THE GHOST BUSINESS, PICKING THE VISUAL CREATIVITY PARADIGM IN HORROR MOVIE Hendy Yuliansyah, Acep Iwan Saidi
Institut Teknologi Bandung
Abstract
The horror genre in national films is one sign of the progress of national cinema. Visualization of ghosts establishes boundaries, concepts, and paradigms that develop, in communicating the needs of society in social and commercial terms. The relationship between entertainment and the presence of a ghost figure packaged in commercial visuals has become a mandatory menu for horror films. The character of a ghost figure depicted with a face and several attributes such as clothes, long hair, sticks, and blood, becomes an identity that has a double meaning. Meeting the needs and interests of a dynamic society can be met through horror films. As a result, the development of the paradigm in the concept of horror has shifted both in understanding and engineering the presence of ghost figures by actualizing the boundaries of religion, sex, or comedy, towards a hybrid. An indication of the development of the concept of half ghost, and half human is the latest visual model of ghost figures, as the core problem of visual creativity in ghost figures. By using an interdisciplinary approach, the theory of Roland Barthe, and Gilles Deleuze, the object of research in the 1981 film ^Sundel Bolong^, ^Destroy the Science of Witchcraft^ (1989), ^Whisper of Satan^ (2018), and ^Makmum^ (2019), the findings can be stated great thinking that explains the detailed specifications of horror that impact on the dynamics of visual communication.
