- 1 German Popular Culture: Tales of Horror
- 2 Projected Fears: Horror Films and American Culture
- 3 Reviews
- 4 GRIN – American culture and perception of women in horror movies
- 5 Horror movies reflect cultural fears. In 2016, Americans feared invasion.
- 5.1 This year’s horror films were blunt and straightforward
- 5.2 2016 gave us a tidy crop of home invasion films
- 5.3 The home invasion movie is a metaphor for fear of foreigners
- 5.4 The trope is typically aimed at white Americans
- 5.5 2016’s best home invasion film is a total subversion of the trope — especially the idea of America as an invaded sanctuary
- 6 Let’s Talk Folk Horror and Appropriation
- 7 3 Reasons Why Horror has Cultural Value
- 8 3 Reasons Why Horror has Cultural Value
- 9 Reader Interactions
- 10 A Classic Horror Film Bucket List for Scary Movie Buffs
- 11 1. ‘Psycho’ (1960)
- 12 2. ‘The Exorcist'(1973)
- 13 3. ‘Rosemary’s Baby’ (1968)
- 14 4. ‘A Nightmare on Elm Street’ (1984)
- 15 5. ‘Carrie’ (1976)
- 16 6. ‘Saw’ (2004)
- 17 7. ‘The Shining’ (1980)
- 18 8. ‘Invasion of the Body Snatchers’ (1956)
- 19 9. ‘Scream’ (1996)
- 20 10. ‘Cabin in the Woods’ (2012)
- 21 11. ‘Nosferatu’ (1922)
- 22 12. ‘The Conjuring’ (2013)
- 23 13. ‘The Thing’ (1982)
- 24 14. ‘Alien’ (1979)
- 25 15. ‘The Birds’ (1963)
- 26 16. ‘Bride of Frankenstein’ (1935)
- 27 17. The Grudge’ (2006)
- 28 18. ‘The Haunting’ (1963)
- 29 19. ‘The Silence of the Lambs’ (1991)
- 30 20. ‘Final Destination’
- 31 21. ‘The Evil Dead’ (1981)
- 32 22. ‘The Omen’ (1976)
- 33 23. ‘Poltergeist’ (1982)
- 34 24. ‘Halloween’ (1978)
- 35 25. ‘I Know What You Did Last Summer’ (1997)
- 36 26. ‘The Blair Witch Project’ (1999)
- 37 27. ‘Jaws’ (1975)
- 38 28. ‘Get Out’ (2017)
- 39 29. ‘An American Werewolf in London’ (1981)
- 40 30. ‘The Ring’ (2002)
- 41 31. ‘The Fly’ (1986)
- 42 32. ‘Misery’ (1990)
- 43 33. ‘Happy Death Day’ (2017)
- 44 34. ‘The Texas Chainsaw Massacre’ (1974)
- 45 35. ‘It’ (2017)
- 46 36. ‘The Strangers’ (2008)
- 47 37. ‘Let the Right One In’ (2008)
- 48 38. ‘Friday the 13th’ (1980)
- 49 39. ‘A Quiet Place’ (2018)
- 50 40. ‘Child’s Play’ (1988)
- 51 41. ‘The Witch’
- 52 42. ‘Midsommar’
- 53 43. ‘Hereditary’
- 54 44. ‘The Purge”
- 55 45. ‘Paranormal Activity’ (2009)
- 56 46. ‘Candyman’ (1992)
- 57 47. ‘Us’ (2019)
- 58 48. ‘The Babadook’ (2014)
- 59 49. ‘Don’t Breathe’ (2016)
- 60 50. ‘Train to Busan’ (2016)
German Popular Culture: Tales of Horror
No amount of emphasis can be placed on how important vampires and zombies, doppelgängers and murderers, ghosts and artificial humans—haunted hybrids—have been in the formation of German identity over the centuries. The exploration of a culture’s growing diseases, which is precisely what those seemingly little yet enigmatic statistics reflect, is one of the most informative activities. Despite being derided as “low culture,” ghost stories, fairy tales, and horror films inevitably give a window into a society’s spectres that are vastly distinct from one another in terms of appearance and behavior.
In these horror stories, the “others” of civilization, who live at the nexus of technology and the unconscious, play a central role.
As told via some of the genre’s most fascinating monsters and imaginations, this course explores tales of horror throughout a time span extending from the genre’s anti-Enlightenment origins through German Expressionism to New German Cinema.
We will pay special attention to the ways in which texts and films build, preserve, or unleash the awful kernels that lie inside them.
