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Horror film

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"Horror Movie" redirects here. For the Skyhooks song, see Horror Movie (song).
Max Schreck as Count Orlok in the 1922 film Nosferatu. Critic and historian Kim Newman declared it as a film that set the template for the horror film.[1]

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Horror is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes.[2]

Horror films often explore dark subject matter and may deal with transgressive topics or themes. Broad elements include monsters, apocalyptic events, and religious or folk beliefs.

Horror films have existed for more than a century. Early inspirations from before the development of film include folklore, religious beliefs and superstitions of different cultures, and the Gothic and horror literature of authors such as Edgar Allan Poe, Bram Stoker, and Mary Shelley. From origins in silent films and German Expressionism, horror only became a codified genre after the release of Dracula (1931). Many sub-genres emerged in subsequent decades, including body horror, comedy horror, slasher films, splatter films, supernatural horror and psychological horror. The genre has been produced worldwide, varying in content and style between regions. Horror is particularly prominent in the cinema of Japan, Korea, Italy and Thailand, among other countries.

Despite being the subject of social and legal controversy due to their subject matter, some horror films and franchises have seen major commercial success, influenced society and spawned several popular culture icons.

Characteristics

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See also: Horror and terror

The Dictionary of Film Studies defines the horror film as representing "disturbing and dark subject matter, seeking to elicit responses of fear, terror, disgust, shock, suspense, and, of course, horror from their viewers."[2] In the chapter "The American Nightmare: Horror in the 70s" from Hollywood from Vietnam to Reagan (2002), film critic Robin Wood declared that commonality between horror films are that "normality is threatened by the monster."[3] This was further expanded upon by The Philosophy of Horror, or Parodoxes of the Heart by Noël Carroll who added that "repulsion must be pleasurable, as evidenced by the genre's popularity."[3]

Prior to the release of Dracula (1931), historian Gary Don Rhodes explained that the idea and terminology of horror film did not exist yet as a codified genre, although critics used the term "horror" to describe films in reviews prior to Dracula's release.[4] "Horror" was a term used to describe a variety of meanings. In 1913, Moving Picture World defined "horrors" as showcasing "striped convicts, murderous Indians, grinning 'black-handers', homicidal drunkards"[5] Some titles that suggest horror such as The Hand of Horror (1914) was a melodrama about a thief who steals from his own sister.[5] During the silent era, the term horror was used to describe everything from "battle scenes" in war films to tales of drug addiction.[6] Rhodes concluded that the term "horror film" or "horror movie" was not used in early cinema.[7]

The mystery film genre was in vogue and early information on Dracula being promoted as mystery film was common, despite the novel, play and film's story relying on the supernatural.[8] Newman discussed the genre in British Film Institute's Companion to Horror where he noted that Horror films in the 1930s were easy to identify, but following that decade "the more blurred distinctions become, and horror becomes less like a discrete genre than an effect which can be deployed within any number of narrative settings or narratives patterns".[9] In the 1940s, the horror film was viewed in different terms. Critic Siegfried Kracauer included The Lost Weekend among films described as "terror films" along with Shadow of a Doubt, The Dark Corner (1946), Gaslight (1944), Shock (1946), The Spiral Staircase (1946), The Stranger (1946) Spellbound (1945) while two years earlier, the New York Times described a new cycle of "horror" productions included Gaslight, The Woman in the Window (1944), Dark Waters (1944), Laura and Phantom Lady (1944).[10] Mark Jancovich wrote in The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media (2008) that the term was virtually synonymous with mystery as a generic term, not being limited to films concerned with the strange, eerie and uncanny.[10]

Various writings on genre from Altman, Lawrence Alloway (Violent America: The Movies 1946-1964 (1971)) and Peter Hutchings (Approaches to Popular Film (1995)) implied it easier to view films as cycles opposed to genres, suggesting the slasher film viewed as a cycle would place it in terms of how the film industry was economically and production wise, the personnel involved in their respective eras, and how the films were marketed exhibited and distributed.[11] Mark Jancovich in an essay declared that "there is no simple 'collective belief' as to what constitutes the horror genre" between both fans and critics of the genre.[12] Jancovich found that disagreements existed from audiences who wanted to distinguish themselves. This ranged from fans of different genres who may view a film like Alien (1979) as belonging to science fiction, and horror fan bases dismissing it as being inauthentic to either genre.[13] Further debates exist among fans of the genre with personal definitions of "true" horror films, such as fans who embrace cult figures like Freddy Kruger of the A Nightmare on Elm Street series, while others disassociate themselves from characters and series and focusing on genre auteur directors like Dario Argento, while others fans would deem Argento's films as too mainstream, having preferences more underground films.[14] Andrew Tudor wrote in Monsters and Mad Scientists: A Cultural History of the Horror Movie suggested that "Genre is what we collectively believe it to be"[15]

In addition to these perspectives, Rhodes emphasizes the evolution of the horror genre through various cultural and historical contexts. He discusses the impact of socio-political factors on the genre, such as the influence of World War I and II, the Great Depression, and the Cold War, which shaped the themes and narratives of horror films. For instance, the anxieties of the post-war era manifested in horror films as fears of invasion, contamination, and the unknown, reflecting the collective psyche of the time. Rhodes also highlights the significance of technological advancements, such as the advent of sound in cinema, which revolutionized the horror genre by enhancing its ability to evoke fear and suspense through auditory effects.[16]

Moreover, the horror genre's flexibility and adaptability are crucial to its enduring popularity. As Rhodes notes, the genre continuously evolves, incorporating elements from other genres and responding to contemporary societal fears and anxieties. This adaptability is evident in the various sub-genres that have emerged over the years, such as psychological horror, body horror, and found footage horror, each addressing different aspects of human fear and the unknown.[17]

Rhodes also explores the role of censorship and regulation in shaping the horror genre. The enforcement of the Hays Code in the 1930s and subsequent rating systems influenced the depiction of violence and sexuality in horror films. This regulation often pushed filmmakers to find creative ways to imply horror elements without explicit content, leading to a focus on atmosphere, suggestion, and psychological horror. The relaxation of censorship in the late 20th century allowed for more graphic and explicit horror, contributing to the emergence of sub-genres like splatter films and torture porn.[18]

Cinematic techniques

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Mirrors are often used to create a sense of tension in horror films.

