There is no doubt that the writings of H. P. Lovecraft have enjoyed a significant renaissance of late. In both literary academia and mainstream culture, his idiosyncratic oeuvre has now been properly recognised for codifying and popularising a unique form of horror commonly known as ‘The Weird’. In an essay written by Lovecraft himself, aptly titled ‘Notes on Writing Weird Fiction’, he deftly outlines the specifics of this distinct sub-genre, explaining how his own particular brand of horror stories evoke a disturbing and fearful sense of the unknown by violently exposing his characters to an insidious alterity that exists beyond the bounds of human reason and perception.
Mike Flanagan has developed into a writer-director at the forefront of contemporary horror, both in television and film. His work displays a horror auteurism that sets him apart from his contemporaries, with one particular stylistic marker rising above: Flanagan’s devotion to negative space. Negative space is everything around the main subject in an image. Positive space accounts for the subject of the image, that which we are drawn to focus on. Flanagan’s process suggests a careful deployment of negative space to build tension towards a terrifying payoff. Through an examination of two scenes from Flanagan’s oeuvre, one from the limited series The Haunting of Hill House (2018) and the other from the film Doctor Sleep (2019), I intend to lay out how Flanagan’s use of negative space defines his approach to filming horror.