The method of production itself includes the principles that determine how the project was composed, the effects, functions and uses of the project and the basic rules that govern cinematography and how they have been applied in the film. The historical poetics of a film mainly seeks to answer two main questions:
Horror films are a multifaceted construct whose development and poetics are shaped by a wide array of artistic and historical factors, such that they can only be completely appreciated by considering influences and its predecessors. Apart from this, it is also important to assess the aesthetic distinction employed in these films in the historical and cultural setting that shape them (Gomez-Castellano, 2013). According to Lázaro-Reboll (2007, pp.39), Horror is a literary prose described by three important factors, artistic intent (triggering suspense, terror or fear), specific themes (the discord between natural and supernatural), and sufficient motifs (involving presentation of otherness as compared to the norm).
Historical poetics is regarded as the outcome of assimilating the director’s poetics with particular artistic and literary influences that affect the fears prevailing in particular periods as well as the form in which they are represented. In the devil’s backbone, various constructional principles have been utilized to make it a truly poetic film.
The opening sequence of the film presents a good understanding of historical poetics through symbolism and imagery. In this sequence, a voice over narration plays over the death of Santi and the falling bomb. The narration brings on an argument of what a ghost is. The film then presents a disturbing image of a deformed baby inside a jar suspended in fluid.
In the voice over narration, the director uses a rhetoric that strives to gain the audience’s agreement to the