In a study by Jacob Shelton, the many ways that audience members are manipulated through horror films was investigated in detail.[19] Negative space is one such method that can play a part in inducing a reaction, causing one's eyes to remotely rest on anything in the frame – a wall, or the empty black void in the shadows.[19]

The jump scare is a horror film trope, where an abrupt change in image accompanied with a loud sound intends to surprise the viewer.[19] This can also be subverted to create tension, where an audience may feel more unease and discomfort by anticipating a jump scare.[19]

Mirrors are often used in horror films is to create visual depth and build tension. Shelton argues mirrors have been used so frequently in horror films that audiences have been conditioned to fear them, and subverting audience expectations of a jump scare in a mirror can further build tension.[19] Tight framing and close-ups are also commonly used; these can build tension and induce anxiety by not allowing the viewer to see beyond what is around the protagonist.[19]

The interaction between horror films and their audiences is another significant aspect discussed by Rhodes. He notes that horror films often serve as a safe space for viewers to confront and process their fears. This cathartic experience can provide psychological relief and a sense of empowerment as viewers face and overcome their anxieties in a controlled environment. The communal experience of watching horror films in theaters or discussing them in fan communities also plays a crucial role in the genre's impact and popularity.[6]

Music

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Main article: Horror film score
Filmmaker and composer John Carpenter, who has directed and scored numerous horror films, performing in 2016

Music is a key component of horror films. In Music in the Horror Film (2010), Lerner writes "music in horror film frequently makes us feel threatened and uncomfortable" and intends to intensify the atmosphere created in imagery and themes. Dissonance, atonality and experiments with timbre are typical characteristics used by composers in horror film music.[20]

Themes

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Frankenstein's monster
Apocalypse by Albert Goodwin
A demon in the Book of Wonders
Charles Derry proposed the three key components of horror are that of personality, Armageddon and the demonic.

In the book Dark Dreams, author Charles Derry conceived horror films as focusing on three broad themes: the horror of personality, horror of Armageddon and the horror of the demonic.[21] The horror of personality derives from monsters being at the centre of the plot, such Frankenstein's monster whose psychology makes them perform unspeakable horrific acts ranging from rapes, mutilations and sadistic killings.[21] Other key works of this form are Alfred Hitchcock's Psycho, which feature psychotic murderers without the make-up of a monster.[21] The second 'Armageddon' group delves on the fear of large-scale destruction, which ranges from science fiction works but also of natural events, such as Hitchcock's The Birds (1963).[21] The last group of the "Fear of the Demonic" features graphic accounts of satanic rites, witchcraft, exorcisms outside traditional forms of worship, as seen in films like The Exorcist (1973) or The Omen (1976).[22]

Some critics have suggested horror films can be a vessel for exploring contemporary cultural, political and social trends. Jeanne Hall, a film theorist, agrees with the use of horror films in easing the process of understanding issues by making use of their optical elements.[23] The use of horror films can help audiences understand international prior historical events occurs, for example, to depict the horrors of the Vietnam War, the Holocaust, the worldwide AIDS epidemic[24] or post-9/11 pessimism.[25] In many occurrences, the manipulation of horror presents cultural definitions that are not accurate,[according to whom?] yet set an example to which a person relates to that specific cultural from then on in their life.[clarification needed][26]

History

[edit]
This section is an excerpt from History of horror films.[edit]
Poster for Le Manoir du diable (1896), sometimes described as the first horror film

The history of horror films was described by author Siegbert Solomon Prawer as difficult to read as a linear historical path, with the genre changing throughout the decades, based on the state of cinema, audience tastes and contemporary world events.

Films prior to the 1930s, such as early German expressionist cinema and trick films, have been retrospectively described as horror films as the genre did not become a codified genre until the release of Dracula (1931). Dracula was a box office success, leading to Universal and several other American film studios to develop and popularise horror films well into the 1940s. By the 1950s, horror would often be made with science fiction themes, and towards the end of the decade horror was a more common genre of international productions.

The 1960s saw further developments, with material based on contemporary works instead of classical literature. The release of films like Psycho, Black Sunday and Night of the Living Dead led to an increase of violence and erotic scenes within the genre. The 1970s would expand on these themes with films that would delve into gorier pictures, as well as films that were near or straight pornographic hybrids. Genre cycles in this era include the natural horror film, and the rise of slasher films which would expand in the early 1980s. Towards the 1990s, postmodernism entered horror, while some of the biggest hits of the decade included films from Japan with the success of Ring (1998).

In the 21st century, streaming media popularised horror trends, whilst trends included torture porn influenced by the success of Saw, films using a "found footage" technique, and independent productions such as Get Out, Hereditary and the Insidious series which were box office hits.

Sub-genres of horror films

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Horror is a malleable genre and often can be altered to accommodate other genre types such as science fiction, making some films difficult to categorize.[27]

Body horror

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Main article: Body horror

A genre that emerged in the 1970s, body horror films focus on the process of a bodily transformation. In these films, the body is either engulfed by some larger process or heading towards fragmentation and collapse.[28][29] The focus can be on apocalyptic implication of an entire society being overtaken, but the focus is generally upon an individual and their sense of identity, primarily them watching their own body change.[28] The earliest appearance of the sub-genre was the work of director David Cronenberg, specifically with early films like Shivers (1975).[28][29] Mark Jancovich of the University of Manchester declared that the transformation scenes in the genre provoke fear and repulsion, but also pleasure and excitement such as in The Thing (1982) and The Fly (1986).[30]

Christmas horror

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Main article: Christmas horror

Christmas horror is a film genre that emerged in the 1970s with films such as Whoever Slew Auntie Roo? (1971) and Silent Night, Bloody Night (1972),[31] which were soon followed by the influential Black Christmas (1974).[31][32] Defining the Christmas horror genre has been described as challenging,[33] as it has generally been regarded as a sub-genre of the slasher film.[34][35] Adam Rockoff, in Rue Morgue, noted that the sub-genre sits within a trend of holiday-themed slasher films, alongside films such as My Bloody Valentine (1981) and April Fool's Day (1986).[35] Others take a broader view that Christmas horror is not limited to the slasher genre,[34] noting how it evolved from the English Christmas tradition of telling ghost stories.[31] Christmas in literature has historically included elements of "darkness"—fright, misery, death and decay—tracing its literary antecedents as far back as the biblical account of the Massacre of the Innocents and more recently in works such as E. T. A. Hoffmann's "The Nutcracker and the Mouse King" (1816) and Charles Dickens' A Christmas Carol (1843).[31][32] Although ghosts have largely been replaced by serial killers, Christmas horror creates an outlet through which to explore "a modern reinvention of the Christmas ghost story".[31]