The writings of Sigmund Freud will be of particular importance in this course.
The film contributions span from classics of Expressionist cinema such as Lang’s Metropolis and Murnau’s Nosferatu to Werner Herzog’s late-70s adaptation of the latter, as well as contemporary works.
Projected Fears: Horror Films and American Culture
Horror and unpleasant stories appear to drive moviegoers to watch them, as if they were obliged to do so. Partly due to the fact that horror is always evolving and reinventing itself (every time the genre is declared dead, it appears to come up with yet another variation), it has been one of the most extensively examined genres. The author Kendall Phillips has selected ten of the most popular and influential horror films of all time, including such classics as Dracula, Night of the Living Dead, Halloween, The Silence of the Lambs, and Scream—each of which has become a cinematic landmark and spawned a slew of imitators, as well as having implications that go far beyond their cinematic influence and accomplishment.
Despite the fact that they are artistically and conceptually distinct, all of these films have terrified millions of eager audiences. This book makes an attempt to determine why.
“The book is logical, very accessible, and succinct in its presentation. His work will be most useful as a primer for anyone unfamiliar with the horror genre. Recommended. Undergraduates in the lower and higher divisions; general readers” — Choice, published on October 1, 2005 In this documentary, “xplores the link between ten iconic horror films and the civilizations they represent.” — The United States States News, January 4, 2007 “Phillips examines 10 classic horror films, including Dracula, The Texas Chainsaw Massacre, The Silence of the Lambs, and The Sixth Sense, in order to find the ways in which horror films reflect their cultural settings and the concerns of their audience members.
Additionally, Phillips includes a summary of each picture, in which he explains the film’s production history, current audience reception, and cultural effect.
Phillips, will appeal to fans of horror and horror films who are interested in an academic analysis of the connections between horror films and American culture.” — MBR Bookwatch, first published on October 1, 2005 “Kendall Phillips investigates the cultural repercussions and rhetorical structure of American horror films from the 20th century in her dissertation.
His vibrant and comprehensive review will undoubtedly encourage readers to revisit the films for a second viewing.” — Thomas W.
This is a difficult yet rewarding book for devoted fans, cinema aficionados, and filmmakers, as well as academics and film students and researchers.
John Graves, Emeritus Professor of Mass Communication at Central Missouri State University.
When Kendall Phillips combines an intriguing and cogent synthesis of visual, textual, and cultural analyses, she creates an original, useful, and much-welcome reinterpretation of human history and memory through the lens of horror film, which is one of our most important and popular forms of artistic expression—not to mention a genre that has long been a source of public fascination—we are in for a treat.” “When Death Goes Pop: Death, Media, and the Remaking of Community,” says Charlton McIlwain, Assistant Professor of Culture and Communication at New York University and author of When Death Goes Pop.
GRIN – American culture and perception of women in horror movies
Excerpt “I consider horror films to be works of art, as well as films of conflict. It is tough to see films that force you to address painful elements of your own life. ” David Cronenberg is a filmmaker who has made a name for himself in the film industry. In current horror films, the projection of changes in American culture and the view of women are prominent themes. The horror genre may trace its roots back to gothic nineteenth-century works such as Mary Shelley’s Frankenstein (1818) and John Polidori’s The Vampire (1904).
Despite the fact that horror films are mostly associated with Europe, they have a lengthy history in American cinema, stretching back to the 1915 silent film Les Vampires by Freuillade and one of the earliest sound films, Tod Browning’s iconic Dracula, released in 1931, to name a few examples.
The supernatural elements in horror films include vampires, ghosts, and witchcraft (Cinema Studies 184).
Despite the fact that many critics consider the horror genre to be of “poor culture,” it is important to recognize that it has a significant cultural impact.
When it comes to our societal issues, as Prawer pointed out, “horror films paradoxically assist us in coping with our everyday lives by jolting us out of them” (60).
Because the twentieth century is viewed as an era of perpetual social upheaval, the history of the horror film is synonymous with the history of anxiety (Wells 3); as a result, when cultural instability erupts, the audience turns to horror films as a method of escaping their feelings of uneasiness.
- Consequently, the dread created by slasher films forces one to come up with new methods of dealing with his or her challenges, since one’s usual way of thinking will become not just challenging but also bothersome as a result of the film’s violence.
- A large number of critics expressed displeasure with the picture, describing it as “a display of stomach-churning terror,” “a mirror of a most nasty mind, a cruel, sneaky sadistic little mind,” and “a blemish on a respectable career” (in the words of one) (Phillips 62).
- After World War II, the United States experienced a period of economic development, with soldiers returning home becoming workers.
