Dissecting the Stigma Around Horror and Cheap Thrills
The horror genre has long had a staple in film history, with its early roots in classic films such as Nosferatu and The Cabinet of Dr. Caligari, and new films such as Midsommar and The Invisible Man proving that the genre is still relevant and making an impact today. Horror can come in a variety of subgenres, from psychological horror, slasher flicks, folk horror, body horror, supernatural horror, and much more. However, the Horror Genre tends to be frequently looked down upon by today’s moviegoers as “trashy” and the lowest of the low, as studios such as Blumhouse, for example, often turn out dozens of low budget films in the genre that tend to receive low critical reviews. These films tend to easily make a profit since they are so cheap to make, which has resulted in a seemingly endless cycle of “B or C movies” that continually perpetuate theaters despite generally being regarded as terrible pieces of art. Some primary examples of this trend include films such as Truth or Dare, Black Christmas and the countless Purge and Paranormal Activity franchises.
While there are valid criticisms of the horror genre as a whole, the stigma against it is unfortunate, as the countless number of subgenres and places of fear to explore allow for such creativity. Fear and what scares us means a different thing for different people, which has incentivized film-makers to explore a variety of relevant social themes, dive into the internalized fears that we hold, and push the boundaries of film-making altogether. Let’s take a closer look at this stigma against horror, and dissect the assumptions that allow this narrative to perpetuate in modern film discourse.
In their most simple and complex forms, horror films are designed to scare us, as we all know. They are designed to not only scare us based off of what we see on screen literally, but make us ponder on social themes and take a deep look within ourselves. The way horror films go about instigating this fear, however, is the primary reason for the stigma against the genre. The thing with all film discourse, and that of horror films in particular, is that film is subjective. And more importantly to this topic, what scares us is subjective. So who is to say what doesn’t scare someone can’t scare someone else? However, many people tend to critique the modern horror films of today for their over-reliance on cheap tactics – jump scares in particular – to scare audiences. And that is a valid criticism, as the type of horror films that tend to really stick with us are the ones that explore deeper themes and layers that go beyond a simple haunted house attraction. However, this scare tactic of jump scares has been prevalent in the genre for many decades now, drawing back to the days of 70’s slasher flicks. There has always been the element of trashiness to horror for so long, and sometimes, it’s just fun to succumb to obvious horror tropes.
The great thing is, there is such a variety of horror films out there that it’s not too hard to find what you may be looking for in an ideal film. And to single out horror films for their bad apples while not applying that line of reasoning to other genres is simply unfair, as so many horror films have pushed the boundaries of film-making and in recent years.
For example, one of the primary genres that has emerged due to the creativity of the horror genre is the found footage genre. With the success of The Blair Witch Project, which infamously earned nearly $250 million worldwide on a $60,000 budget, it effectively launched the subgenre of found footage. While many people critique the genre, when done right, it can be extremely effective, and has been used in a variety of genres. Furthermore, the horror genre in recent years has evolved to incorporate elements of digital technology such as seen in Unfriended and the recent horror film Host. Clearly, there is so much that can be done film-making wise with the horror genre.
Despite this, the horror genre tends to be looked down upon due to the lack of award recognition. While certain films such as The Exorcist, The Silence of the Lambs and The Sixth Sense have transcended and received award recognition, most horror films don’t get taken seriously enough to receive a single nomination at the Academy Awards. For instance, not only was Hereditary one of the most critically-acclaimed films of 2018, exploring the horror of family dynamics and family illness getting passed down, it also boosted what was arguably the best performance of the year with Toni Colette. Yet, the film, and Colette, received no recognition, and this trend has long been going. Even The Shining, considered one of the best films of all time, was not nominated for a single Oscar.
Additionally, the stigma against horror films is in particular so frustrating because the past decade has seen a surge of so many brilliant horror films. Many of these films have been produced as arthouse films and have pushed the boundaries of audience expectations when it comes to horror. In recent years, many horror films have transcended the tired trope of jump scares. Recent films such as Hereditary, Get Out, A Quiet Place and The Lighthouse have been met with much critical acclaim and are just a few examples of some of the unique and original horror films that have recently come out. Horror has also largely been used as a way to portray social themes and dynamics, as films all the way from the 60’s with Night of the Living Dead to the recent Get Out have been able to explore themes of racism under the mask of the horror genre. Another great example of this is the recent reboot of The Invisible Man, which although on a surface level seemed like another generic horror film, used the lure and tricks of the genre to dissect abusive relationships and how vulnerable women are to being labeled as crazy when the fear and horror of gender roles in society is all too real. Horror films have long served to represent social and political dynamics in our world that shape the nature of our society. When such films explore these ideas, they invite viewers in and instigate traditional realms of horror before uncovering the true horror underneath, truly driving home these themes in a more effective and horrifying way than if it were to have been done in any other genre.
Furthermore, horror films tend to be cheaper to produce, requiring less of a budget, which makes it more accessible for aspiring film-makers who are looking to break into the film industry and share their creative voice. Therefore, the genre also tends to lend themselves to more creative ways of thinking as with lower budgets, film-makers are forced to think of purposeful ways to utilize single locations and less actors. One of the best examples of this is the 2004 film Saw, which largely takes place in one room and effectively utilizes a single location to keep the viewer engaged. When film-makers are forced to stay on their toes and constantly come up with new ideas and ways to make every penny of their budget count, it often lends itself to innovative and unique ideas.
The horror genre is the easiest to critique because fear is so subjective, but the genre absolutely has its place in modern film-making for its vital creativity and proven leverage over the years. When we label such a genre with disdain and dismiss it, we effectively push aside and undermine the valuable film-making achievements and strides that have been made in the genre as well. So as we all take in the fall season around us and settle in for a late night movie, we need not look too far for a Halloween seasoned film; if you’re looking for a cheap thrill and a fun, brainless night, the horror genre has got you, but if you’re looking for something deeper, something to truly keep you up at night – the horror genre has also got you. – Matthew Minton