Elena Hastry
Interior Suspense The Chill of the Victorian Mansion AAD Dissertation Studio 11 2019–20
Extracts from Elena Hastry, Interior Suspense
Dissertation Studio 11 Performance Acts: Art, Architecture and Writing Tutor: Nico de Oliveira
School of Art, Architecture and Design London Metropolitan University 2020
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Abstract
Spotting a Victorian-style house in a movie or TV series usually creates an unsettling feeling within the viewer, since they are primarily associated with being the homes of psychotic maniacs and serial killers. Of course, they are purposefully put there by the set designers to evoke a fearful impression of the scenery. For the longest time, the image of the Victorian Mansion has created a gothic and eerie atmosphere in horror movies and series. This paper aims to examine the common trope of the Victorian mansion as haunted and how suspense is triggered by its use in the horror genre. Firstly, set design with its relation to interior design and how it works will be explained, underlining its importance for creating a fitting atmosphere for a plot. Then, the Victorian mansion and its history will be looked into further to determine its role on the conscious and subconscious mind and how those underlying connections are then used in the horror genre. Lastly, the Netflix hit series the Chilling Adventures of Sabrina will be used as an example for the trope of the Victorian mansion as the default house of horrors, examining production designer Lisa Soper’s work and how she creates an eerie atmosphere with the Spellman residence as a Victorian mansion.
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Table of Content Acknowledgement
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Abstract
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Introduction
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Chapter 1 – Set design Definition Set Design as part of the Interior Design world The Elements of Set Design The Influence of Set Design and their props on performing arts
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Chapter 2 – Victorian Mansion History and characteristics of this architecture Set Design’s usage of Victorian Mansions and it´s style The effect of this visual cliché The role of subconscious and conscious mind in this context
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Chapter 3 – The Chilling Adventures of Sabrina The Story and the Success of this Serie Set Design world of the series Chilling Adventures of Sabrina The most important key props
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Conclusion
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List of References
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List of Figures
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Introduction
The horror genre is momentarily experiencing a renaissance. With movies like Get Out, It and Annabelle not only topping box offices worldwide, but also making serious claims at award shows, Laporte knows that “Prestige horror is back” (2018). Although the horror genre has always been a “Hollywood staple” (Laporte, 2018), horror has always been kind of looked down upon by the Hollywood elite. However, it seems as if over the last several years, the genre has been evolving, returning to producing horror movies and series that are not only profitable, but critically acclaimed as well. Therefore, it is not very surprising that the genre is greatly expanding at the moment, not only for the big screen, but for the small screen also. Since horror movies are mostly shot in one location, due to budget issues (Laporte 2018), their set design has mostly not been as elaborate, compared to the typical prestige Hollywood movies. Nevertheless, the horror genre has always managed to create a fitting atmosphere by conditioning their viewers to recognise certain tropes typical for the genre and therefore creating the wanted tension and distress with little set design required. The trope of the Victorian mansion as the default haunted house is probably one of the most used and most effective of these clichés. With its roots in horror classics such as Psycho and the Addams Family, as well as its rather dark and unpleasant history of disillusionment and decay after the first World War, the Victorian mansion as the house of horrors has been established several decades ago, but is still used to this day, which can be seen in various modern horror adaptations, such as Netflix’s hit horror shows the Haunting of Hill House and the Chilling Adventures of Sabri-
na (CAOS). The Victorian mansion as the default haunted house has been established a long time ago, but still proves to be the most powerful tool to create the scary atmosphere required for the horror genre. Although CAOS and the Haunting of Hill House are series and therefore would have more time to establish an according eerie atmosphere with their set design, they still fall back on the old trope of the Victorian mansion as haunted and just downright spooky. This just proves, how powerful Victorian homes are to create the wanted atmosphere without much further ado. However, it is interesting to explore as to why the trope of the Victorian mansion is such successful in creating an atmosphere fitting for the horror genre up to this day. In the following, Set Design and its relation to performing arts, as well as its process will be explained, before further exploring the history and usage of the Victorian mansion as a tension-generating tool in the horror genre, taking into account the role of the subconscious and how viewers were conditioned into recognising this trope over time. Finally, CAOS will be looked into as an example to demonstrate how the cliché of the Victorian mansion is still used in modern performing arts.
