Folktales, Film, and their Convergence with Horror

    The definition of a folktale is "a tale or legend originating and traditional among a people or folk, especially one forming part of the oral tradition of the common people." The secondary definition is "any belief or story passed on traditionally, especially one considered to be false or based on superstition." Though some of these stories have a moral to teach, not all do.

According to the Kennedy Center, folktales contain...

1.    The following elements:

• Usually about ordinary people/everyday life
• The stories include setting, characters, and a problem
• Characters are often flat, representing a specific trait (EX: selfishness)

2.    The following formula:

• Plot begins quickly
• Characters are one-sided
• The plot moves along well-trod paths
• All questions are answered before the end

    The process by which a folktale is turned into a film is a complex process. Due to the fact that nearly all folktales are passed along orally across many generations, one story can have many different versions. As such, the content that filmmakers have to work with can be varying. In order to translate the folktale successfully into a film, the filmmaker must balance traditional elements and aspects of the story with modern media demands.

    When deciding the story to choose for the film it’s important to consider how the story and its elements would fair with modern audiences. Many folktales contain elements of racism, sexism, homophobia, etc. which would not fair well with modern audiences, so it is important to consider how those elements factor into the story. Therefore it’s important that filmmakers decide upon which parts of the original story must remain, and which can be changed/removed in order to strike the balance between traditional and original.

    Changes to things such as setting, characters/characteristics, which elements are emphasized or diminished, etc. are all ways in which a filmmaker can change the folktale. Often, these changes will be made based on the target audience's needs. In 1950 Disney released Cinderella, an animated movie made for families/children. However, the original version of the folktale – made most popular by the Grimm Brothers – was far different. In the original version, the step-sisters cut off their toe and heel when the slipper wouldn’t fit, and they would later have their eyes pecked out by doves as punishment for their abuse. These acts of self-mutilation and violence were not suitable for Disney’s target audience of young children/families, so they were removed. Additionally, rather than Cinderella having a magical hazel tree she was given a fairy godmother in the Disney version. In doing so they made the usage of magic far more fun and engaging for their target audience. Though some elements of the story were changed by Disney they still stayed true to the themes, motifs, and lessons of the original Cinderella story – a perfect example of how to transform a folktale based on target audience needs.

Illustration depicting one of the step-sisters - from the original
Brothers Grimm Cinderella - attempting to cut off her toe in
order to make the slipper fit on her foot. Illustration by John
D. Batten for European Folk and Fairy Tales.

Frame from Disney's 1950 animated film Cinderella, depicting
one of the step-sisters being unable to fit the slipper on her foot
when trying it on. It instead just hangs on the end of her foot.

    By playing to target audience needs filmmakers can - and have - create the convergence of folklore, film, and horror. As I mentioned in my previous blog post the horror genre is meant to illicit shock or fear within its audience and is done so primarily through various supernatural forces. Most traditional folktales contain elements of horror such as monsters, making the transition from folktale to a horror film - as opposed to other genres - far easier.

    Multiple horror movies have been created based on folktales, with some of the most famous including; Nosferatu (1922), Witchfinder General (1968), Deliverance (1972), The Wicker Man (1973), The Company of Wolves (1984), Sleepy Hollow (1999), and A Field in England (2013). Many scholars argue the convergence of folktales and horror works so well because it allows for the exploration of the cultural/historical roots of horror itself. This is because - as previously mentioned - many elements of horror are derived from folktales. Additionally, these types of films can be used in order to explore the darker parts of human nature.

    In combining horror and folktales it will be important to play up those darker/scarier elements in order to keep with genre conventions and audience expectations. As the cinematographer, it's my role to help visualize the film and create its visual style. In order to do so I will need to work heavily with Gabby, since as director she gets the final say as to what goes and what doesn't - especially as it relates to the overall presentation of our film. 

    Some of the things that I will need to think about most when planning the visual style of this film are things like lighting, camera angles, framing, shot types, etc. as all of these can completely alter how the film is viewed. Thankfully, the story of La Llorona is one full of horror elements. As such, it comes down to preserving and employing the visual conventions of horror, via my role as the cinematographer.