- Furthermore, the 1950s are marked by a large-scale exodus to the city’s outskirts; people fled to the suburbs, which were free of minorities and immigrants, as well as the ugliness of city life, in order to find more comfortable and secure living quarters for themselves and their families.
- Housewives spent the most of their time at home, completing a variety of household activities and caring for their children, among other things.
- While on the other hand, women were obliged to work as a result of their social isolation; hence, obvious distinctions between gender roles were progressively eroded, and as a result, there was uncertainty regarding the differences between men and women in the workplace.
- In one of the early scenes, the emphasis is mostly on the significance of money and its acquisition.
Unfortunately for her, Sam justifies his unwillingness to commit by claiming that he does not have the financial means to supply them with a significant quantity of money to assure a comfortable existence.
Simply said, placing too much stress on having blurs the line between what is wrong and what is good.
Furthermore, the people featured in the film illustrate the shifts in gender roles that happened in the 1950s and immediately thereafter.
Besides the fact that she maintains a healthy romantic connection with Sam (who is himself divorced), she is also shown in lingerie in the first scene.
The fact that she has a secret connection portrays her as a woman who is liberated and mindful of her own wants.
In Marion’s case, the act of stealing money might be seen as a measure of her psychological fortitude.
Although she continues an adulterous connection and has her own business, she is eager to establish a home – the most important source of happiness in one’s life – with Sam and appears to be absolutely dedicated in her endeavors, as seen by her theft of a bag stuffed with cash.
It is even more difficult to distinguish between the sexual qualities of Marion’s sister Lila, who is more asexual than Marion and more active in her hunt for her sister, while Sam displays an inflexible attitude towards their search for Marion.
Norman’s acts, in addition to revealing the shift in gender roles, also indicate the shift in gender roles.
Evidently, Norman is unable to be truly “masculine” in the absence of a male role in his life; in the absence of a father figure in his life, Norman dangerously transforms into his mother to the point where he is able to kill her and her boyfriend as a result of his feelings of jealousy.
According to Phillips, Norman’s act of committing matricide is motivated by her dread of being smothered by her mother: a suburban “mama” of the 1950s who loves her children too much to allow them to love on their own (75).
The second horror film, which represents the social upheaval of the 1970s and appears to have had a significant impact, is John Carpenter’sHalloween (1978), which was directed by Tim Burton.
The society of the “swinging” seventies exemplified a morally lenient approach to living.
These experiments included organizing wild orgies and sexual meetings during which married couples could indulge in fantasizing about their future spouses.
Most notable among the good outcomes of this liberal period was the shift in public opinion of women, gays and lesbian couples who have since received greater attention, as well as the acceptance of the multiplicity of gender identities that has resulted from this period.
She claims that slasher films contain certain elements that appeal to audiences because of their simplicity; these include the appearance of a mentally and sexually disturbed killer; the use of a simple, usually phallic weapon; a spooky location where the killer lives and torments his victims; the presence of the final girl – a boyish character who survives the attack of the killer thanks to her intelligence; and the presence of the final girl – a girlish character who survives the attack of the killer Importantly, the choice of victims made by the serial murderer appears to have been deliberate and purposeful.
The victims who fall prey to Michael Myers are generally sexually active teens who are either going to have a sexual encounter or have already had one when they are attacked.
Inferred from the selection of his victims and the circumstances surrounding their deaths, Myers kills his victims in order to impart a certain type of moral teaching: that sexual liberty and lust are far from noble and that anybody who is engrossed in sex needs to be severely punished.
The following is an excerpt from nine pages.
GradeAAuthor Emilia Wendykowska (Author)Year2012Pages9 Emilia Wendykowska Bibliographic information Catalog NumberV196807ISBN (eBook)9783656228585ISBN (Book)9783656229940ISBN (eBook)9783656229940ISBN (eBook)9783656229940 File size451 KBLanguageEnglishTagsamericanPriceFile typeJPG (Ebook) Price (Book): 2.99Price (Paper): 9.99Quote paper American culture and perspective of women in horror films, by Emilia Wendykowska (Author), published by GRIN Verlag in Munich in 2012.
Horror movies reflect cultural fears. In 2016, Americans feared invasion.
Excerpt “I consider horror films to be works of art, as much as films of conflict.” It is difficult to watch films that force you to confront difficult aspects of your own life. David Cronenberg is a filmmaker who has made a name for himself in the entertainment industry. Adapting contemporary horror films to reflect shifts in American culture as well as changing perceptions of women. Frankenstein (1818) and John Polidori’s The Vampire (1918) are examples of gothic nineteenth-century novels that influenced the horror genre (1819).
