Crafting the Grotesque: Mutation and Imagination in Face Off
| aut.relation.journal | M/C Journal | |
| dc.contributor.author | Nairn, Angelique | |
| dc.date.accessioned | 2025-06-18T02:49:50Z | |
| dc.date.available | 2025-06-18T02:49:50Z | |
| dc.date.issued | 18/06/2025 | |
| dc.description | Special effects (SFX) makeup has long been a powerful tool in the world of performance, used to transform, distort, and reimagine the human form in service of storytelling. From the eerie creatures of horror to the fantastical beings of science fiction, prosthetic makeup plays a crucial role in shaping the visual language of genre media. The American television show Face Off (2011-2018) brought this behind-the-scenes artistry to the forefront, offering viewers an in-depth look at the creative processes of professional special effects and prosthetic makeup artists. Running for 13 seasons, the competition-style reality series tasked contestants with complex challenges inspired by film and television genres, giving audiences a rare opportunity to witness the full arc of character creation—from initial brainstorming and conceptualisation to sculpting, moulding, and the climactic final reveal, known as “last looks”. Judged by industry veterans Glenn Hetrick, Ve Neill, and Neville Page, Face Off provided not just entertainment, but a compelling platform for examining the craft and imagination behind creature design. This article explores how Face Off represents the concept of mutation within the visual and narrative framework of special effects makeup. Focussing on two key episodes—Season 6, Episode 11 ("Freaks of Nature") and Season 11, Episode 9 ("Frightening Families")—the analysis considers how contestants interpreted and visualised the idea of mutation in their designs. By examining the aesthetic choices, symbolic meanings, and creative decisions made in these episodes, this article seeks to understand how the artists navigate the intersection of genre, biology, and imagination. Ultimately, this investigation highlights how the visual language of mutation is shaped not only by the demands of competition but also by deeper genre conventions and cultural anxieties about the body, transformation, and identity. | |
| dc.identifier.citation | M/C Journal, ISSN: 1441-2616 (Print); 1441-2616 (Online), Queensland University of Technology. doi: 10.5204/mcj.3164 | |
| dc.identifier.doi | 10.5204/mcj.3164 | |
| dc.identifier.issn | 1441-2616 | |
| dc.identifier.issn | 1441-2616 | |
| dc.identifier.uri | http://hdl.handle.net/10292/19335 | |
| dc.publisher | Queensland University of Technology | |
| dc.relation.uri | https://journal.media-culture.org.au/index.php/mcjournal/article/view/3164 | |
| dc.rights | Copyright (c) 2025 Angelique Nairn. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. | |
| dc.rights.accessrights | OpenAccess | |
| dc.rights.uri | https://creativecommons.org/licenses/by/4.0/ | |
| dc.subject | 1902 Film, Television and Digital Media | |
| dc.subject | 2001 Communication and Media Studies | |
| dc.subject | 2002 Cultural Studies | |
| dc.subject | 3605 Screen and digital media | |
| dc.subject | 4701 Communication and media studies | |
| dc.subject | 4702 Cultural studies | |
| dc.title | Crafting the Grotesque: Mutation and Imagination in Face Off | |
| dc.type | Journal Article | |
| pubs.elements-id | 610831 |