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Balance in the film frame can be constructed through a variety of means – the even spacing of objects throughout the space, for example – and the harmony

engendered by that balance can subsequently affect the viewer’s engagement with a particular scene. Similarly, imbalance can be generated by resisting the conventions of visual equilibrium. It can also, however, be stimulated by the technologies of cinema and simulated by manipulating the diverse metaphors that arise from

18 The rule of thirds is a more subtle way of creating frame balance in cinema. Instead of clustering significant characters around the central axis, the frame is often constructed around a grid of third intervals. The frame is split horizontally and vertically into three sections, with characters and objects of importance being situated at the intersections of each third. As such, a frame with a human body positioned at third intervals from left to right will appear as balanced as one with the human in the centre.

Figure 2.4: The Rule of Thirds

physiological experience.¹⁹ Marcus Dunstan’s The Collector (2009) achieves a distinctive unbalancing of the visual field through its repeated invocation of the physiological experience. Often assigned to the ‘torture porn’ category of

contemporary horror, the film deploys a simple plot: ex-convict Arkin must return to house burglary in order to raise money for his wife who owes a debt to loan sharks.

Using his job as a way to stake out houses, Arkin identifies a large gemstone he wishes to steal. On returning to the house after nightfall, however, Arkin realises that someone else – The Collector – was also staking out the house for an entirely

different reason. Arkin must run the gauntlet of The Collector’s torturous traps as he attempts to escape.

Torture porn is, as Steve Jones argues, remarkably difficult to define.²⁰ Usually incorporating films as diverse as Hostel (2004), The Devil’s Rejects (2005), The Hills Have Eyes (2006), The Strangers (2008) and The Collector (2009) the dynamics of the interrelation between violence and pornography are not always clear.

Jones claims that the confusion over what torture porn is originates in the wide interpretations of the confluence of violence and pornography such that,

on the one hand, the films are said to juxtapose violence with nudity, or emphasize sexual violence such as acts of rape and castration. On the other, they allegedly present non-sexual violence in such gory, close-up detail that their aesthetic is akin to pornography.²¹

The Collector is not an overtly sexual film – it contains only one scene of a sexual nature, which is dominated by The Collector’s voyeurism rather than his sadism – but instead wears its sexualised connotations in the form of The Collector’s gimp mask. A stylised version of the sadomasochistic costume ‘ramped up to horror movie material’

the mask, as noted by Gary Needham, dominates the film’s publicity material to such an extent that it becomes the killer’s signature look.²² In addition, the preoccupation

19 Up is good, for example, is a metaphorical association evident in language (we get a pay rise, we get a foot on the property ladder, things look up, and so forth) that is principally based upon the upright posture of the human body.

20 Steve Jones, ‘The Lexicon of Offence: The Meanings of Torture, Porn and Torture Porn’, in Controversial Images: Media Representations on the Edge, ed. by Feona Attwood, Vincent Campbell, I.Q. Hunter and Sharon Lockyer (London: Palgrave, 2013), pp. 186-200 (p. 187).

21 Jones, ‘The Lexicon of Offence’, p. 187.

22 Gary Needham, ‘Bringing Out the Gimp: Fashioning the SM Imaginary’, Fashion Theory, 18 (2014), 149-168 (p. 163).

with confinement – in trunks, basements or houses – and The Collector’s own apparent fascination with watching the suffering of his victims make a clear case for the categorisation of the film as a visually titillating pornography of torture. What seems to be missing from many considerations of so-called torture porn films, however, is analysis of the way in which the film is presented to and subsequently interacts with the viewer. Rather than pornography indicating a definitive link to the sexual elements within these films, I would like to suggest that the term is instead associated with a mode of embodied fascination that emulates the embodied experience of arousal, but does not automatically necessitate the sexuality of its namesake. This mode of embodied fascination is facilitated through the combinations of form and content that incorporate and indoctrinate the viewer’s body into the viewing experience. For The Collector, embodiment is facilitated through its

exceptional appeals to the vestibular sense of balance and orientation. Indelibly tied to the impetus and experience of locomotion, the vestibular sense is adept to manifesting the frantic, life-preserving action represented in horror and it is this organic link that renders the viewing experience unstable.