Horror films can be divided into three categories: those that contain supernatural elements, such as vampires, ghosts, and witchcraft; psychological horror, which is based on the characters’ fears, guilt, or beliefs; and massacre films, which feature scenes of slaughter, brutality, and rough treatment.
Horror films, as an element of mass culture, may be perceived as simplistic, predictable, lacking depth, and simply unworthy of critical examination, but a large number of films exist whose content reflects the contemporary problems that have occurred in American society at the time of their production.
- As a result of the film’s role in projecting certain fears and concerns of contemporary society, as well as assisting people in resolving these fears and concerns, there is an inextricable link between film and social concerns.
- According to popular belief, the popularity of horror films rises in tandem with the amount of social unrest that is experienced.
- Since the twentieth century is perceived as an era of constant social upheaval, the history of the horror film is synonymous with the history of anxiety (Wells 3).
- Consequently, the fear evoked by slasher films forces one to come up with new ways of dealing with his or her difficulties, as one’s usual way of thinking will become not only problematic but also troublesome as a result of the film’s content.
- The film was met with a largely negative reception, with critics decrying it as “a spectacle of stomach-churning horror,” “a reflection of a most unpleasant mind,” “a reflection of a mean, sly sadistic little mind,” and “a blot on an otherwise honorable career” (Phillips 62).
At that time, Americans were experiencing the economic development following World War II; soldiers returning home became workers, and by the end of the decade, the society had been overcome by consumerism: Americans were compulsorily purchasing goods rather than meeting their needs through the production of home-made items.
- It is also a period marked by the domestication of women as well as their social isolation from the rest of the society.
- Women were unable to rely on their remaining absent husbands or distant relatives of the family, despite the fact that they were surrounded by convenient domestic items; as a result, their loneliness eventually led to their frustration.
- Rewinding back to the first portion of Psycho, it is evident that the story’s first half is primarily concerned with the issue of mass consumption of products.
- Marion explains to her partner Sam that she is no longer pleased with their informal connection and that she is looking for long-term stability in her life.
- Indeed, it is Marion’s need for money, as well as the desire to live a happy life free of financial problems, that leads her to steal $40.000 from a wealthy Southerner named John Cassidy.
- Because, as you can see, equality of opportunity no longer serves to provide a foundation for freedom, and it is money that will allow Marion and Sam to live happily ever after.
- Besides the fact that she maintains a healthy romantic connection with Sam (who is himself divorced), she is also shown in lingerie in the opening sequence.
- Being involved in a covert relationship portrays her as a lady who is liberated and conscious of her own wants.
- In some ways, Marion’s ability to steal money might be interpreted as a measure of her psychological toughness.
Although she maintains an extramarital relationship and has her own career, she is eager to establish a home – the most important source of satisfaction in one’s life – with Sam and appears to be utterly determined in her attempts, as evidenced by her theft of a suitcase containing thousands of dollars.
- It is even more difficult to distinguish between the sexual qualities of Marion’s sister Lila, who is more asexual than Marion and more forceful in her hunt for her sister, while Sam shows a more flexible approach toward their search for Marion.
- The shift in gender roles is also reflected in Norman’s conduct, which he demonstrates through his behaviors.
- Evidently, Norman is unable to be truly “masculine” in the absence of a male role in his life; in the absence of a father figure in his life, Norman dangerously transforms into his mother to the point where he is able to kill her and her boyfriend as a result of his resentment.
- The dread of being smothered by Norman’s mother, according to Phillips, is the cause of his committing matricide.
- With no question, the examples provided above serve as an excellent example of how to portray the changes that occurred in the lives of ordinary Americans throughout the 1950s.
- The film shows the social turmoil of the 1970s and appears to have had a significant impact.
- A morally loose attitude toward life was symbolized by the society of the “swinging” seventies.
These experiments included staging wild orgies and sexual gatherings during which married couples might indulge in their fantasies.
Carpenter’s terror influenced the development of the slasher film formula, which was praised by many reviewers, including Clover, for its innovative use of violence.
Most of the people who become victims of Michael Myers are sexually active teens who are either going to have a sexual encounter or have already experienced one.
By choosing his victims and placing them in these conditions, Myers is able to impart a certain type of moral teaching: that sexual liberty and lust are far from being respectable, and that anybody who is absorbed in sex deserves to be severely punished for their actions.
