The video essay may be seen below:
I Am Legend: A Prime Depiction of Isolation Horror Creator’s Statement
In I Am Legend: A Prime Depiction of Isolation Horror I demonstrate how, through a cinematic character study of Doctor Robert Neville, complete psychological existentialism, created through isolation, can be visually depicted in conjunction with a narrative in I Am Legend (Francis Lawrence, U.S., 2007). This presents I Am Legend as an excellent example of Isolation portrayed on-screen, in conjunction with the sub-genre of Isolation horror. I first outline the cinematic scape the director, Francis Lawrence creates, through daunting expansive establishing shots of the conventionally populated Manhattan; now presented as a desolate, looming skeleton of social contact. Visually, we are thrust into this empty cityscape which Robert occupies completely alone prior to an exploration of the narrative. I examine the sub-genre as a whole, portraying how it can be broken down into three separate sections with their own conventions; conventions all used by I Am Legend, with a primary focus on the existential downfall that is inevitable from a lack of human contact. I make visual reference to examples of each of these subsections of the genre: Cast Away (Robert Zemeckis, U.S., 2000) and Moon (Duncan Jones, U.K., U.S., 2009) in reference to the Geographical subsection; 127 Hours (Danny Boyle, U.K., U.S., 2010) and Buried (Rodrigo Cortes, Spain, 2010) in reference to the Social subsection; and The Lighthouse (Robert Eggers, U.K., U.S., 2019) and The Lodge (Veronika Franz and Severin Fiala, U.K., U.S., 2019) in reference to the existential subsection. I also outline that the film is a prime example due to its timeless essence surrounding the depiction of a cinematic star being cast against type to demonstrate psychological deterioration; referencing Vincent Price in The Last Man on Earth (Sidney Salkow and Ubaldo B. Ragona, U.S., Italy, 1964) and Charlton Heston in The Omega Man (Boris Sagal, U.S., 1971).
I outline how the film uses these earlier adaptations to portray a modern take on the text, focusing directly on demonstrating isolation. I detail that the film can be broken down into five distinct narrative sections that each have their own audio-visual constructions, in conjunction with narrative events to present a mental decline within Robert Neville. The formation of my essay surrounds presenting a short clip from the movie before dissecting it, visually and through narration, presenting the deeper meanings present. This is done through visual overlays, graphic colour matting and waveform displays to detail how cinematography/lighting, mise-en-scene, editing, performance and sound are constructed – in-tandem – to illuminate Neville’s perception of safety contrasted with the reality of his impending doom. I additionally use multiple musical scores from the soundtrack of the film, within different sections as a subtextual presentation of the contrasting tones and ambience of perceived safety versus actual danger and isolated existentialism. The construction of multiple sections which I transition between are used to compartmentalise the narrative significance of specific moments and the effect they have upon Neville. I start with the mundane existence he has crafted for himself for stability before transitioning through the narrative to eventually link different portions that build up to his needless sacrifice. He accepts that his life of isolation has been a slow purgatory more than a complete existence.
Outside of the visual elements of the video essay, I explored scholarship that assisted in my research and formalisation of the video essay, examining written as-well as visual texts. First, I examined the theoretical underpinnings of the fascinating undertones of the sub-genre. Francis McAndrew outlines that ‘under some circumstances creepiness and horror can be seductive and […] this allure comes from questioning what we ourselves would do if we found ourselves alone, forming mental strategies to deal with it.’[1] This element of self-projection into the narrative sphere is the bedrock of isolation horror and is prominent within I Am Legend, with a diverse introspective look at a singular individual in an inescapable situation. I also examined Carl Royer and B.L. Cooper’s statements on introspective effects stating that ‘much of the finest horror […] deals with psychological horror.’[2] The horrific visual construction of the film is built upon this innate fear that underpins the genre, where inescapable introspective torture is more emotionally provoking than external stimuli, such as the situational dark seekers in I Am Legend. I also made use of Justin Robert’s statement that ‘the hero […] is a total product of his or her environment’ within the actual visual fabric of the video essay to highlight it’s importance.[3] As my essay presents this idea of perception versus reality within the realm of Robert Neville, this idea that – within such narratives – the hero forms environmental schemas was key for my understanding of how to display the environmental contrasts Francis Lawrence conveys in his directorial construction. I researched conventions of films featuring vampiric creatures to look into the external effect the dark seekers have upon Neville. Abbott states that “Rather than embodying humanity’s Legend, Neville’s legend is rescuing the remaining humanity.”[4] Rather than following the conventions of the genre – outlined within the original novel I Am Legend (Richard Matheson, 1999) which shaped the genre shown in other works such as The Stand (Stephen King, 2008) and The Passage (Justin Cronin, 2010) – and submitting to the dark seekers, acting as a martyr of humanity, Neville protects the cure he gives to Anna, accepting a lack of hope within himself, accepting that he cannot connect with the future humanity due to his deterioration. Finally, I also explored video essays about I Am Legend specifically for inspiration and intriguing elements examining deeper meanings. Ryan Hollinger states that ‘Robert tries to survive the dangers of both the outside world and the loneliness and isolation that plagues his mind.’[5] This focus on the two dangers: the dark seekers and Neville himself frames how I presented the ending of the video essay with a focus on match cuts with two perspectives of interior and exterior danger. The channel Macabre Storytelling also outlines in their video essay that I Am Legend engages in ‘flipping the script [and] removing the hopeful aspect of the narrative.’[6] This notion was pivotal within my video essay as I explored how Neville is connected with Sam, his pet who is the only safe form of social contact available to him. How, without Sam, he realises his existentialism and even with the inclusion of human contact and a hope for a future he lacks any essence of hope. This exploration of other texts and an in depth-viewing of films within the sub-genre aided the construction of my video essay.