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Set Design Set designers usually create spaces and sets in an artistic way to support the plot, whether that might be for theatre, film or television. That means they build the physical surroundings in which the actions of a story will take place. In corporation with their production team, they turn drawings and ideas into a realistic and believable scenery, including furniture and props. However, the set design itself only includes those things on stage that are merely decorations. Props on the other hand, is what the actors are actually interacting with. Together, they make up every object on stage. Set design is often synonymously referred to as “production design” and is a noble art which requires creative qualities and a deep knowledge of history, art and architecture To ensure that everyone’s visions and expectations are met, set designers use tools such as rough sketches, floor plans and miniature three-dimensional models in close consultation with everyone involved in the process to create the perfect set.
Fig. 2: An early sketch of the Academy of Unseen Arts set from Netflix’s „Chilling Adventures of Sabrina.“
Not only do they consult with the production team to adequately bring the plot to life, they also work closely with the costume and lightning designers to create a coherent and matching frame for the plot. Therefore, set design is the heart of almost every stage production, however minimal it may be. It serves several functions. Although it first and foremost creates context for the plot of the story that is told,
it may also be used as a tool to draw in the audience with its elaborate and memorable design. Set design is particularly important considering that the spectators often “tend to remember what they see, rather than what they hear” (Colin Winslow 2007, 6) and therefore helps making the story come alive.
Set Design and Interior Design are deeply entangled. Many Set Designers do in fact have a background in Interior Design (“Set Design”). This is hardly surprising, seeing that just as Set Design, Interior Decoration is “concerned with the selection of furniture, products, accessories and backdrops in the creation of a particular styled ‘scene’” (Jean Whitehead, Creating an Interior Mis-en-scène 2019). The only difference is that Interior Designers, as opposed to Set Designers, does not create sets for theatre, film or TV purposes, but for their client’s personal and private space, “interiors aim to reflect the tastes and aspirations of their inhabitants or clients, to convey a certain atmospheric tone or mood” (Jean Whitehead, Creating an Interior Misen-scène 2019). Just as Set Design evolved and got more complex by theatre and television productions becoming more complex, Interior Design has had the same journey. Although it is often linked to a modern origin with the development of luxury homes, it does date back to nomadic cultures, according to Macmillan Dictionary. According to Whitehead (Creating Interior Atmosphere 2018), “an interior can act as a mirror, reflecting the lives of the occupants it contains” (21) and elaborates that this reflection can be used to create particular effects that may help with storytelling or staging an experience (21). This practice is called mis-en-scène, which Whitehead describes as “essen-
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Chapter 1 – Set Design
tially the art of presenting” (21). Although the term originated in theatre (22), it is now widely used for all performing arts, referring to everything, that is put on stage. It includes not solely the set design, but also “the position, movement and technical possibilities of the camera; the composition and design of the set; the placement of the props and actors; their relation to each other; and the setting” (22). Whitehead also adds the performance by the actors as well as their costumes and the lighting and camera work to this list of essentials (22). Mis-en-scène helps communicate not only the production’s setting of time and location, but also its atmosphere and message (23). Settings are “enhanced through the use of elements that enrich the mood of the film ‘psychologically’” (23). Summarised, it aims to establish elements and information of the production without verbal description but with “mere appearance” (26). Not only are Set Design and Interior Design interwoven, Set Design does, in fact, influence Interior Design trends. “From the furniture, accessories, to the colour palette and more”, iconic Set Designs can often be found as inspiration for Interior Design. The interior set design of The Chilling Adventures of Sabrina, which will later be used as an example, has inspired several magazines to publish articles on how to recreate the sets so fans of the series can reside just like their favourite on-screen characters. Some Set Designers even collaborate with brands to create according Interior products (“Set Design”). This only illustrates how deeply related and interdependent Set Design and Interior Design are.
