring and Jessabelle use this font, and its sans serif typeface reflects an ominous simplicity and ghostly presence.

The Devil in the basement – nightbird: The nightbird font here is more attuned to the chaotic climax of the film, further insinuating the narrative. This is also reflected within the extended length of the title itself.

A Breath on your Neck – Mongolian Baiti: This font is more reminiscent of gothic horror films, and this interlinks with the idea of a ‘breath on your neck’ – a common staple of gothic/supernatural films that hooks the unconventional title into a subgenre. The elegant, serif font is likely to insinuate a high level of sophistication, an idea supported by the ambiguity of the title itself.

SLOGANS1. Don’t look

Although I initially didn’t want a slogan for my horror film, I eventually thought of ‘Don’t look’, and to me, it perfectly encapsulates the spirit of the film, and the utter reluctance to enter the basement that is displayed by Joel. It is also an effective imperative in regards to getting audiences to watch the film – the emphasis on ‘don’t’ implies that the content of the film will be especially shocking, and it is this that will drive audiences to ignore the advice

and watch it anyway. Indeed, it is likely that such a slogan will resonate within the target audience, as they struggle to look or try to hide their eyes during some of the more intense scary scenes within the film. This slogan manages to retain the mystery and sophistication of my film, without injecting

too much complexity into the narrative to overcomplicate it and beguile potential viewers.

2. Stay away from the darkThis applies a similar logic to ‘Don’t look’ in urging viewers not to engage with the film, when it will entice them to do exactly the opposite. However, it is much more specific in it’s approach, lessening the effect of the horror and remaining too conventional to be scary. It is also unnecessarily wordy, thus reducing its chance of being remembered – the most important feature of a slogan. It does stay true to the premise of the film, however, and would have served to give a good impression of what viewers could come to expect from going to watch it. However, the ambiguity of ‘Don’t look’ forces audiences to question what they shouldn’t be looking at, and it is much more powerful in this regard.

3. It lives there.I like this slogan for a variety of reasons. Firstly, it is ambiguous enough to retain the mystery of the narrative, while forcing the

audience to question what ‘it’ is – another reason to push them to go

and watch the film. It also resonates with the title of ‘The

Basement’ more than any of the other slogans, lending the title

meaning and generating further fear as to what could possibly ‘live

there’. Despite this, the tone of such a slogan is too casual and

conversational, as though uttered by another human being, and I

feel this detracts from the sophistication of the film.

SLOGAN FONTS

Don’t look – Arial: This font encapsulates the supernatural genre, which will assist audiences in recognising the subgenre as it takes a more conventional approach than the clouded font of its corresponding title. More modern horrors such as The Conjuring and Jessabelle use this font, and its sans serif typeface reflects an ominous simplicity and ghostly presence that reminisces with the simplistic shots and scenery within the film.

Stay away from the dark – Rockwell: Another conventional font, this would also serve to anchor the title to the subgenre. Furthermore, as this is a bold and hard-edged serif font, the placement of this slogan against the background darkness of the poster would lend it more clarity than any other font – giving even more meaning to the advice to ‘stay away from the dark’ – as even the font is trying to escape it.

It lives there. – FrankRuehl: The font used here is interesting as it manages to look like the stereotypical ‘serif’ font, with no unique style or distinguishing factors. This, in the context of the slogan, is an advantage, as it adds further adds ambiguity to the statement that ‘it lives there’ – anything could live there. It would also provide a noticeable amount of contrast with the title.

MAGAZINE NAMES1. The Overlook/Overlook

This was my number one choice for a film magazine title as soon as I began creating my promotional package. As I am creating a magazine specialising in the horror genre – akin to the premise of Fangoria

– I have opted for a title that will signify the genre as well as provide a summarisation of the magazine’s ethos. ‘The Overlook/Overlook’ does just this, as it references the famous, haunted hotel in

the widely known and acclaimed ‘The Shining’, as well as showing how the magazine will provide an ‘overlook’ of all subgenres within horror, appealing to a greater variety of horror fans. It also brings to mind associations of being watched by some dominant presence, which will further draw the audience

into the genre and make them appreciate the magazine’s dedication to covering scares and frights.2. AmityviewThis was a pun on the word ‘Amityville’, another famous location within a horror film, but I chose not to use it as it fails to capture the sophistication and professional coverage of the magazine. This is because the Amityville horror is a gory, overblown film subjected to bad remakes and numerous documentaries, and horror fans are likely to be aware of this.

3. HELLWATCHAlthough this title definitely signifies the genre that the magazine will be covering it implies that it will be mainly

focused on the more ‘intense’ horrors. This is because the word ‘hell’ is associated with

various extremities and is likely to be used more in conjunction with monster

based horror films. Again it also fails to capture the

sophisticated element of my film magazine.

4. FoghornThis was my second choice for a magazine name, as it

clearly signifies a mysterious, dark sound

associated with the paranormal. It is also a

common used sound effect in horror films across the ages, signifying how the

magazine will cover films new and old. Despite this, it

has little creativity behind it, and therefore cannot

reflect the unique premise of the magazine.

MAGAZINE NAME FONTSThe Overlook/Overlook – Euphorigenic: This font is dramatic and elegant in its style, with long flowing letters reminiscent of the horrors of the 1930s and 1940s on their large, bold posters. Generally, this provides a contrast with the more modern associations with the ‘overlook hotel’, further enforcing how the magazine will cover all ages and subgenres of horror. It is also a unique font, with few other magazines boasting one even remotely similar.

AMITYVIEW – Rockwell: A bold and hard-edged serif font, Rockwell is bold, brash and ‘loud’ – reminiscent of the film it puns upon in the title. Its use of serif firmly anchors it within the horror genre.

HELLWATCH – Black Asylum: The total chaos of this font is perfectly representative of the chaos and horror of ‘Hell’ and fits the dynamics of the text with ease. The watch over hell that is promised here is also emblematic of a ‘watch’ over the various ages of all horror, generating a broader scope for the magazine that still remains faithful to its horror orientated roots.

Foghorn – Euphorigenic: This font is dramatic and elegant in its style, with long flowing letters reminiscent of the horrors of the 1930s and 1940s on their large, bold posters. The stark contrast with the isolated, colourless imagery and sound associated with a foghorn, therefore, reflects the unique brand identity of the magazine.