Erotic horror

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Main article: Erotic horror

Erotic horror is a subgenre of horror fiction that blends sensual and sexual imagery with horrific themes for the sake of sexual arousal. Erotic horror has had influences on French[36] and American horror cinema. The works of Jean Rollin, such as Le Viol du Vampire and Fascination, are considered quintessential erotic horror films, blending deeply sexual imagery with gore.[36] American cinema has also featured notable erotic horror film franchises, such as Candyman.[37] An example of a British erotic horror film series is Hellraiser.[38] Alien features heavy erotic imagery, with the design of the Xenomorph by H. R. Giger featuring both phallic and vaginal imagery, intended to symbolize patriarchal guilt[39] as well as sex, rape, and pregnancy.[40]

Folk horror

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Main article: Folk horror

Folk horror uses elements of folklore or other religious and cultural beliefs to instil fear in audiences. Folk horror films have featured rural settings and themes of isolation, religion and nature.[41][42] Frequently cited examples are Witchfinder General (1968), The Blood on Satan's Claw (1971), The Wicker Man (1973), The Witch (2015), and Midsommar (2019).[41][42] Local folklore and beliefs have been noted as being prevalent in horror films from the Southeast Asia region, including Thailand and Indonesia.[43][44]

Found footage horror

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The found footage horror film "technique" gives the audience a first person view of the events on screen, and presents the footage as being discovered after. Horror films which are framed as being made up of "found-footage" merge the experiences of the audience and characters, which may induce suspense, shock, and bafflement.[45] Alexandra Heller-Nicholas noted that the popularity of sites like YouTube in 2006 sparked a taste for amateur media, leading to the production of further films in the found footage horror genre later in the 2000s including the particularly financially successful Paranormal Activity (2007).[46]

Gothic horror

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Main article: Gothic film
Frankenstein (1931), one of the Universal horror films

In their book Gothic film, Richard J. McRoy and Richard J. Hand stated that "Gothic" can be argued as a very loose subgenre of horror, but argued that "Gothic" as a whole was a style like film noir and not bound to certain cinematic elements like the Western or science fiction film.[47] The term "gothic" is frequently used to describe a stylized approach to showcasing location, desire, and action in film. Contemporary views of the genre associate it with imagery of castles at hilltops and labyrinth like ancestral mansions that are in various states of disrepair.[48] Narratives in these films often focus on an audience's fear and attraction to social change and rebellion.[49] The genre can be applied to films as early as The Haunted Castle (1896), Frankenstein (1910) as well as to more complex iterations such as Park Chan-wook's Stoker (2013) and Jordan Peele's Get Out (2017).[47]

The gothic style is applied to several films throughout the history of the horror film. This includes Universal Pictures' horror films of the 1930s, the revival of gothic horror in the 1950s and 1960s with films from Hammer, Roger Corman's Poe-cycle, and several Italian productions.[50] By the 1970s American and British productions often had vampire films set in a contemporary setting, such as Hammer Films had their Dracula stories set in a modern setting and made other horror material which pushed the erotic content of their vampire films that was initiated by Black Sunday.[51][52][53] In the 1980s, the older horror characters of Dracula and Frankenstein's monster rarely appeared, with vampire themed films continued often in the tradition of authors like Anne Rice where vampirism becomes a lifestyle choice rather than plague or curse.[54] Following the release of Francis Ford Coppola's Bram Stoker's Dracula (1992), a small wave of high-budgeted gothic horror romance films were released in the 1990s.[55]

Natural horror

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See also: List of natural horror films

Also described as "eco-horror", the natural horror film is a subgenre "featuring nature running amok in the form of mutated beasts, carnivorous insects, and normally harmless animals or plants turned into cold-blooded killers."[56][57] In 1963, Alfred Hitchcock defined a new genre nature taking revenge on humanity with The Birds (1963) that was expanded into a trend into the 1970s. Following the success of Willard (1971), a film about killer rats, 1972 had similar films with Stanley (1972) and an official sequel Ben (1972).[58] Other films followed in suit such as Night of the Lepus (1972), Frogs (1972), Bug (1975), Squirm (1976) and what Muir described as the "turning point" in the genre with Jaws (1975), which became the highest-grossing film at that point and moved the animal attacks genres "towards a less-fantastic route" with less giant animals and more real-life creatures such as Grizzly (1976) and Night Creature (1977), Orca (1977), and Jaws 2 (1978).[58][59][60] The film is linked with the environmental movements that became more mainstream in the 1970s and early 1980s such vegetarianism, animal rights movements, and organizations such as Greenpeace.[61] Following Jaws, sharks became the most popular animal of the genre, ranging from similar such as Mako: The Jaws of Death (1976) and Great White (1981) to the Sharknado film series.[61] James Marriott found that the genre had "lost momentum" since the 1970s while the films would still be made towards the turn of the millennium.[62]

Psychological horror

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Main article: Psychological horror

Bill Gibron of PopMatters declared a mixed definition of the psychological horror film, ranging from definitions of anything that created a sense of disquiet or apprehension to a film where an audience's mind makes up what was not directly displayed visually. Gibron concluded it as a "clouded gray area between all out splatter and a trip through a cinematic dark ride."[63]

Religious horror

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Main article: Religious horror

Religious horror is a subgenre of horror film whose common themes are based on religion and focus heavily on supernatural beings, often with demons as the main antagonists that bring a sense of threat.[64][65] Such films commonly use religious elements, including the crucifix or cross, holy water, the Bible, the rosary, the sign of the cross, the church, and prayer, which are forms of religious symbols and rituals used to depict the use of faith to defeat evil.[66]

Slasher film

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Main article: Slasher film

The slasher film is a horror subgenre which involves a killer murdering a group of people (often teenagers), usually by use of bladed tools.[67] In his book on the genre, author Adam Rockoff wrote that these villains represented a "rogue genre" of films that are "tough, problematic, and fiercely individualistic."[68] Following the financial success of Friday the 13th (1980), at least 20 other slasher films appeared in 1980 alone.[69] These films usually revolved around three properties: unique social settings (campgrounds, schools, holidays) and a crime from the past committed (an accidental drowning, infidelity, a scorned lover) and a ready made group of victims (camp counselors, students, wedding parties).[70] The genre was derided by several contemporary film critics of the era such as Ebert, and often were highly profitable in the box office.[71] The release of Scream (1996), led to a brief revival of the slasher films for the 1990s.[72] Other countries imitated the American slasher film revival, such as South Korea's early 2000s cycle with Bloody Beach (2000), Nightmare (2000) and The Record (2000).[73]

Supernatural horror

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Main article: Supernatural horror film

Supernatural horror films integrate supernatural elements, such as the afterlife, spirit possession and religion into the horror genre.[74]

Teen horror

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Teen horror is a horror subgenre that victimizes teenagers while usually promoting strong, anti-conformity teenage leads, appealing to young generations. This subgenre often depicts themes of sex, under-aged drinking, and gore.[75] Horror films aimed a young audience featuring teenage monsters grew popular in the 1950s with several productions from American International Pictures (AIP) and productions of Herman Cohen with I Was a Teenage Werewolf (1957) and I Was a Teenage Frankenstein (1957).[76] This led to later productions like Daughter of Dr. Jekyll (1957) and Frankenstein's Daughter (1958).[76] Teen horror cycle in the 1980s often showcased explicit gore and nudity, with John Kenneth Muir described as cautionary conservative tales where most of the films stated if you partook in such vices such as drugs or sex, your punishment of death would be handed out.[77] Prior to Scream, there were no popular teen horror films in the early 1990s.[78] After the financial success of Scream, teen horror films became increasingly reflexive and self-aware until the end of the 1990s with films like I Know What You Did Last Summer (1997) and non-slasher The Faculty (1998).[79][78] The genre lost prominence as teen films dealt with threats with more realism in films like Donnie Darko (2001) and Crazy/Beautiful (2001).[80] In her book on the 1990s teen horror cycle, Alexandra West described the general trend of these films is often looked down upon by critics, journals, and fans as being too glossy, trendy, and sleek to be considered worthwhile horror films.[81]

Regional horror films

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Asian horror films

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Main article: Horror films of Asia

Horror films in Asia have been noted as being inspired by national, cultural or religious folklore, particularly beliefs in ghosts or spirits.[43][82] In Asian Horror, Andy Richards writes that there is a "widespread and engrained acceptance of supernatural forces" in many Asian cultures, and suggests this is related to animist, pantheist and karmic religious traditions, as in Buddhism and Shintoism.[82] Although Chinese, Japanese, Thai and Korean horror has arguably received the most international attention,[82] horror also makes up a considerable proportion of Cambodian[83] and Malaysian cinema.[84]

Oceania

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Australia

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It is unknown when Australia's cinema first horror title may have been, with thoughts ranging from The Strangler's Grip (1912) to The Face at the Window (1919) while stories featuring ghosts would appear in Guyra Ghost Mystery (1921).[85] By 1913, the more prolific era of Australian cinema ended with production not returning with heavy input of government finance in the 1970s.[86] It took until the 1970s for Australia to develop sound film with television films that eventually received theatrical release with Dead Easy (1970) and Night of Fear (1973). The Cars That Ate Paris (1974) was the first Australian horror production made for theatrical release.[85] 1970s Australian art cinema was funded by state film corporations, who considered them more culturally acceptable than local exploitation films (Ozploitation), which was part of the Australian phenomenon called the cultural cringe.[87] The greater success of genre films like Mad Max (1979), The Last Wave (1977) and Patrick (1978) led to the Australian Film Commission to change its focus to being a more commercial operation. This closed in 1980 as its funding was abused by investors using them as tax avoiding measures. A new development known as the 10BA tax shelter scheme was developed ushering a slew of productions, leading to what Peter Shelley, author of Australian Horror Films, suggested meant "making a profit was more important than making a good film."[87] Shelley called these films derivative of "American films and presenting generic American material".[87] These films included the horror film productions of Antony I. Ginnane.[88] While Australia would have success with international films between the mid-1980s and the 2000s, less than five horror films were produced in the country between 1993 and 2000.[89][90] It was only after the success of Wolf Creek (2005) that a new generation of filmmakers would continuously make horror genre films in Australia that continued into the 2010s.[89][90]

New Zealand

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By 2005, New Zealand has produced around 190 feature films, with about 88% of them being made after 1976.[91] New Zealand horror film history was described by Philip Matthews of Stuff as making "po-faced gothic and now we do horror for laughs."[92] Among the earliest known New Zealand horror films productions are Strange Behavior (1981), a co-production with Australia and Death Warmed Up (1984) a single production.[93] Early features such as Melanie Read's Trial Run (1984) where a mother is sent to remote cottage to photograph penguins and finds it habitat to haunted spirits, and Gaylene Preston's Mr. Wrong (1984) purchases a car that is haunted by its previous owner.[94] Other films imitate American slasher and splatter films with Bridge to Nowhere (1986), and the early films of Peter Jackson who combined splatter films with comedy with Bad Taste (1988) and Braindead (1992) which has the largest following of the mentioned films.[93] Film producer Ant Timpson had an influence curating New Zealand horror films, creating the Incredibly Strange Film Festival in the 1990s and producing his own horror films over the 2010s including The ABCs of Death (2012), Deathgasm (2015), and Housebound (2014).[92] Timpson noted the latter horror entries from New Zealand are all humorous films like What We Do in the Shadows (2014) with Jonathan King, director of Black Sheep (2006) and The Tattooist (2007) stating "I'd love to see a genuinely scary New Zealand film but I don't know if New Zealand audiences – or the funding bodies – are keen."[92]

European horror films

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Ian Olney described the horror films of Europe were often more erotic and "just plain stranger" than their British and American counter-parts.[95] European horror films (generally referred to as Euro Horror)[96] draw from distinctly European cultural sources, including surrealism, romanticism, decadent tradition, early 20th century pulp-literature, film serials, and erotic comics.[97] In comparison to the narrative logic in American genre films, these films focused on imagery, excessiveness, and the irrational.[98]

Between the mid-1950s and the mid-1980s, European horror films emerged from countries like Italy, Spain and France, and were shown in the United States predominantly at drive-in theatre and grindhouse theaters.[95] As producers and distributors all over the world were interested in horror films, regardless of their origin, changes started occurring in European low-budget filmmaking that allowed for productions in the 1960s and 1970s for horror films from Italy, France, Germany, the United Kingdom and Spain, as well as co-productions between these countries.[99] Several productions, such as those in Italy, were co-productions due to the lack of international stars within the country.[100] European horror films began developing strong cult following since the late 1990s.[95]

France

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See also: New French Extremity
French director Julia Ducournau (centre) won the Palme d'Or for horror film Titane. She is pictured with actors Agathe Rousselle and Vincent Lindon, who star in the film, at the 2021 Cannes Film Festival.

