A Nightmare on Elm Street (1984): A Supernatural Revisionist Reinforced by Belief

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Wes Craven’s A Nightmare on Elm Street (1984) presents a unique take on the slasher/stalker subgenre as it questions reality with the implementation of veracious nightmares throughout the narrative. Additionally, a door is opened with the underscored killer, Freddy Kruger (Robert Englund), as his supernatural origin opposes anteceding existential killers of the subgenre. Analogous to previous slasher films such as Halloween (1978), Craven’s film proves worthy of its similar subsequent laudable franchise. However, during the time of A Nightmare on Elm Street’s release, the slasher film model had been stretched thin with repetitive exploitation of the framework. From less recognized films such as Prom Night (1979) to highly praised films like Friday the 13th, the narrative of the film model was becoming more quotidian with each new release. It was up to Craven to resurrect and restore the viewer’s faith in the sadistic subgenre. Through Freddy Kruger’s introduction to the established slasher film structure, Craven provides his viewers with the antidote to their boredom. While Craven intermittently relies on special effects to construct his killer’s full transcendent potential, Jacques Haitkin, the cinematographer, artfully complements these effects by contextualizing colors and sound; pressing the significance of key scenes on the viewer. As a result, the terrifying film grossed $25 million in the United States box office while leaving the horror fan-base with a venerable killer who would be a mascot of the genre for years to come.

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Reinventing an Abandoned Genre: An Analysis of “Scream”

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I cannot think of another name in American horror that has the stature of the late, great Wes Craven. Craven, who sadly passed in 2015, is a name that many of you are likely aware of, perhaps subconsciously, even if you don’t necessarily recognize it in passing. To refresh the memories of those who are scratching their heads at my previous statement, Craven was responsible for some of the greatest and most well-known horror films and franchises ever made, including 80s mega-hit A Nightmare on Elm Street (that’s Freddy, for the less informed), his 70s midnight movie darlings The Last House on the Left and The Hills Have Eyes, as well as some more obscure hits you may recognize like the Rachel McAdams-led and highly underrated Red Eye and, well, whatever the hell The People Under the Stairs is (has anyone seen that movie, by the way? It’s weird).

But I digress.

What I’ve written about here is what may be Craven’s ultimate masterpiece in my eyes, the 1996 phenomenon that is Scream. Scream is a film that single-handedly rewrote the canon of the slasher film. Scream satirized the many clichés that had made the subgenre as popular as it was in the 80s, while also bringing it forward into uncharted, postmodern territory, ultimately becoming the most successful slasher flick ever at the box office and paving the way for a resurgence in the genre in the following decade. This is where we would see eventually the releases of imitators such as Final Destination, I Know What You Did Last Summer, and yes, even Scary Movie.

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An Analysis of the “Nightmare on Elm Street” Series – Part 1

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In 1984, a young director named Wes Craven unleashed the monster known as Freddy Krueger upon the world, and we loved it. After A Nightmare on Elm Street was released, the newest horror icon, Freddy Krueger (played magnificently by the horror cult icon, Robert Englund), became a household name throughout the 80s and 90s.

With A Nightmare on Elm Street came an abundance of toys, a television show, Halloween costumes, and I wouldn’t be surprised if a “Freddy O’s” breakfast cereal was in talks at some point. Freddy Krueger was arguably the biggest movie icon of the 80s. Forget Johnny Depp (whose first role was in the original NoES); forget Patrick Swayze; forget Tom Cruise. We wanted more Freddy, and we got it in the form of six sequels.

Nearly everyone has seen the original A Nightmare on Elm Street (or it’s 2010 remake), but not nearly as many people have ever given the many sequels a chance. Because of this, for my first-ever post here on Jet Fuel Review Blog, I will be looking at the first three of six sequels (Nightmare parts 2, 3, and 4) and determining if the hype for Freddy Krueger was deserved or not.

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