大学英语专业毕业论文：电锯惊魂解析American Horror in The Saw

ACKNOWLEDGEMENTSItismyhonortositatheretoexpressmyheartfulworktoallthosepeoplewhohavehelpedmetofinishthispaper.Tobeginwith,Iwanttosaythankstomysupervisor,MrsHu,forherpatientguidanceandcarefullycorrect.Mrs.Huhasgivenmemanyvaluablesuggestionsastothestructureofthispaper.Iamalsoindebtedtoherforherearnestreadingofmypaper,whichmakesabigdifferenceuponmywrittingandfurtherdevelopment.Second,Iwouldliketousethisopportunitytoshowmythankstoalltheteacherswhotaughtme.AllknowledgesIlearnedwillbeapreciouswealthinmywholelife.IamthankfultoalltheteachersattheDepartmentofForeignLanguages,JingdezhenCeramicInstitute.Finally,Iamgratefultoallmyfriendsandrelativeswhodonotbothermeinmystudytime.Withoutthem,Icouldnotgetusefulcontentsformypaper.摘要《电锯惊魂》是美国电影惊悚系列中恐怖效果极强烈且票房表现极佳的典型之作,同时也是美式恐怖中极具代表性的作品之一。身陷地狱而痛苦涤罪的情节构成了该片强烈的宗教隐喻,封闭的空间与心怀叵测的他者构成地狱的双重象征。凶手预设游戏所着力表现的强力规则,规定游戏中的玩家将势必做出无法选择的选择,从而维护规则的权威。这些都深刻体现了强烈的美式恐怖特点。同时，在其制作过程中运用了先进技术加工音乐与道具，都将美式恐怖特色发挥的淋漓尽致。这对中国恐怖片有极强的借鉴意义。关键词：电锯惊魂；美式恐怖；宗教隐喻；中式恐怖ABSTRACTTheSawisacriticalworkinAmericanhorrormovies,whichcontainthebestscareimpactandhigherboxoffice.Deepinhellandlavationpainconstituteitsstrongerreligiousmetaphor;closedplaceandpeopleconstitutedualsymbolizeaction,playersmustmakechoicetokeeptheauthorityofrules.AllofthesearedeeplyshowthefeaturesofAmericanhorror.Alsoituseshigh-tech,whichissignificantforChinese.Keywords:TheSaw;Americanhorror;Religiousmetaphor;ChinesehorrorCONTENTSAcknowledgements=1\*romaniAbstractinChinese=2\*romaniiAbstractinEnglish=2\*romanii1.Introduction12.AmericanHorror23.TheAmericanHorrorinTheSaw23.1Intheplot23.2Inreligiousmetaphor43.3Inmusicandprops64.AmericanHorrorandChineseHorror75.Conclusion8Bibliography10１３AmericanHorrorinTheSawIntroductionJamesWanwasborninMalaysiawhowasmixedwithkindsofcountries’temperament.HeaimedatmakingHollywoodcommercialmovies.In2004,hismaidenworkTheSawbumpedintoHollywoodsuccessfullyandmadeagreatcouponSundanceFilmFestival,whichgainedbothfameandwealth.Jamesinputonly120milliondollarwhileinreturnhehadfor1.03milliondollarboxoffice.Meanwhile,TheSawwasselectedinthe500mostgreatnessmoviesofempireandwasrankedonfamouswebBloodyandDisgustinginnorthAmerica.ThemostimportantisTheSawrevivesAmericanhorror’smarket;atthesametime,itsbecomeHollywood’snewsignificance.JigsawhasbecomethelistofHollywood’shorrorfilm.Theuniquesuspenseisthemainreasonaccountingtothisfilm’ssuccess.Therearetwopartsinthisfilm.OneisGordonandAdamfindthemselvesimprisonedinawastedrestroomwheretheyfacedwithwereleavingordeath.TheotherispolicemanTypewhosurveyserialkiller.JamesWanusesinvertedordertodescribethewholefilm.TheSawreproducestheserialkiller--Jigsaw,whichcanbefoundinSevenandThesilenceoftheLambs.SecretchamberhasalsoanimportantplaceinAmericanhorror,suchasCubein1997andPanicRoomin2002.InChild’sPlay1,2and3,theyallhavedolls.Besides,JamesWandevelopedapanicworldthatputliveonpunishmentandredemption,willyoubeabetterman?Makeyourchoice.Later,JamesWanscreensecondfilmtoseventhfilmoftheSawinsuccession,theyarecircleswithincirclesbutaroundameaningfulcentralidea,allthe7partsgivepeopleadeepimpressionandgetunanimouspraise.TheSawisthecriticalamongAmericanHorrormovies,notonlyshowsintheplotandlogicalthoughts,butalsointhemusicsandprops.ThismovieisanewdevelopmentofAmericanHorrormoviesandcontributetothethemovie’sdevelopmentofthewholeworld.HorrormoviesinChinadevelopsslow,andhavenotnewbloodtoputin,whichbecomeslowerthananyothercountries.So,itisworthenoughtostudythismovie,andanalysisitsfeaturesandadvantages.Inthispaper,Iwillwritefourpartstointroducethetheme.First,introductionofTheSawandAmericanhorror.Second,introductionofAmericanhorror.Third,analyzetheAmericanHorrorinTheSawfromtheplot,religiousmetaphor,musicsandprops.Fourth,acomparativeofAmericanHorrorandChineseHorror.2.AmericanHorrorHorrormakespeoplefeelfearfulanddread.Inthe1930s,horrorwasdevelopedasamodernart,whichexperiencedalonghistory.Whilenomatterhowitdevelopsandchanges,itmusthaveacceptedsubject.Thesesubjects’feelingfromtheseartbecomethemostimportantstandardtomeasuresuccess.Horrorisanimportantemotioneffect.Therearethesefactorsinhorror:death,devil,blood,witch,werewolf,wildanimals,soul,religion,body,undergroundandsoon.Todaythesefactorsareusedinfilmseverywhere.Nomatterhowthesefactorschange,inAmericanHorror,therearefourbasichorrors.First,nervousnessoranxiousness.SuchasTheShinning’sleaderJack,becauseofsolonelinessandmuchpressurethatcontributetopsychiatricdisorders.Hissavageactsinfilmgivepeoplesuchfeelinglikenervousnessandanxiousness.Second,physiologicalchange,suchasinNeilMarshall,thoseliveundergroundseemlikehumanbeingsgivepeoplefearfulfeeling.Third,externality,liketrembleornervous.SuchasMisery,thewriterisafraidoffacingwithaabnormalnurse.Forth,avoidthetendencyofsomemoodsentiments.SuchasPredator,thespecialtroopswanttoescapetheforestthatbringthemunexplainabledeath.Peopleareafraidofdeathsothattheywouldlikerunawayoravoidsuchtendencyoffeeling.Thisisbecausedeathhasirreversibility.SoactorsinmostofAmericanhorrorfilmsarerelatedwithdeath.Americanhorrorfilmshavetheirownnormativeandhistorical.First,Intermsofnormative,filmsarebasedonaudiences’feeling,thatis,whetherpeopletachycardiaoradrenergicgethigher,whetherpeoplefeelhorrible,worriedoranxious.IfafilmhasthesecommonthingssothatcalledAmericanhorrorfilm.Ofcourse,asinglefilmmaybreakawayfromthisnormative,butwecannotdenyitsform.Onthecontrary,thebetterthedirectorusesit,themoresuccessfulitis.Intermsofhistorical,horrorfilmwasbornin1920s.Aftermorethan90years,Americanhorrorfilmhaschangedfrommakingsensorystimulitomakinghorribletofinishsocialcognition.MostpeoplehaveanimpressionaboutAmericanhorrormovie--blood.Therearebloodeverywhere;theresidueofbody,visualimpact,allofthesemaymakepeopledisgustedandwanttoturnroundtheirhead.Americanhorrormoviesalwaystakefearfulelementsastheprincipalthing.Amongthesemoviesinrecentlyyears,themostfamousistheSaw,whichisverybloodyandsavage.Itisinevitabletomakesomepeoplefeeldisgusted.Itissuccessfulforamovietomakepeoplefeellikethat.Amorbidityandcrazyamok,kindsofweirdandterrorkillingwaysandameaningfulcentralideaachieveJamesWan’smaidenwork.In2008,AutopsybecameAmericanhorrormovie’sclassicwork.Thewholemovieisfullingofbloodandviolence.Musicstandsoutmorehorriblephenomenon.Themosthorribleistheending,Victimsstarttorevengebyautopsylivingperson.Whenpeopleseetwomensmokingandtalkingamongpiecesofcorpse,theycannotstopdisgusted.Theirheartcannotbearthisbloody.