The following article deals with cinematic techniques which provide feelings of the uncanny that are used in horror films, particularly in the stalker film, Halloween (USA 1978, R: John Carpenter). The concrete device of framing will first be situated in the context of medial technology and mediality. Distinctions will then be made between the uncanny and anxiety with regard to the effects of framing, especially in relation to the objects within the frame and the specific status of the frame. The final part of the article will contextualise this discussion in relation to the concept of “Whiteness”, understood as an object of anxiety, and its application to the figure of the serial killer.
|Keywords:||Film, Anxiety, Psychoanalysis, Whiteness|
Assistent Professor / Universitätsassistentin, Department of Theatre, Film and Media, University Vienna, Vienna, Austria