Abstract
An examination of how the construction of Martin Scorsese’s Cape Fear is designed to keep audiences in a state of panic or terror. Chapter looks at the mechanics of camerawork, shot duration, editing, scoring, and performance as indicators of how Cape Fear best works if viewed as a horror film. Focussing on Robert De Niro’s antagonist, it analyses how the character controls the film’s construction, including inverting shots and breaking the fourth wall to directly address the audience. Discussion includes the input of key collaborators on the film. Including what cinematographer Freddie Francis brought to the 2.39:1 Panavision framing, how Saul Bass and Elaine Bass’ opening credits establish a sense of dread and the uncanny, and the ways in which Elmer Bernstein’s reorchestration of Bernard Herrmann’s score from the 1962 original complements the horror atmosphere.
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