Recentyears,AmericasometimescopiesJapan’shorrormoviessuchasJu-onandATaleofTwoSisters.ItisknownthatwedaretoseeAmerica’scopy,becauseitneedscouragetofacewiththatsubvert.3.AmericanHorrorfromTheSaw3.1IntheplotTheSawusesflashbacktodescribethisstory.Therearetwoparts,theoneisGordonandAdamfindthemselvesimprisonedinwastedrestroomandtheirchoiceswhenfacedwithleavingordeath.TheotherispolicemanTypewhosurveysserialkiller.ItisabigproblemforJamesWantoknowhowtomakesuspenseinthesetwomajorcomments.From1to7,Jigsawwillchosepeoplewhodonotvaluelifetopunishthemthroughmanybloodyways.Anyonewhoarechoosewillbeputanestablishedplacetofinishsometasks,Atfirst,theywillbegivenatapeandasmallradiototellthemwhytheyareinthere,andtheirtasks.Ofcourse,thesetasksareverydifficulttofinish,mostofthemneedpeopletobearpain,blood,friends’deathandsoon.Then,Iwillintroducetoyouindetail.Americanhorrormoviescommonlyhavefourparts:setup,complicatingaction,developmentandclimax.Inthesetup,ThefirstmanAdamfindshimselfinabathfullingofwater,oneofhisleglockedbehindarustywaterpipe.Oppositehim,thereisamanwhosamewithhimlockingbehindapipe.Inthemiddleoftherestroom,thereisabodylyinginthepoolofbloodandagun.Now,nobodyknowswhathashappenedandwhytheyarehere.Allofthesebringaudienceamysteriousatmosphere.Theyallfoundsomethingintheirpocket.Nooneknowswhytheywerekidnappedinsuchastrangeplace.Alsotheydonotknowwhattodonext.InComplicatingAction,themurderertellsthemthroughasmallvideoholdingintheundergroundman’shand.Thisvideotoldthemtheirtasks,GordonmusthavetokillAdam;iffailed,theytwoandGordon’sfamilywoulddie.Inthedevelopment,GordonandAdamwanttocheatthismurdersothatGordonpretendstokillAdamtofinishthewirepuller’stask,buttheyfailbecauseAdamiselectricunexplained.Wegodeepintoanothermythandwanttocontinue.Themostimportantpartistheclimax.Tosavehisfamilies,GordonseeshisownfootbyThesawhefound,thisphenomenonissobloodythatpeoplecannotbear,hedragshisfeetouttofindhelp.AfterGordonLeft,onlyAdam.Themanwhointhemiddleofthefloorsuddenlystandsup,sayingtoAdam,gameoverandlocksthedoor.LeavingAdamalonewithoutanythingelse..Thewholemoviewasfilmedinaclosedrestroom,calledlimitedspacehorrormovie;thistypeofmoviesarelimitedbyplaceandtime.Itmusthaveexcellentsuspensedesignandcharacters’psycho-drawingtoattractpeople.Itisthecauseandeffectlinearstructure,thatis,thestoryisbasedonitscauseandeffect,followsthesingaltimetodescribe.Inearlytimes,sometimes,theywouldmixupwithastoryhappenedpast.IntheSaw,Gordoniskidnappedintherestroom,hetrieshisbesttomemorythethingbeforehearrivesathere,andshowshegetsoffworktotheparkinglottoavoidshowingonlyonescreen.AnotherfamousfilmlikethisisMisery,thewriterPaulisreadytogooutafterfinishingthenovel;heexperiencesanaccidentbecauseofthesnowstorm.Beforeflashbacktotheprompt,peopledonotknowwherehewantstogo,sothismovieaddstohisjob,positionandtheimportanceofthenovel,soweareallclearaboutwhathappened.AfterthecriticalHollywoodhorrormovie,moreandmorelifestyleorproseessaystyleappeared.Limitedspacehorrormoviestillkeeptheplot’scloseness,seriouslyfollowsetup,complicatingaction,developmentandclimax.Inthedivision1to7ofTheSaw,allofthemfollowthisrule,sothatinthelastofthedivision7oftheSaw，audienceknowwhyJigsawdoesallofthis.Inthetheoryoffilmofpublic,theself