The process of Set Design is very collaborative. There are many things that need to be considered and
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taken care of to ensure, that the everything runs smoothly and in accordance with not only the set designers, but the whole team. As George Ledo puts it simply, “ Start with the forest, then get inti the trees and the branches and the leaves”. Colin Winslow gives a rather detailed look into the process of Set Design, focusing on theatre productions. He first starts out by reading the script thoroughly and recommending, to not already start sketching the whole set but, if anything, begin with little sketches of small scenes. After having read the script thoroughly, it is time to meet the director. This meeting is key. Set Designer and director must find a “common method of approach” (2007, 35), since they both might have very different takes on the script and therefore, have very different visions for the set. As Winslow stresses, “the relationship between designer and director is crucial” (36). Without finding common ground, the quality of the set design will suffer. Since the design process is a rather solitary activity, deadlines have a way to just creep up on one. Therefore, it is crucial to not only have an eye on the deadlines given by the production manager, Winslow also recommends setting a schedule for oneself to ensure to always be ahead in time. As a next step, Winslow describes Research. This step is necessary for almost every design process. Although the internet is a good tool to find inspiration, original sources should be sought out whenever possible. Now is the time to actually begin to work on the design. Since this step often is the hardest, it might help to take a look back at the earlier made sketches and then to further develop the most promising one. According to Winslow, working on the furniture is the next step. In theatre, furniture includes most prop on set, not just those conventionally understood as furniture, like old boxes (39). Then it is time to further look at the stage itself. It may be in need of rostra, which are temporary platforms (39). For those platforms, it is necessary
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Chapter 1 – Set Design
to consider the logistics, as the actors might need help getting on and exiting those platforms or may have to walk beneath them. Those considerations then directly lead to the next step of steps and stairs. Practicability is key here as well. The actors must be able to operate them with ease (42). For some plays and theatres, rakes, ramps and slopes might also be necessary. Especially for those features, it is important to have proper communication with the director, as they might be necessary for wheeled objects, among other things (44). Now it is time to develop the rough sketches. How to proceed here varies from one’s own personal style and preference. Nevertheless, Winslow recommends to not start “making the final model until all the preparatory work is complete” (44). It is also recommendable to keep a close relationship with the director during this stage. This way, one can profit from the director’s input but the director can also get familiar with the opportunities the design offers (44). The next step are the plans and working drawings. “The stage plan is probably the most important drawing you will produce” (50). The stage plan is so important, because it will be shared with most people involved in the production process. Now, finally, the set model comes into play. While drawings might be abstract and difficult to grasp for some people, the miniature model three dimensional model is easy to understand. With the model finished, it is finally time to present the work. Although it is not necessarily mandatory, attending rehearsals is recommended. It is necessary to monitor the progress of the set’s construction anyways, since one might have to assist the process. Finally, the stage will be built according to the set design. Of course, here also come the other teams, such as lightning technicians into play. During the dress rehearsals, all elements are finally brought together. The task of the set designer here is to ensure the stage is perfectly set up from every perspective possible in the theatre. The set designer’s work is finally
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complete on the first night. Changes should only be suggested afterwards if absolutely necessary. Although this ‘guide’ obviously was prepared with theatre productions in mind, the stages of production for TV and television do not differ greatly in the rough construct. There, it is also important to have a close connection with the director and to start out with rough sketches, before getting more into detail. However, the art department, which production design is an essential part of, “is the ‘hub’ around which the film crew works. It provides the creative template on which the other departments depend” (Ackland-Snow and Laybourn 2017, 22). It consists of several subdivided departments, like construction and set decorator, which the production designer is the head of. The production designer is in charge of creating the vision while the art director and the subdivided departments are then responsible to translate the production designer’s vision to reality. “The work and planning undertaken in the art department enables the crew to build and create the illusion that the audience will see on screen” (22).