The opening sequence of The Collector (2009) displays a distinct focus upon balance through its repeated emphasis upon bilateral symmetry and visual

equilibrium. Prior to the credit sequence there is a sweeping right-pan of a house at night; a lit insect trap is situated in the left foreground and provides the only light as disproportionally large beetles crawl over one another (Figure 2.5, below). The juxtaposition of insects and signifiers of American suburban ‘normality’ echoes David Lynch’s Blue Velvet (1986). Although lacking in the satirical tone of Lynch’s all-too-perfect white, middle class America, the sentiment nonetheless remains as human society is underpinned, or encroached upon, by an animalistic anti-civilisation.

In The Collector it is the intrusion of the insects – the fact that they appear in the foreground and attempt to overrun the additional signifiers of human society, such as the houses – that contributes to the sense of foreboding that is built into the opening scenes.

In the scene above, the three-dormer bungalow is nestled behind the intrusive insect trap and gradually emerges to the right of the frame as the camera continues its smooth track. Despite the bungalow remaining unfocused in the background it retains a degree of visual importance for a number of reasons. It is initially familiar, easily recognisable from its bilaterally symmetrical dormer windows even though the low-key lighting scheme ensures it is kept primarily in shadow. Although the insect trap dominates the left third of the frame the fact that the bungalow slowly comes to occupy the second two-thirds gives it a compositional weight that further increases its importance. In addition, the most discernable and familiar of its characteristics, the dormer windows, are approximately positioned at third intervals along the horizontal axis. By positioning the lightest and most discernable feature of the bungalow at one of these intersections the house regains in visual weight what is lost through the unfocused, poorly illuminated nature of the scene. The high key lit and overly large insect trap is prominent but does not entirely overwhelm the perceived magnitude of the house. Despite its relative unimportance to the human viewer, the size, lighting, prominent frame position and the fact that it is oriented to the vertical axis draw the eye in such a way that the right and left portions of the frame seem to be equally filled with similarly sized objects. As a result of the combination of this visual equivalency, the smooth movement of the camera and the relative quietness of the soundtrack in this scene, there is a sense of calmness that pervades the shot in spite of the usual connotations of chiaroscuro lighting, the viewers’ expectations of the genre and the horizontal orientation that subtly implies discomfort. Indeed, as this short sequence

Figure 2.5: The Collector (2009)

progresses the initial calmness that finds its metaphor in images of balance recedes to tension as the eponymous collector terrorises the inhabitants of the bungalow.

During the following credit sequence intermittent images of frogs, millipedes, dung beetles and spiders are interposed with fleeting chiaroscuro images of an upright human body. The contrast between insect and human orientations provides a visual restatement of the assumption of the uniqueness of human existence as the bipedal figure stands alone among the insects, a collector and master of the vermin he hoards.

Yet the proximity and repetition of the insects draws the human toward the perceived lower order of the insect world. The iconography of animals set against humanness generates a sense of ambiguity as ‘the essential sameness/difference of the

human/animal divide’ becomes impressed upon the salient features of the film.²³ The human body is isolated in such a way that it stands out amongst the primal and

primitive animals: the same and yet different in a domineering, overpowering sense. It is first implicitly equated with that of an animal and then a semi-sentient insect that is, to the human mind at least, incapable of higher order processing, emotion or

compassion.²⁴ Human versus insect is a well-travelled path for horror film – from Blue Velvet and The Fly (1986) to Tremors (1990) and The Human Centipede (2009) – with arthropods and annelids having long been symbolic of the intrusive anti-human. That The Collector chooses to hoard these animals is indicative not only of his own difference or monstrosity but also the disavowal and dismemberment of the human body that is enacted by the film. The body is problematized by the presence of the insects as they at once connote radical inhumanness whilst retaining many of the experientially fundamental faculties of embodiment that question the special status of humans as ‘civilised’: like humans, the insects are bilaterally symmetrical, show cephalisation, build communities, generate communicative ‘languages’, designate tasks and participate in inter-community conflict.