France never truly developed a horror film movement to the volume that the United Kingdom or Italy had produced.[101] In their book European Nightmares, editors Patricia Allmer, Emily Brick, and David Huxley noted that French cinema was generally perceived as having a tradition of the fantastic, rather than horror films. The editors noted that French cinema had produced a series of outstanding individual horror films, from directors who did not specialize in the field.[102] In their book Horror Films, Colin Odell & Michelle Le Blanc referred to director Jean Rollin as one of the countries most consistent horror auteurs with 40 years of productions described as "highly divisive" low budget horror films often featuring erotic elements, vampires, low budgets, pulp stories and references to both high and low European art.[103] Another of the few French directors who specialized in horror is Alexandre Aja, who stated that "the problem with the French is that they don't trust their own language [when it comes to horror]. American horror movies do well, but in their own language, the French just aren't interested."[102]

A 21st-century movement of transgressive French cinema known as New French Extremity was named by film programmer James Quandt in 2004, who declared and derided that films of Catherine Breillat, Claire Denis, Gaspar Noé, and Bruno Dumont, among others, had made "cinema suddenly determined to break every taboo, to wade in rivers of viscera and spumes of sperm, to fill each frame with flesh, nubile, or gnarled, and subject it to all manner of penetration mutilation and defilement."[104] In her book Films of the New French Extremity, Alexandra West described the phenomenon as initially an art house movement, but as the directors of those films started making horror films fitting arthouse standards such as Trouble Every Day (2001) and Marina de Van's In My Skin (2002), other directors began making more what West described as "outright horror films" such as Aja's High Tension (2003) and Xavier Gens' Frontier(s) (2007). Some of these horror films of the New French Extremity movement would regularly place on "Best Of" genre lists, such as Martyrs (2008), Inside (2007) and High Tension (2003) while Julia Ducournau's film Titane (2021) won the Palme d'Or at the 2021 Cannes Film Festival.[105][106]

Germany

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Jörg Buttgereit in 2015. Buttgereit was described by Kai-Uwe Werbeck as "arguably the most visible German horror director of the 1980s and early 1990s".[107]

A film movement that appeared in Germany in the first half of the 1920s labeled the German expressionist film closely resembled the horror film.[108][109] The term is borrowed from art groups such as Der Blaue Reiter and Der Sturm.[109] These films feature sensationalist titles such as Warning Shadows (1923), The Cabinet of Dr. Caligari (1920) and Secrets of a Soul (1926).[110] German film historian Thomas Elsaesser wrote that what was retained in popular film memory of these films were the characters who resembled bogeymen from children's fairy tales and folk legends. These included characters like the mad Dr. Caligari, Jack the Ripper from Waxworks (1924) and Count Orlok as well as actors like Conrad Veidt, Emil Jannings and Peter Lorre.[111] Director F.W. Murnau, made an adaptation of Dracula with Nosferatu (1922). Newman wrote that this adaptation "stands as the only screen adaptation of Dracula to be primarily interested in horror, from the character's rat-like features and thin body, the film was, even more so than Caligari, "a template for the horror film."[1]

German horror films remained marginal after the silent film era.[112] The Third Reich ended production of horror films and German productions never gained a mass audience leading the genre to not return in any major form until the late 1960s.[113][114] Between 1933 and 1989, Randall Halle stated about only 34 films that could be described as horror films and 45 which were co-productions with other countries, primarily Spain and Italy. Outside of Werner Herzog's Nosferatu the Vampyre (1979) most of these films low-budget that focused on erotic themes over horrific turns in narrative.[114] In the mid-1970s, Federal Department for Media Harmful to Young Persons was tasked with protection of minors from violent, racist and pornographic content in literature and comic books which led to increased the code which became law in 1973.[115] These laws expanded to home video in 1985 following the release of titles such as Sam Raimi's The Evil Dead (1981) and the political change when Helmut Kohl became chancellor in 1982.[116] The amount of West German film productions were already low in the 1980s, leaving the genre to be shot by amateurs who had little to no budgets.[117] In the early 1980s, West Germany's government cracked down on graphic horror films similar to the United Kingdom's Video nasty panic.[118] A direct response to this led to West German independent directors in the late 1980s and early 1990s, West German indie directors to release a comparatively high number of what Kai-Uwe Werbeck described as low-budget "hyper-violent horror films" sometimes described as German underground horror.[118][119] Werbeck described the most prominent of these were of Jörg Buttgereit, described by Werbeck as "arguably the most visible German horror director of the 1980s and early 1990s", one which Harald Harzheim claimed to be "the first German director since the 1920s to give the horror genre new impulses".[107] Similar gory films such as Olaf Ittenbach's The Burning Moon was the first, and last film to be made in Germany that is still banned there as of 2016.[118][120]

German horror films made a comeback in what Werbeck described as a mainstream fashion in the 21st century.[119] This included the box office hit Anatomy (2000) and Antibodies (2005), who Odell and Le Blanc described as being a similar to the 1960s krimi genre of crime films.[120][121] The second were films made for international markets such as Legion of the Dead (2001) and the video game adaptations directed Uwe Boll such as House of the Dead (2003) and Alone in the Dark (2005).[121]

Italy

[edit]
Director Riccardo Freda on the set of I Vampiri, the first Italian horror film of the sound era.[122][123]
See also: Giallo

