Horror films are a well-liked genre that has been around for a while, frightening viewers with its spooky scenes and spine-chilling characters. To highlight the differences between “The Conjuring” and “The Babadook,” I will analyze and compare the two horror films in this essay. Despite sharing a similar genre, the two films’ overall tones, casts, and stories are very different. The Conjuring and The Babadook are both horror films, although they differ significantly in tone, characters, and plots.
The Conjuring and The Babadook have very different tones, which is the first thing to note. “The Conjuring “‘s” Tone.” The fast-moving, action-packed horror film “The Conjuring” uses jump scares and loud sound effects to keep viewers on the edge of their seats. The movie has a more positive tone and has humorous and lighthearted scenes. The heroic deeds of the characters and their resolve to deliver others from the grips of evil give the movie its upbeat tone. “The Babadook’s” Tone. In contrast, “The Babadook” has a slow, ominous tone emphasizing psychological horror to frighten viewers. The movie has a darker tone overall, with a depressing and oppressive atmosphere (Thomsen & M, 2019). This is due to the film’s focus being the main character’s difficulties and difficult-to-overcome psychological traumas.
The characters in “The Conjuring” and “The Babadook” are very different, which is another aspect to compare. The initial cast of “The Conjuring” characters. Because they are primarily based on real people, the characters in “The Conjuring” sound believable. The heroes and action-oriented characters in the story prioritize rescuing other people. Their heroic deeds are further supported by the fact that their characters are well-developed and that the audience gets to know them more as the film progresses. The characters in “The Babadook” make up the second section. With a focus on their struggles and traumas, the characters in “The Babadook” are more nuanced and flawed (Church & D, 2021). The actors are more exposed and alone, and the movie is filled with futility and despair. The movie is even more frightful because these characters are more accurate, and the viewer can identify with their struggles.
The Conjuring and The Babadook have quite different storylines. The first point is about “The Conjuring’s” storyline. It has a simple, linear plot with a distinct aim and conclusion. The characters attempt to free others from demonic possession as the audience takes an exciting trip that centers around exorcism and paranormal research. The story moves along nicely and has a well-structured plot, which keeps the audience interested. The “The Babadook” plot is covered in the second section. While “The Babadook” concentrates on psychological terror and family dynamics, it features a more bizarre plot. The plot is more contemplative, leaving the audience uneasy with a sense of existential dread and perplexity (Gaunson & S, 2019). The movie’s plot is more intricate and demands that viewers use critical thinking to grasp its subtleties, which makes it even more unnerving.
In conclusion, despite sharing a horror genre, “The Conjuring” and “The Babadook” have very different tones, characters, and stories. The Babadook is a more contemplative film that examines psychological trauma and human challenges, unlike “The Conjuring,” which is more action-packed and centers on heroic individuals battling evil. The plot of “The Conjuring” is well-structured and has a clear objective. In contrast, the plot of “The Babadook” is more ambiguous and bizarre and necessitates critical thinking on the part of the audience to fully grasp its intricacies.
References
Church, D. (2021). Post-Horror: Art, Genre and Cultural Elevation. Edinburgh University Press.
Gaunson, S. (2019). Spirits do come back: Bunyips and the European gothic in the Babadook. A companion to Australian cinema, 355-369.
Thomsen, M. F. (2019). ‘You start to change when I get in. The Babadook growing right under your skin’: Monstrous intermediality in Jennifer Kent’s The Babadook. Horror Studies, 10(1), 61-72.
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