The primary adaptations of the nervous system of a bilaterally symmetrical animal are: centralisation, whereby nerve fibres are bundled together in specific areas of integration (such as the spinal cord and areas of the brain in mammals) rather than

23 Paul Wells, The Animated Bestiary (New Brunswick: Rutgers University Press, 2009), p. 28.

24 The mechanisms and implications of aligning the human body with that of another, differentially orientated, animal will be considered later with reference to Tom Six’s The Human Centipede where the human body is aligned first with that of a dog and ultimately with the eponymous centipede.

being disparately spread throughout the body; and, cephalisation, which is the concentration of major nervous system structures at one end of the animal (the head/brain in mammals).²⁵ In this juxtaposition of human and insect, the acts of human reasoning are reduced to the most basic presuppositions of survival and, more insidiously, the kind of curiosity that may motivate an avid collector of the insects.

Significantly, both of these states, survival and morbid curiosity, are heavily mediated by bodily instinct and sensation. To be bilaterally symmetrical thus connotes a

particular way of being in and experiencing the world that at once speaks directly to the specific experiences of being human and yet denies the uniqueness of that

experience as it aligns embodiment with both human and insect alike. If ‘our sense of what is real begins with and depends crucially upon our bodies’ then the shape and principal structure of the body becomes an important and easily definable norm, but not necessarily an aspect that is universally unique to human existence.²⁶ This partial reduction of the human to insectoid suggests a reoriented outlook on embodied experience as the ‘truth’ of perception is accessed through the limited and curtailed body. The faculties of human existence that are placed above those shared with other animals – consciousness, empathy and emotion, for example – are partially

subordinated to the structures of understanding that arise directly from the embodied existence that is common between all creatures.

Immediately following the credit sequence bilateral symmetry is constructed as a positive and stable attribute by associating the elements of physical and visual balance with ordinariness. The shot begins with a woodland panorama: the camera tracks smoothly and slowly through the landscape, lingering slightly on a remarkably detailed close-up of a spider as it descends from a tree branch (Figure 2.6, below).

The spider’s symmetry, in both shape and markings, connects it experientially to notions of natural order and the philosophical outlook that what is natural is necessarily harmonious, even if it may not be connotatively ‘good’.

25 The greater levels of integration and coordination afforded by such structuring are beneficial to the quick processing of various stimuli and the semi-autonomic minute bodily and postural adjustments required for forward movement. Richard W. Hill, Gordon A. Wyse and Margaret Anderson, Animal Physiology, 3^rd edn (Sunderland, MA: Sinauer, 2012), p. 399.

26 George Lakoff and Mark Johnson, Philosophy in the Flesh: The Embodied Mind and its Challenge to Western Thought (New York: Basic, 1999), p. 17.

This connotation of nature is reflected in the human tendency to search out and identify harmonious patterns both in manmade and naturalistic endeavours. Of specific relevance to the metaphor of balance is the notion of the Golden Ratio.

Originally defined in Euclidean geometry as a methodology for the bisecting of a line, it is claimed that the ratio (1:1.618…) is expressed in the proportions of spiral

galaxies, nautilus shells, Leonardo da Vinci’s Vitruvian Man and Salvador Dalí’s The Sacrament of the Last Supper. It is proposed to demonstrate the most aesthetically pleasing ratio of parts to the whole and psychological investigation has centred upon whether human beings exhibit a preference for things constructed using those

proportions.²⁷ That the claim for the aesthetic pleasure and visual balance of the Golden Ratio persists demonstrates the impact that physiology has upon the way in which humans cognitively classify their world. If the sociocultural context of human civilisation is removed, temporarily, and the human is considered purely as a

physiological being, the body becomes the primary frame of reference for

experiencing and interpreting the world.²⁸ Because the body is bipedal, because the human animal can physically balance and because it perceives in its own materiality a bilateral symmetry that mimics that act, these factors come to define the normative

27 As Mario Livio discusses in The Golden Ratio, however, many of these examples of the so-called

‘divine proportion’ at work ‘involve numerical juggling’ and often ‘overlook inaccuracies in measurements’. The nineteenth-century psychological experiments conducted by Gustav Fechner likewise demonstrate inconclusive results as to whether subjects preferred the proportion of the Golden Ratio to other rectangular formations. Mario Livio, The Golden Ratio (London: Review, 2002), p. 46;

p. 179.

