CINEMATOGRAPHY OF HORROR: A MULTIMODAL ANALYSIS OF FEAR IN SCREEN ADAPTATION OF STEPHEN KING’S NOVEL “THE MIST”

This article deals with the multimodal construction of fear in horror cinema based on the analysis of Frank Darabont's screen adaptation of Stephen King's "The Mist".The cinematic discourse is shown as inherently complex and multimodal, with the horror genre presenting a unique opportunity to examine how different modes interact to engage the audience in the process of shared meaning making.While horror films are highly popular, they remain underexamined from a multimodal analytical perspective.Drawing on the theoretical frameworks of multimodal discourse analysis (MMDA) and film semiotics, particularly the works of Kress, Bateman, Metz, and Eco, this research investigates how fear is constructed through narrative and a complex interplay of verbal, visual, and auditory signs.The employed methodology involves sampling and contextual interpretation of key script excerpts and corresponding film sequences.The analysis highlights the extensive use of close-ups, over-the-shoulder shots, lighting, sound design, camera movement, and character reactions as key tools in building emotional tension.Particular attention is given to diegetic and non-diegetic sounds, such as sirens, ambient noise, and Mark Isham's soundtrack, which function alongside visual cues to construct an atmosphere of uncertainty.The research findings suggest that horror cinema employs multimodal resources to craft sensory experiences.The analyzed film employs an array of cinematic techniques to construct fear.From reaction shots to over-the-shoulder camera compositions, the cinematic means allow the audience to experience the fear as dynamically as possible.Additionally, the analysis emphasizes the critical role of the soundscapes, particularly in the neoclassical song "The Host of Seraphim" by Dead Can Dance.Overall, the film testifies to the complex nature of fear and its multimodal representation in cinematic discourse.