Early silent Italian fantastique films focused more on adventure and farce opposed to Germany's expressionism.[122] The National Fascist Party in Italy had forced film in the early sound era to "spread the civilization of Rome throughout the world as quickly as possible."[124] Another influence was the Centro Cattolico Cinematografico (Catholic Cinematic Centre) that was described by Curti as "permissive towards propaganda and repressive against anything related to sexuality or morality."[124] The Vatican City's newspaper L'Osservatore Romano for example, critiqued the circulation of films like Bride of Frankenstein (1935) in 1940.[124]

As Italian neorealism had monopolized Italian cinema in the 1940s, and as the average Italian standard for living increased, Italian critic and historian Gian Piero Brunetta stated that it would "appear legitimate to start exploring the fantastic."[125] Italian film historian Goffredo Fofi echoed these statements, stating in 1963 that "ghosts, monsters and the taste for the horrible appears when a society that became wealthy and evolves by industrializing, and are accompanied by a state of well-being which began to exist and expand in Italy only since a few years"[126][127] Initially, this was a rise in peplum films after the release of Hercules (1958).[128] Italy started moving beyond peplums making Westerns and horror films which were less expensive to produce than the previous sword-and-sandal films.[100]

Italy's initial wave of horror films were gothic horror were rooted in popular cinema, and were often co-productions with other countries.[125] Curti described the initial wave of the 1960s Italian gothic horror allowed directors like Mario Bava, Riccardo Freda and Antonio Margheriti to helm what Curti described as "some of their very best works."[129] Bava's Black Sunday (1960) was particularly influential.[53] Many productions of this era were often written in a hurry, sometimes developed during filming production by production companies that often did not last very long, sometimes for only one film production.[130] After 1966, the gothic cycle ended, primarily through a broader crisis that effected the Italian film industry with its audience rapidly shrinking.[131] Some gothics continued to be produced into the beginning of the 1970s, while the influence of the genre was felt in other Italian genres like the Spaghetti Western.[132] The term giallo, which means "yellow" in Italian, is derived from Il Giallo Mondadori, a long-running series of mystery and crime novels identifiable by their distinctive uniform yellow covers, and is used in Italy to describe all mystery and thriller fiction. English-language critics use the term to describe more specific films within the genre, involving a murder mystery that revels in the details of the murder rather than the deduction of it or police procedural elements.[133] Tim Lucas deemed early films in the genre such as Bava's The Girl Who Knew Too Much (1963) while Curti described Blood and Black Lace (1964) as predominantly a series of violent, erotically charged set pieces that are "increasingly elaborate and spectacular" in their construction, and that Bava pushed these elements to the extreme which would solidify the genre.[134][135][133] It was not until the success of Dario Argento's 1970 film The Bird with the Crystal Plumage that the giallo genre started a major trend in Italian cinema.[136][137]

Other smaller trends permutated in Italy in the 1970s such as films involving cannibals, zombies and Nazis which Newman described as "disreputable crazes".[138] In Italy entered the 1980s, the Italian film industry would gradually move towards making films for television.[139] The decade started with a high-budgeted production of Argento's Inferno (1980) and with the death of Mario Bava, Fulci became what historian Roberto Curti called "Italy's most prominent horror film director in the early 1980s".[140] Several zombie films were made in the country in the early 80s from Fulci and others while Argento would continue directing and producing films for others such as Lamberto Bava.[140] As Fulci's health deteriorated towards the end of the decade, many directors turned to making horror films for Joe D'Amato's Filmirage company, independent films or works for television and home video.[141][142] Since the year 2000, European horror cinema has undergone a major revival. Italian productions were part of this revival, but these productions did not reach as either a wide audience or a critical recognition as films from France, Germany, Spain or the United Kingdom.[143] With the exception of a few films, most Italian horror productions in the first 15 years of the 21st century have not been theatrically released, nor have they been featured in mainstream press discourse.[144] Bruno Mattei was the only Italian horror film maker active since the 1970s and 1980s continuing to make exploitation films with any regularity or consistency, while Ivan Zuccon developed films cheaply, often costing only a few thousand dollars. Similarly, The Last House in the Woods (2006) was entirely self-funded by its director Gabriele Albanesi.[145]

Spain

[edit]

The highest point of production of Spanish horror films took place during late Francoism, between 1968 and 1975,[146] a period associated to the so-called Fantaterror, the local expression of Euro Horror, identifiable for its "disproportionate doses of sex and violence".[147] During this period, several Spanish filmmakers appeared with unique styles and themes such as Jesús Franco's The Awful Dr. Orloff (1962), first internationally successful horror and exploitation film production from Spain.[148] Dr. Orloff would appears in other films of Franco's during the period.[149] Paul Naschy, the actor and screenwriter.,[149] and Amando de Ossorio with his zombie like medieval knights in Tombs of the Blind Dead (1972).[149] These directors adapted established monsters from popular films, comics and pulp fiction and imbuing them with what Lazaro-Reboll described as "certain local flavour and relevance."[149] A partial overview of films from this era focused on classic monsters (Frankenstein's Bloody Terror (1968), Dr. Jekyll y el Hombre Lobo (1972)) and films that grew from trends created by Night of the Living Dead and The Exorcist (The Living Dead at the Manchester Morgue (1974), Exorcismo (1975)).[150] Most films of the period were low-budget films with short shooting schedules, while occasional films had respectable budgets such as 99 Women (1969) and others that had art house directors attempt commercial production such as Vicente Aranda's The Blood Spattered Bride and Jorge Grau's Bloody Ceremony (1973)[151] Antonio Lazaro-Reboll wrote in 2012 that in the last forty years, the horror film has formed as a significant part of Spain's local transnational filmic production, that created its own auteurs, stars and cycles.[152] For decades, it was described by Beck and Rodríguez-Ortega in Contemporary Spanish Cinema and Genre that the view of the genre has been "almost exclusively been constructed negatively" and that the rise in horror film productions in the late 1960s and 1970s in Spain was "reviled by contemporary critics, film historians and scholars".[153] In his 1974 book Cine español, cine de subgéneros, author Román Gurbern saw contemporary Spanish horror films as "derivative of Authentic American and European traditions" that will "never make it into the histories of Spanish cinema, unless it is dealt with in a succinct footnote."[154]

