Fear is one emotion that everyone dislikes, and it is as unavoidable asnight or day. Through the use of novels, plays, films, short stories, and poemsit becomes clear that fear is an emotion that the writer like to heighten notonly in the protagonist, but also in the reader. After reading great works bypeople such as George Orwell and Stephen King, it becomes clear that fear in themost uncontrollable emotion, quick to come, and long to last. The horror moviesof today may bring about a cheap scare, but to truly fear something is the sameas dying a thousand times over.
All people have a worst fear, be it heights orducks, that an author or film maker can use to their advantage. Their goal is tomake the hairs on the back of one’s neck raise, as well as have them lookingover their shoulder as the story progresses with more twists and turns than aroller coaster. Aforementioned, the main purpose of this research is to provethat fear is an emotion that is prevalent throughout all genres, regardless oftopic or plot, and through meticulous research of all genres, the fear presentedin all shall be revealed. The first genre to be discussed will be film. Afterviewing such classics as Last of the Mohicans, The Red Badge of Courage, andBartleby, it becomes clear that the film making industry is not at a loss forinstilling fear.
There are films that make one’s pulse quicken as the storybecomes more involved, or some that have one lying awake in bed at nightthinking of the frightening stuff they had just seen. The whole concept of fearin a film is not a prolonged fright, but a short lasting one, that may concludeafter the end, or in some cases, a few days afterwards. The first film that wasviewed was The Last of the Mohicans. It was a story that encompassed all theemotions, from love to fear. The first instance of fear was short-lived butstill present, it began as the opening credits finished, and three men arerunning through the forest at high speeds. The viewer begins to speculate as towhat they are running after, or more importantly, from.
That instance of fearwas a letdown and also quickly forgotten, but the emotion was still presentnonetheless. A short ways into the film the viewer is introduced to an Indiannamed Magua, and through his speech and body movements it becomes noticeablethat he is concealing an ulterior motive, but the viewer can only wonder atwhat. Magua then acts as scout leading two women and a regiment of troopsthrough the woods it becomes clear that something is about to occur. As thesigns of impending action come one’s pulse quickens and one may even leanforward in the seat in anticipation. The rising fear is rewarded as a group ofIndian braves attack them from the woods and then as the battle is happening onebegins to fear for the lives of the main characters that were only recentlyintroduced. In all predictability, they survive, but for a moment the viewer wasfearing the worst.
As the group proceeds to the fort which is under attack fearis of course stirred to life. Not very strongly, but like a splinter in one’smind, it is always there. Through the film the fear for the lives of the maincharacters comes into play quite often as they are involved in manylife-threatening situations and whatnot but the real heart stopped comes at theend of the film. Magua has captured the two female characters and the Mohicansare racing up the mountain after him to save them. As they approach the peak,the Mohicans catch up, and a brutal fight ensues.
Magua then fights one of theMohicans one to one, and the viewer begins to think, good always beats evil. Although not in this case, as the Mohican plunges to his death off the side ofthe mountain, the viewer is in shock, than the viewer remembers that his newlove witnessed the whole thing. The horror is too much as she is taken over byfear of having to live without him, and she too hurdles to