28 A purely philosophical endeavour, of course, since one cannot remove sociocultural influence from the behaviour of humans. Enculturation modifies physiological understanding immediately and over generations, but that does not negate the importance of embodied knowledge. Rather, it serves to recognise a synthesis between the two whereby both hold equal importance.

Figure 2.6: Spider’s Descent, The Collector

structures of understanding. These qualities are categorised as desirable – for how could the very mode of existence be undesirable? – and objects that are seen to share these qualities are judged accordingly as desirable and familiar.²⁹ Moreover, these qualities are then imposed upon other facets of human knowledge and understanding as a framework for relating the external world to the internal, or material, existence of the individual. This type of bodily knowledge is then absorbed into the sociocultural existence of the individual as the framework is adapted to suit changing experiences and technologies, but it nevertheless remains at the foundations of understanding.

In addition to these comforting associations of nature, more threatening connotations of insects and spiders are also evoked by this scene as we follow the spider’s invasive movement through the visual field. Insects have long been a source of fascination for the Gothic and horror genres, in both written fiction such as Franz Kafka’s The Metamorphosis (1915) and films like David Cronenberg’s The Fly (1986) or David Marshall’s Arachnophobia (1990), for their decidedly uncanny nature. In such works the connotations of natural order are set against the otherness of the insects’ bodies to generate an object that is both familiar and threatening. Often, as in The Fly, the insect is used to question the sanctity of the human body. Although linked with scientific endeavour in Cronenberg’s film, the domination of the human body by the insect nevertheless elicits an embodied reaction of primal fear. In this scene from The Collector, the spider descends from an unseen point and its proximity to the camera lens gives the movement an air of invasion. The foregrounding of the spider seems peculiar at this point in time as there has been no exposition, no dialogue and no real introduction to the narrative. The spider, a creature that commonly incites phobia, is an uninvited visitor to the camera’s leisurely sweep that darkens the

valorisation of nature that is implied by the opening panoramic sequence.³⁰

29 There is no intent here to impose a sociocultural value judgment upon these qualities, but merely to highlight that standing upright and being balanced is generally more desirable than being imbalanced.

This is then projected onto our understanding of other objects and events such that, for example, falling over is ‘clumsy’ which carries with it a slightly pejorative inflection.

30 With its high-key lighting the opening panorama itself approaches a representation of what Immanuel Kant calls the ‘mathematical sublime’ in its overbearing desolation. As these scenes are so closely followed by images of houses, cars and people, however, the vastness of the natural world is subtly clipped in order to restrain the connotations and maintain focus upon the human aspects of the film (most notably the body). Kant’s notion of the sublime and the way in which it inherently invokes the human body into its understanding will be further explored later in this chapter. Immanuel Kant, The Critique of Judgment, trans. with analytical indexes by James Creed Meredith (Oxford: Clarendon Press, 1982), p. 94.

The camera continues past the spider, emerges from the woodland and rests upon a large, Grecian style house whose imposing buttressed exterior mirrors the bilateral symmetry of the insects and vertical orientation of the human bodies that will shortly come to share the frame (Figure 2.7, below). Once again, the juxtaposition of scenes of undomesticated nature with symbols of human civilisation questions the perceived disparity between animals and humans as primary elements of conceptual understanding can be seen to be carried through from the insects, to the humans, and the human houses. Moreover, the symmetry and implied left-right balance that is inherent in this scene is extended further by the musical accompaniment. Patient 113’s track Awake to You is a mid-pace ballad whose melody consists of a four-note refrain of third interval pairs repeated over four bars. This four bar sequence is then varied in rhythm and tone and provides the melodic structure of the track. Despite the variations, the repetition of the same sequence of notes and the preservation of the third interval create a harmonic tonal consonance that is smooth and even.³¹ The track harbours an almost palindrome-like quality as it progresses and repeats individual notes, pairs of successive harmonic notes, pauses and the full melody. The music, like the house and spider, exhibits a comfortable balance that creates a calm,

contemplative atmosphere and mimics the long sweeping movement of the camera.

contemplative atmosphere and mimics the long sweeping movement of the camera.