Film production decreased dramatically in the late 1970s and 1980s for several reasons, including the boom in historical and political films in Spain during early year of democracy. The film legislation implemented by general director of cinematography Pilar Miró in 1983 introduced a selective subvention system, causing the overall number of annually made films (including horror films) to shrink, thereby dealing a heavy blow to horror industry and the Fantaterror craze.[155] In addition, there were changing habits on audiences and the visual material they sought. It was not until the late 1990s and the 2000s that Spanish horror reached another production peak.[146]

After the success of private television operator Canal+ from the 1990s onward investing in the production of films by the likes of Álex de la Iglesia (The Day of the Beast; 1995) or Alejandro Amenábar (Tesis; 1996 and The Others; 2001) through Sogecine,[156] other television companies such as Antena 3 and Telecinco (through Telecinco Cinema) came to see horror as a profitable niche, and the genre thereby became a successful formula for box-office hits in the 2000s, underpinning the wider switch in the industry from the largely State-dependent model of the 1980s to the hegemony of mass media holdings in domestic film production.[157] Jaume Balagueró's The Nameless (1999), which became a popular film both in Spain and abroad, paved the way for new Spanish horror films.[158] Filmax tried to capitalise on the success of the former film by creating the Fantastic Factory genre label[159] and eventually came to develop one of the most successful Spanish film franchises with the Rec film series.[160] The success of Juan Antonio Bayona's The Orphanage (2007) ensued with the release of ersatz gothic films featuring creepy children.[159] Other key names for the development of the genre in the 21st-century Spanish industry include Juan Carlos Fresnadillo and Paco Plaza.[161]

United Kingdom

[edit]
Further information: British horror cinema

Americas

[edit]

Mexico

[edit]
Main article: Horror films of Mexico

After the 1931 release of a US-produced Spanish-language version of Dracula by George Melford for the Latin-American market employing Mexican actors, Mexican horror films were produced throughout the 1930s and 1940s, often reflecting on the overarching theme of science vs. religion conflict.[162] Ushered by the release of El vampiro, the Mexploitation horror film era started in 1957, with films characterised by their low production values and camp appeal, often featuring vampires, wrestlers, and Aztec mummies.[163] A key figure in the Mexican horror scene (particularly in Germán Robles-starred vampire films) was producer Abel Salazar.[164] The late 1960s saw the advent of the prominence of Carlos Enrique Taboada as an standout Mexican horror filmmaker, with films such as Hasta el viento tiene miedo (1967), El libro de piedra (1968), Más negro que la noche (1975) or Veneno para las hadas (1984).[165] Mexican horror cinema has been noted for the mashup of classic gothic and romantic themes and characters with autochthonous features of the Mexican culture such as the Ranchería setting, the colonial past or the myth of La Llorona (shared with other Hispanic-American nations).[166]

Horror has proven to be a dependable genre at the Mexican box office in the 21st-century, with Mexico ranking as having the world's largest relative popularity of the genre among viewers (ahead of South Korea), according to a 2016 research.[167]

Effects on audiences

[edit]

Psychological effects

[edit]

In a study done by Uri Hasson et al., brain waves were observed via functional magnetic resonance imaging (fMRI). This study used the inter-subject correlation analysis (ISC) method of determining results. It was shown that audience members tend to focus on certain facets in a particular scene simultaneously and tend to sit as still as possible while watching horror films.[168]

In another study done by John Greene & Glenn Sparks, it was found that the audience tends to experience the excitation transfer process (ETP) which causes a physiological arousal in audience members. The ETP refers to the feelings experienced immediately after an emotion-arousing experience, such as watching a horror film. In this case, audience members' heart rate, blood pressure and respiration all increased while watching films with violence. Audience members with positive feedback regarding the horror film have feelings similar to happiness or joy felt with friends, but intensified. Alternatively, audience members with negative feedback regarding the film would typically feel emotions they would normally associate with negative experiences in their life.[citation needed]

Only about 10% of the American population enjoy the physiological rush felt immediately after watching horror films. The population that does not enjoy horror films could experience emotional fallout similar to that of PTSD if the environment reminds them of particular scenes.[citation needed]

A 2021 study suggested horror films that explore grief can provide psychological benefits to the bereaved, with the genre well suited to representing grief through its genre conventions.[169]

Physical effects

[edit]

In a study by Medes et al., prolonged exposure to infrasound and low-frequency noise (<500 Hz) in long durations has an effect on vocal range (i.e. longer exposure tends to form a lower phonation frequency range).[170] Another study by Baliatsas et al. observed that there is a correlation between exposure to infrasound and low-frequency noises and sleep-related problems.[171] Though most horror films keep the audio around 20–30 Hz, the noise can still be unsettling in long durations.[19]

Another technique used in horror films to provoke a response from the audience is cognitive dissonance, which is when someone experiences tension in themselves and is urged to relieve that tension.[172] Dissonance is the clashing of unpleasant or harsh sounds.[173] A study by Prete et al. identified that the ability to recognize dissonance relied on the left hemisphere of the brain, while consonance relied on the right half.[174] There is a stronger preference for consonance; this difference is noticeable even in early stages of life.[174] Previous musical experience also can influence a dislike for dissonance.[174]

Skin conductance responses (SCRs), heart rate (HR), and electromyographic (EMG) responses vary in response to emotional stimuli, showing higher for negative emotions in what is known as the "negative bias."[175] When applied to dissonant music, HR decreases (as a bodily form of adaptation to harsh stimulation), SCR increases, and EMG responses in the face are higher.[175] The typical reactions go through a two-step process of first orienting to the problem (the slowing of HR), then a defensive process (a stronger increase in SCR and an increase in HR).[175] This initial response can sometimes result in a fight-or-flight response, which is the characteristic of dissonance that horror films rely on to frighten and unsettle viewers.[19]

Reception

[edit]

In film criticism

[edit]
See also: Vulgar auteurism

Critic Robin Wood was not the first film critic to take the horror film seriously, but his article Return of the Repressed in 1978 helped inaugurate the horror film into academic study as a genre.[176] Wood later stated that he was surprised that his work, as well as the writing of Richard Lippe and Andrew Britton would receive "historic importance" intellectual views of the film genre.[176] William Paul in his book Laughing Screaming comments that "the negative definition of the lower works would have it that they are less subtle than higher genres. More positively, it could be said that they are more direct. Where lower forms are explicit, higher forms tend to operate more by indirection. Because of this indirection the higher forms are often regarded as being more metaphorical, and consequently more resonant, more open to the exegetical analyses of the academic industry."[177]

Steffen Hantke noted that academic criticism about horror cinema had "always operated under duress" noting that challenges in legitimizing its subject, finding "career-minded academics might have always suspected that they were studying something that was ultimately too frivolous, garish, and sensationalistic to warrant serious critical attention".[178]

Some commentary has suggested that horror films have been underrepresented or underappreciated as serious works worthy of film criticism and major films awards.[179][180] As of 2021, only six horror films have been nominated for the Academy Award for Best Picture, with The Silence of the Lambs being the sole winner.[181][182] However, horror films have still won major awards.[183]

Critics have also commented on the representation of women[184][185][186][187] and disability[188] in horror films, as well as the prevalence of racial stereotypes.[189][190]

Censorship

[edit]

Many horror films have been the subject of moral panic, censorship and legal controversy.