Word Count: 1086
Video may also be seen on Vimeo here below:
Link to Video-Essay: I Am Legend – A Prime Depiction of Isolation Horror Video-Essay.mp4
Bibliography:
Abbot, S. (2016) ‘Undead Apocalypse: Vampires and Zombies in the 21st Century’, Edinburgh University Press: Edinburgh.
Cronin, Justin. (2010) The Passage. Ballantine Books.
King, Stephen. (2008) The Stand. Hodder and Stoughton.
Macabre Storytelling (2020) ‘I Am Legend – One Fatal Flaw’, Uploaded On: Youtube. 17th November. Available at: https://www.youtube.com/watch?v=Wmvgea1vP7o (Accessed: 28th October 2024).
Matheson, Richard. (1999) I Am Legend. Gollancz.
McAndrew, T. Francis. (2020) ‘The Psychology, Geography and Architecture of Horror: How Places Creep Us Out’, Evolutionary Studies in Imaginative Culture, Vol. 4(2), pp. 47-62.
Roberts, J. Justin. (2016) ‘Transforming the Hero of I Am Legend’, Journal of Popular Film and Television, 44(1), pp. 42-50.
Royer, Carl and Cooper, B. L. (2013). “Chapter 2: “And I brought you nightmares”: The Play of Horror in Hitchcock’s Films”, The spectacle of isolation in horror films: dark Parades, Routledge, p. 25.
Ryan Hollinger (2019) ‘The Haunting Meaning of I Am Legend’, Uploaded On: Youtube. 25th August. Available at: https://www.youtube.com/watch?v=9VEDxyQnA6U (Accessed: 25th August 2019).
Filmography
Buried. (2010). Directed by Rodrigo Cortes. Spain: Versus Entertainment; The Safran Company; Dark Trick Films; Kinology; Studio 37. Main Cast: Ryan Reynolds (Paul Conroy).
Cast Away. (2000). Directed by Robert Zemeckis. United States: 20th Century Fox; DreamWorks Pictures; ImageMovers; Playtone. Main Cast: Tom Hanks (Chuck Noland), Helen Hunt (Kelly Frears), Nick Searcy (Stan).
I Am Legend. (2007). Directed by Francis Lawrence. United States: Village Roadshow Pictures; Weed Road Pictures; Overbrook Entertainment; Heyday Films; Original Film; Rose City Pictures. Main Cast: Will Smith (Doctor Robert Neville), Alice Braga (Anna), Charlie Tahan (Ethan).
Moon. (2009). Directed by Duncan Jones. United States and United Kingdom: Stage 6 Films; Liberty Films; Xingu Films; Limelight. Main Cast: Sam Rockwell (Sam Bell), Kevin Spacey (GERTY).
The Last Man on Earth. (1964). Directed by Sidney Salkow and Ubaldo B. Ragona. United States and Italy: Associated Producers Inc.; Produzioni La Regina. Main Cast: Vincent Price (Doctor Robert Morgan), Franca Bettoia (Ruth Collins), Giacomo Rossi Stuart (Ben Cortman).
The Lodge. (2019). Directed by Veronika Franz and Severin Fiala. United States and United Kingdom: FilmNation Entertainment; Hammer Film Productions. Main Cast: Riley Keough (Grace), Jaeden Martell (Aidan Hall), Lia McHugh (Mia Hall), Richard Armitage (Richard Hall), Alicia Silverstone (Laura Hall).
The Lighthouse. (2019). Directed by Robert Eggers. United States and Canada: A24, Regency Enterprises, RT Features, Parts and Labor. Main Cast: Robert Pattinson (Thomas Howard), Willem Dafoe (Thomas Wake).
The Omega Man. (1971). Directed by Boris Sagal. United States: Walter Seltzer Productions. Main Cast: Charlton Heston (Neville), Anthony Zerbe (Matthias), Rosalind Cash (Lisa), Paul Koslo (Dutch).
127 Hours. (2010). Directed by Danny Boyle. United States and United Kingdom: Pathe; Everest Entertainment; Film4 Productions; HandMade Films, Cloud Eight Films. Main Cast: James Franco (Aron Ralston), Amber Tamblyn (Megan), Kate Mara (Kristi).
[1] Francis T. McAndrew. (2020) ‘The Psychology, Geography and Architecture of Horror: How Places Creep us out’, Evolutionary Studies in Imaginative Culture, Vol. 4(2), pp. 49-50.
[2] Carl Royer and B. L. Cooper. (2013) ‘The Spectacle of Isolation in Horror Films – Dark Parades, Routledge, p. 25.
[3] Justin J. Roberts. (2016) ‘Transforming the Hero of I Am Legend’, Journal of Popular Film and Television, Vol. 44(1), p. 42.
[4] S, Abbott. (2016) Undead apocalypse: Vampires and Zombies in the 21st Century, Edinburgh University press, Edinburgh, p. 36.
[5] Ryan Hollinger. (2019) ‘The Haunting Meaning of I Am Legend, Uploaded On: Youtube. Available at: https://www.youtube.com/watch?v=9VEDxyQnA6U, 00:02:28-00:02:40.
[6] Macabre Storytelling. (2020) ‘I Am Legend – One Fatal Flaw’, Uploaded On: Youtube. Available at: https://www.youtube.com/watch?v=Wmvgea1vP7o, 00:12:40.
Awkward opening sentence I had to read it several times to understand it.
Think through punctuation
Excellent