-identitybetweenaudienceandactorscanleadtoaudiences’emotionandfeeling.Dr.YoungP.Tthinks:whenorgansimtendtoactive,thereisapositivenervouscentrailsworking.Sothistypeoffilmcanbesuccessful,thepremiseisaudiencecanfeelthesamepanicorhorrorfromthefilm.Thepointofafilmfrom--Theaudiences’attentiontoactorsfaint,urgentlyknowwhathewilldonext,whatishisfeelingandbehavior?Thesuspenseofafilmisbasedonaudiences’pityandfeartoprotagonist.Thedelightofafilmisaudiences’pityandfearcanbeledofftoobtainabalanceinheart.Inreality,mostofusareafaridofelevatororbasement,becauseweareafaridofbeingalone.Theseplacesarelikeaclosedbox,oncesurroundedinthere,itisasituationthatsecludesfromtheworld.ApartfromAmericanhorrormovies,therearemanytypes.In1994,Lifeboatfirstusedlimitedspacetype,Exmorningin2009,PanicRoommadebyDavidFincher,TwelveAngryMenwhichgainedmanyOscarNominees,andTaphephobia,aspecialmovie,whichonlyhasoneactorandacoffintabuttocompeletthisfilm.LiketheSaw,Jigsaw’smurderallhappensinaclosedplace,Fromdivisiononetoseven.ThedivisiononeofTheSawhappenedinawastedrestroomwhichdoorcannotopen,andtherewasnoroadtogetout.Itisnotimportantthatwheretherestroomis,onlyalockeddoormayberelatedtotheoutside,alsoadisgustingclosestool.Anotherimportantinsuranceistime,inthistypeoffilm,thelimitedtimeismuchimportant.Timeisnotonlyapellucidphysicstime;butalsoholdthisstory’scontinuityanddeeplyleadcharacter’semotionandactivities.InTheSaw,AdamandGordonareonlygivensixhourstofinishatask.Gordon’smemorytransfertopoliceman’sexploration,thistimemakesthisstorydevelopment,andbecomestwoparallellineswhenclimax,whichisgoodforavoidingtoosimplescene,thewholestorybecomesmoresuspenseful.Ontheotherhand,therearemanyotherclosedplacesalternatinginthismajorlines,thatis,themurderisaddictedtokillingpeopleinasecretroomandletsthemrunawaywhereitisimpossibletoleave.Alsothesesecretroomsarelimitedtime.Thecommonthingisthatalthoughtheleadingcharactersaretoldhowtorunaway,theycannotrunsuccessful.Theseplaysarealittlebitshortbutfullofviolentaesthetics.Anothercommonthingisthattherearealwaysnotonepersonlockedinaroom,buttwoormore.InthedivisiononeofTheSaw,therearetwomenintherestroom,inthedivision3oftheSaw,therearesevenpeople,inthedivision5oftheSaw,thereare5people.Itisnoteasytojudgewhoistheleadingcharacter.Sothosesuspensefuldesigncometruethroughactorswhotrytheirbesttosurviveandshowhumanityinhopelesssituation.Thisisthedeepmeaningtypesoffilmwanttopursue.Severalpeopleinaroom,whethertheywillgettogetherorbeenemies,thatistheirsituationsothatmoresuspenseappear.TheSawatfirst,GordonisaskedtokillAdam.ItissoeasyforGordon.Butinlimitedtime,Gordoncannotdothis.Theytwofromdistrusteachothertobelieve.Finally,themurdererforceshimtokillAdamthroughhisfamily,Gordonhadnochoicesohesawshisfoot.Gordon’skindnessiscontractedwithJigsaw’scruelty.Whileinthedivision3and7oftheSaw,severalpeoplelockedinaroom,theymustfinishmanytasks,theychoosetohurtotherstosurvive.Atlast,theyfoundthatonlygettingtogethercanrunaway.SoJigsawalsogiveseveryonetheopportunitytolive,butfewpeoplecanknowitclearly.SoJigsawsaysmanypeoplelivewithoutknowingbeinggrateful.SoTheSawshowsthetruehumanity.Horrormoviesaimsatmakingfearfulemotion,sotherearealwaysaparanoiapersonalitypeoplewhohavespecialreasonstokidnapleadingcharacters.Itisdifficulttothinkwhethertheyarereasonableornot.Becausetheyareaparanoiapersonalitiessothattheythinktheyareright.Sheisacrazyfanofanovelist,sothenovelistmustwritethenovelfollowingherideas,thisisMisery.AlsoinPhoneBooth,astrangerdoesnotlikepeoplecheatingandlying,sohemustaskforleadingcharacterstelltruthtohiswife.Althoughtheirreasonsseemreasonable,allofthisaimsatfulfillingthemselves.IntheSaw,Jigsaw’swifeabortsandhehimselfhasacancersothathehatesanyonewhodonotcherishtheirlives,hewantsthemtoknowtheimportanceoftheirlifethroughalotofbloodytasks.3.2IntheInreligiousmetaphorTheSawisasuccessfulmovieinAmericanhorrormovies.Explorewhyitcansucceed,Jigsaw’sactivitiesmetaphortotakeplaceofthegod.Besides,mostofstoryhappenedinaclosedplace,whichstrongtheruletoforcesothataddedtheviolencebetweenpeople.Inthe1990s,theGermanyphilosopherNietzscheannouncedtotheworld:Goddied.Hethinksthatinpeople’sdeepheart,theirbeliefstogodisleavingthetable,whichisthemajorresourceofcohesiveforceinwesterncountriesnowbeingabandoned;godiskilledbyourselves.Whileatthattime,consumerismwasthemajorthought;peopletendedtobelievetoenjoytodeath.Solackingofreligiousisafact.Americanhorrormovieisalwaystheinsinuateoftheemotionandthinkingofwesterners.themurdererinTheSevensaysthat,today,itisnotenoughtobackslapsothatotherswouldlistentoyou.Evilissurroundedus,onlyinthisconfusionsociety,someonewhowaskilledbymecanbecalledinnocent.JohnDewinthismovieregardshimselfasgodtopunishthosepeoplewhobreakthelaw.AswellasJigsaw,hisplanisnotonlyfarmorethanordinarypeoplesothatplaythevictimsinhishands,butalsoforcethevictimstoautotomysoastohelpthemselves,Jigsawisactuallya“religious”tutor.Onlyvictimswhoreceivehislessoncanlive;otherswhorefuseorescape,theyonlygotodie.Jigsawisnotsatisfiedthegod’sdeath,hewantstotakeplaceofhimsothathetakesupthedutyofpunishment.Someonewhois“guilty”canhaveredemptsalvationthroughhiselaborateplans.AdamanddoctorGordonfindthemselvesbowndinasmallrestroom;inthemiddleoftheroom,thereisabloodymanlyingonthefloor.Adamhystericallyandasked,heconfusedaboutthedark;hehasnothingtodo.Theansweristhatheisinthehell.TheDivineComedywrittenbyDantesays,thedoorofthehelliscarvedhorriblemottothatis,yougoingintotherecanletyougiveupallthehope.ToDante,themosthorriblethingofhellistohavenohope.Whiletherearenosulphur,fireorwindinthisrestroomofthisfilm,fromnowthen,thewholesituationisunderJigsaw’scontrol,andfinallythisclosedroombecomesalandofdeath.GordonisforcedtoautotomyandgunslinglingtoAdam,whilenoneofthemcansurvive,AdamiskilledbythemanJigsawwhodisguiseslyingontheflooratfirst.TheplacethatAdamandGordonstayinisclosed.Thewastedrestroomseemslikebeingwastedformorethanthousandsofyears.Thetwoarebothboundedonfootandcannotshakeoff;anewclockisapropthatJigsawwantstotellthemtime.Alloftheseareforcingplayerstodoactions.Theonlywaytoescapeishurtingthemselves.InJigsaw’seyes,thisisredemptionsalvationofsoul.Hellmaynotbefulloffireorwind,machines,strangersoranyotherthings.Anythingexceptyouishellwhichstartsfromaclosedplaceandsomebloodygamesrelatetoyourlife.someonewillhelpyou,buttheycannotgoagainstpreinstall.What’smore,someonewhohelpsotherswillbecomeamurdererbecauseofapauseofthinking.Thiswillingofhelpingwillcanceratetobaddirectionunderpreinstall.ThetapeofJigsawtellplayers“Let’splayagame”.Thisisnotonlyourmeaninginchina.