In the United Kingdom, film censorship has frequently been applied to horror films.[191] A moral panic over several slasher films in the 1980s led to many of them being banned but released on videotape; the phenomenon became popularly termed "video nasties".[192][193] Constraints on permitted subject matter in Indonesian films has also influenced Indonesian horror films.[194] In March 2008, China banned all horror films from its market.[195]

In the U.S., the Motion Picture Production Code which was implemented in 1930, set moral guidelines for film content, restraining movies containing controversial themes, graphic violence, explicit sexuality and/or nudity. The gradual abandonment of the Code, and its eventual formal repeal in 1968 (when it was replaced by the MPAA film rating system)[196] offered more freedom to the movie industry.

References

[edit]

Notes

[edit]
  1. ^ a b Marriott & Newman 2018, p. 20.
  2. ^ a b Kuhn, Annette; Westwell, Guy (20 December 2012), "horror film", A Dictionary of Film Studies, Oxford University Press, doi:10.1093/acref/9780199587261.001.0001, ISBN 978-0-19-958726-1, retrieved 20 December 2021
  3. ^ a b Balmain 2008, p. 4.
  4. ^ Rhodes 2014, p. 91.
  5. ^ a b Rhodes 2018b, p. 97.
  6. ^ Rhodes 2018b, p. 98.
  7. ^ Rhodes 2018b, p. 97-98.
  8. ^ Rhodes 2014, p. 90.
  9. ^ Balmain 2008, p. 5.
  10. ^ a b Jancovich 2008, p. 28.
  11. ^ Jancovich 2000, p. 31-32.
  12. ^ Jancovich 2000, p. 25-26.
  13. ^ Jancovich 2000, p. 26-27.
  14. ^ Jancovich 2000, p. 28.
  15. ^ Tudor 1991, p. 6-7.
  16. ^ Rhodes 2018b, p. 79.
  17. ^ Rhodes 2018b, p. 82.
  18. ^ Rhodes 2018b, p. 83.
  19. ^ a b c d e f g h "15 Ways You Didn't Even Realize Horror Movies Are Manipulating You into Fear". Ranker. Retrieved 22 November 2019.
  20. ^ Lerner, Neil (16 December 2009). Music in the Horror Film: Listening to Fear. Routledge. ISBN 978-1-135-28044-4.
  21. ^ a b c d Prawer 1989, p. 16.
  22. ^ Prawer 1989, p. 17.
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  48. ^ Hand & McRoy 2020, p. 1.
  49. ^ Hand & McRoy 2020, p. 2.
  50. ^ Hand & McRoy 2020, p. 5-6.
  51. ^ Muir 2012, p. 10.
  52. ^ Muir 2012, p. 11.
  53. ^ a b Curti 2015, p. 38.
  54. ^ Marriott & Newman 2018, p. 220.
  55. ^ Marriott & Newman 2018, p. 272.
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  61. ^ a b Gregersdotter, Hoglund & Hallen 2015, p. 31.
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  63. ^ Gibron 2013.
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  69. ^ Marriott & Newman 2018, p. 218.
  70. ^ Muir 2007, p. 21.
  71. ^ Muir 2007, p. 18-19.
  72. ^ Marriott & Newman 2018, p. 274.
  73. ^ Chung 2013, p. 87.
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  85. ^ a b Shelley 2012, p. 9.
  86. ^ Shelley 2012, p. 5-6.
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  89. ^ a b Shelley 2012, p. 12.
  90. ^ a b Withers 2016.
  91. ^ Conrich 2005, p. 115.
  92. ^ a b c Matthews 2017.
  93. ^ a b Conrich 2005, p. 117.
  94. ^ Conrich 2005, p. 116.
  95. ^ a b c Olney 2013, p. xi.
  96. ^ Wynter 2016, p. 44.
  97. ^ Olney 2013, p. 6.
  98. ^ Olney 2013, p. 7.
  99. ^ Lazaro-Reboll 2012, p. 11-12.
  100. ^ a b Heffernan 2004, p. 141.
  101. ^ Odell & Le Blanc 2007, p. 47.
  102. ^ a b West 2016, p. 7.
  103. ^ Odell & Le Blanc 2007, p. 48.
  104. ^ West 2016, p. 5.
  105. ^ West 2016, p. 6.
  106. ^ LaCava 2021.
  107. ^ a b Werbeck 2016, p. 439.
  108. ^ Benshoff 2014, p. 215.
  109. ^ a b Elsaesser 2016, p. 15.
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  111. ^ Elsaesser 2016, pp. 17–18.
  112. ^ Werbeck 2016, p. 436.
  113. ^ Halle 2003, p. 281.
  114. ^ a b Halle 2003, p. 284.
  115. ^ Werbeck 2016, p. 437.
  116. ^ Werbeck 2016, p. 437-438.
  117. ^ Werbeck 2016, p. 438.
  118. ^ a b c Werbeck 2016, p. 435.
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  120. ^ a b Werbeck 2016, p. 443.
  121. ^ a b Odell & Le Blanc 2007, p. 56-57.
  122. ^ a b Curti 2015, p. 11.
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  124. ^ a b c Curti 2015, p. 12.
  125. ^ a b Curti 2015, p. 15.
  126. ^ Shipka 2011, p. 22.
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  131. ^ Curti 2015, p. 17.
  132. ^ Curti 2015, p. 17-18.
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Bibliography

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Further reading

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