“Design is crucial to storytelling” (2012, 7), Georgina Shorter knows. This already makes it clear, how important Set Design is to every stage production, whether that be for theatre, TV or film. The design if a set sets the atmosphere for the whole plot, it “gives context to the action, it aids storytelling, reflects key characters’ personality traits; it even taints what we the audience see psychologically” (Jean Whitehead, Creating an Interior Mis-en-scène 2019). The set designer’s task is to create a specific world and persuade the audience to belief in the world created (Winslow 2007, 7). Set Design is a rather modern concept. In Shakespearean times, for example, Set
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Chapter 1 – Set Design
Design was neglected. Words were used to create a scenery (11). Nevertheless, over time this has changed. As of today, the set designer has the important task of assisting the communication between audience and plot (11). Of course, this is especially important for theatre productions. Nevertheless, Set Design might even be more important for TV and film productions, because there, the audience gets most of its scenery from the visuals, not from words. Which is why it is so important, that the set designer and the other people involved, i.e. the director or costume designer, work closely together. Set Design is also not just the background of the story itself. Jean Whitehead (Creating an Interior Mis-en-scène 2019) even argues, “this ability to be transported into another world, however brief, is why cinema retains its hold over us the audience”. Set Design is an art in itself and might be even one more reason for audiences to tune in. This even furthers the influence Set Design holds on film, TV and theatre productions and, of course, puts extra spotlight on set designers. For this reason also, Interior Design is influenced by Set Design, as stated earlier. Set Design’s influence on film, TV and theatre has developed over the years and its influence seems to only be growing further.
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19 Chapter 2
Victorian Mansion Victorian Mansions are usually referred to as houses built during Queen Victoria’s reign from 1837 to 1901 (Middeke et al 2012, 56). Back then, the British Empire had a big reach, which is why the Victorian style can be found in not only Great Britain, but also the US, Australia and New Zealand. Queen Victoria was known for her luxurious taste, which heavily influenced architecture and décor at that time. Due to her long reign, different styles of architecture are being subcategorized under the generic term of the ‘Victorian Mansion’, especially in the US. Due to the Industrial Revolution, the middle class were able to afford luxury for the first time, which is reflected in the popularity that Victorian style houses held during that period. The Victorian style with eccentric and almost over the top ornaments and decorations, was used to signify wealth, especially in the middle class. Although there are various subcategories to the Victorian style, “Queen Anne”, “Stick/Eastlake” and “Italianate” (Mastroeni, 2020) to name a few, they all feature similar characteristics. Victorian houses are usually marked by lavish and luxurious style. In their at least two (rather three) stories, they feature ornate staircases, intricate wooden trim, as well as high ceilings and little nooks. It was dark and cluttered (Amaya 2017). The exterior is as playful as the interior. Towers, turrets and dormers and decorative woodwork are as much of an indicator for the Victorian style as bright colours, steep and gabled roofs and round angles (Mastroeni, 2020). Another big theme were bay windows and arches, as well as decorative panels (Mastroeni, 2020). All in all, Victorian style can be described as the opposite of today’s modern and clean style.
When thinking about haunted houses, especially in film and television, Victorian style houses immediately come to mind. Holly Amaya even writes: “When it comes to horror flicks, there‘s nothing Hollywood loves more than a towering Victorian manse that‘s a bit past its prime” (2017). However, why is this the case? Victorian homes are “[t]he hallmark of haunted-house movies for decades, eliciting a fear response in your brain every time you see that castle-like house—usually on a hill” (Jones 2018). Victorian style houses, with their age and therefore subsequent decay, have earned themselves the title of the typical haunted house in horror movies. From Psycho to American Horror Story, Victorian houses are a common trope in the horror genre and are therefore irrevocably connected to the imagery of distress and haunting. While the style and history of Victorian mansions most definitely play a part in why they are perceived as haunted, Hollywood did the rest. The persistent use of Victorian homes as haunted houses or the homes of psycho killers, irrevocably established the
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trope and therefore, the connotation of the Victorian mansion and horror. So in this day and age, when using the trope of the Victorian mansion as haunted, context and explanations are barely needed, as the subconscious connotation has already
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