“Play”isverydifferentbetweenwesterncultureandChina.Itisthebasisoflifeandcontainalltheexperiences,suchaspain,shockandsoon.Gameisaseriousthingunderitsrules.Childrenwillputthemselvesingameheartandsoul,hisbodiesandknowledgewillbecomestrongerinthispart.Thereareatleasttwothingsofgame,theone,establishedrulesunderwhichpeoplecannotcheat.Theother,havingwinnersandlosers,winnersgettinggiftandlosersbeingpunished.Butinfilms,whetherfolloworobeyrulestheyallwillbepunished,whichisbasedonguilt,theresultistoforgiveandlive.Someonewhorefusespunishmentwilldie.Theruleissostrong,Jigsaworhispupilswearpigheadmasktosurpriseattackvictimsandanesthesiathenputtheminthegame,alsoforcethemtoacceptthisviolence--whoeverbreakstheruleswilldie.Victimsonlycanacceptsuchselfdistructingthatseemsunimaginable.Thesestrongsensesofgameandrulebreakupplayers‘flukemind,makethemfacingthetruthandsubmittoplanners’mind,finallyprotecttheauthorityofrules.Atthebeginning,audiencehavealreadyknowntheinevitablerulesbutplayersdonotknow.Hitchcockcosays,showingthetimebombundertableatfirst,therearepeopleplayingcardsaroundthetable.3.3InthemusicandpropsTheSaw’ssoundscapeisverycriticalinAmericanhorrormovies.Thefilmconnectswiththemusicalelementtightly,whichseemsalittlebitrebellingagainstorthodoxy.ThissoundscapeoffilmisarrangedandplayedbyCharlieClouser.Whatmakeshimfamousisthatherearrangesthesoundingmixing,recomposesmusicalelementsratherthan“creation”.SowecanregardClouser’sfilmasrecomposeandsoundingmixingofsomeparts,ratherthanthemusicitself.Hisdubbiyinbackgroundmusicisalwaysharsh,emotionalbutstandingoutofthetextureofmusic.Also,TheSawshowstheassimilationofnewtechnologyandnewcraft.Technologymakesadifferenceinfilmmusic;technologydeterminismisalwaysattractive.In1980s,theelectronickeyboardwascheapandconvenientwhichleadtoaeruptionofpopularmusic;musiciansweremajorinmakingthroughtheseinstruments,whichdeeplyinfluencedthefilmmusic.In1970s,JohnCapenterusedmophotowritehissimplebackgroundmusic,whichsoundedsowonderful.While10yearslater,thesebackgroundseemlikeainspiretomodernmusic.GreecekeyboardistVangelisisfamousforhisbackgroundinChariotsofFireandBladeRunner.ThoserockkeyboardistslikeRickWakemanandKeithEmersonstartedsetfootinthispart.Itisarevolutionarydevelopmentfromsimulaterealitytodigitalsound,whichinfluenceeachunitofAmericanhorrormovies.TheSawshowsthatthemusicandsoundeffectisacomplexpart,whiletheself-sufficiencyofsoundtrackusingsynchronousextensiondoesnotmakemanycontributions.Jigsaw’sactivityistheSaw’smajorpart,heisamurdererwhoisfulloforiginalityandimaginationandhecanplanaseriesofwaysfordifferentvictims,whichneedsahighercreativity.InTheSaw,twomenarelockedinawastedroomandcannotmove,whichisbasedontheimportanceofmagnificentsoundeffect.Besidesitsflashbackpart,thewholemoviehappensinalimitedroom,sothesoundneedstochangetoavoidpeople’sfeelingbored.Althoughthestoryiswonderful,thevisionisstiff;sothebackgroundmusiccancovertheshortage.Thelimitedplaceleadstoawonderfulhearingplace;thehearingelementssustainafeelingpartthatisdeniedbydioptricconstructions.Jigsawhearsbutnotseetheirwholeactivitiessothattheleadingactorsdonotnoticehim,sothisfilmcanberegardedassoundsystem.InTheSaw,therearefewcommunicationsandlackingsofaudioandvideoquality.Besides,therearetwocharactersinaroom;theyprovidetalkingopportunitywithoutshowingspeakingpeople.Thecameracanmovesmoothlysothataudienceshavearealizeofthestructureoftheroom.Althoughthisfilmshowsthedevelopmentofdubinbackgroundmusic,atthesametime,italsousemanyuncertainsounds,suchasbuzz,scrapingandheavilycrash,allofthoseareinthisfilmbutseemlikefromtheoutside.Wecannotfindthesourceinthefilm.Xionusesacousmatictodescribetheseuncertainsounds,wheresourcesareobscure.InTheSaw,wehearsomemetalsoundswhichmaycomefromthemovie,buttheyarenotthetraditionalsounds.Later,thisisusedinmanyAmericanhorrormovies;in2005TheFog,SelmaBlairsitinhercar,horriblesoundssurroundherandshecannotfindthesource.AlsoitisthesameinNightmareonElmstreetfilmsandStarTrek.Themusicinfilmliberatesfromitsfunctionandepitasis,canmixwithmusicfreely,whichshowthedirectlyemotionandinnerlife.ThistraditioniscreatedbyHollywoodandtransferredtothewholeworld,whichhasabigeffectonthedevelopmentoffilm.Itaimsattakingapartsoundeffectandmusic.Thisshowsafeelingthatallthingsintheworldhaveclearlyattetion,whichsymbolizesAmericanhorrormovies.Asforprops,inTheSaw,themostcommonisasmallvideo,whichbringsvictimsintothegame.Jigsaw’spropsareallmadebyhimself,likeanklets,knife,andthewordhemakesintapes.Hecangrasppeople’sweakness,likethatmaskwhichhookupspeople’slowerjaw,orfloorwhichiscarpetwithglassfragmentthatvictimmustwendonthem,orawirefencewhichisfillingwithironthatcanhurtvictim;nomatterwhatpropsare,thecommonthingisonlybloodtoomuchandclosetodeath;theywillhaveopportunitytolive.InAmericanhorrormovies,thesebloodypropsareeverywhere;Forexample,inFinalDestination,theelectricwiresplitapersonintotwohalves.AndinCreep,amanwerekilledbyasubway.ButinTheSaw,thepropsallseemsmallbuthavebigfunction;inthedivision2and3ofTheSaw,Jigsawarrangeallhispropsfollowpeople’sconventionrule;hispropsallcanbeavoidedifpeoplechangehissmallhabits,buttheydonot.Sothemostimportantispeople’sheartbutnotthepropitself.Jigsawstudiespeople’spsychologycarefully.Sohisarrangementiswonderful.Andheconnectsthepropswithvictims’weakness;onlythroughbreakingtheirweaknesswilltheyrebirth.Thatisalsothegoalofhisgames.Someonewhodoesnotcherishliveisnotqualifiedtohavelife.Allpropsshowthisgist.4.AmericanHorrorandChineseHorrorChinesehorrormoviesstartedalittlebitlater;acommonsayingisthatin1937,SongofMidnightisthefirsthorrormovieinChina.AmericanhorrorstartedearlierthanChina,anddifferentpeoplehavedifferentopinions;somepeoplethinkin1895TheArrivalofaTrainisthefirsthorrormovie.Infact,itisonlyashortplay.SomeonethinkHauntedCastlein1896isthefirstmovieofAmericanhorror.Alsomanydifferentpeoplehavedifferentideas.Whileallofthisisbecausetheirjudgementaredifferent,thehistoryisobjective.AlthoughChinesehorrormoviehasdevelopedalongtime,theircreativityalsostaysataninitialperiod,therearefewcriticalworks.Thequalityiscommonlylow,thetypeissingleness,thestoryisechoingandthesceneissimilar.LackingofimaginationmakesaudiencesnotlikeChinesehorrormovies.Manyreasonsaccounttothisphenomenon.First,traditionalculturehasabigeffectonmovies.Thedoctrine“Confuciusnevertalkedaboutodd,puissance,turmoilanddeity”,stronglyforcedthewhole