The following is an excerpt from the following nine pages: Details titled “American culture and the view of women in horror films,” Malta’s College of Education GradeAAuthor The author is Emilia Wendykowska, and the year is 2012.
The ISBN for the eBook is 9783656228585, while the ISBN for the book is 9783656229940.
American culture and perspective of women in horror films, by Emilia Wendykowska (Author), published by GRIN Verlag in Munich in 2012, is available online.
This year’s horror films were blunt and straightforward
It was immediately apparent in the crop of horror and suspense films released in 2016, from Green Room, which pitted a young rock band against a neo-Nazi stronghold in the rural Pacific Northwest, to The Wailing, which dealt explicitly with xenophobia and the fears that arise from an inability to communicate across cultural and linguistic divides. It seemed like everywhere you looked in horror this year, the cultural anxieties that shaped the global rise of nationalist politics were rampant, whether it was paranoia bred out of religious fervor (The Witch), rich white men seizing power through authoritarianism and class-based violence (The Purge: Election Year), or ominous predictions of the end of the world (The End of the World) (10 Cloverfield Lane).
After years of avoiding allegory and metaphor, horror films took the straight approach in 2016, pointing out that racist extremism, power-mad gun rights lobbying, religious zealotry, conspiracy-driven survivalism, and xenophobic nationalism are all frightening as hell.
There were a number of successful examples of this trope in 2016, as well as a couple of interesting subversions and a couple of more mediocre entries in the category.
2016 gave us a tidy crop of home invasion films
A clear indication of this shift in cultural attitudes toward overt courting of extremist right-wing ideologies was immediately apparent in the crop of horror and suspense films released in 2016, from Green Room, which pitted a young rock band against a neo-Nazi stronghold in the rural Pacific Northwest, to The Wailing, which dealt explicitly with xenophobia and the fears born out of an inability to communicate across cultural and linguistic divides.
You could find cultural anxieties that helped shape global rise of nationalist politics everywhere you looked in horror this year, whether it was paranoia bred out of religious frenzy (The Witch), rich white men seizing power through authoritarianism and class-based violence (The Purge: Election Year), or apocalyptic fear (The Purge: Election Year) (10 Cloverfield Lane).
As a result, it’s possible that the other most popular horror trope this year is also one of the most simple metaphors in the genre: the home invasion.
Although a definite pattern has emerged, its implications for our frequently contradictory cultural attitudes about whether we should be afraid of what’s outside the home — or what’s inside it — are fascinating to contemplate.
The home invasion movie is a metaphor for fear of foreigners
This cultural shift toward an overt courting of extremist right-wing ideologies was immediately apparent in the crop of horror and suspense films released in 2016, from Green Room, which pitted a young rock band against a neo-Nazi stronghold in the rural Pacific Northwest, to The Wailing, which dealt explicitly with xenophobia and the fears born out of an inability to communicate across cultural and linguistic divides.
You could find cultural anxieties that shaped global rise of nationalist politics everywhere you looked in horror this year, whether it was paranoia bred out of religious frenzy (The Witch), rich white men seizing power through authoritarianism and class-based violence (The Purge: Election Year), or apocalyptic fear (The Purge: Election Year) (10 Cloverfield Lane).
As a result, it’s possible that the other most popular horror theme this year is also one of the most clear analogies for the genre: the home invasion.
Although a definite pattern has emerged, its implications for our frequently contradictory cultural attitudes about whether we should be afraid of what’s outside the home — or what’s inside it — are fascinating to consider.
The trope is typically aimed at white Americans
Because the house itself serves as a metaphor for power and protection in home invasion films, residences in home invasion films are typically either majestic fortresses for wealthy people or charming middle-class bungalows hidden away in the woods or some combination of the two. That the house is a safe haven for white people is essential to the home invasion myth, which is predicated on the notion that the home is neither safe nor isolated in the first place. The more self-contained and solid the homes are, the more terrifying it is to witness them being systematically attacked, despite the fact that they are equipped with several protection features.
This impression of a depersonalized takeover corresponds to an increase in anxieties about globalization and a loss of “American” culture, both of which are on the rise.
The majority of home invasion films subtly portray the white American victims as having been coddled into a deceptively placid existence by the trappings of modern capitalism — an existence that leaves them hopelessly unprepared to deal with the intruders — in order to make them appear more sympathetic to the intruders.
However, the purpose of the home invasion film is not just to provide catharsis for white America’s dread of the other.
When it comes to portraying an allegorical version of what a security collapse might look like in a society that is increasingly concerned about internet privacy and the way internet security breaches could bleed over into a loss of real-life privacy, the home invasion film is unrivaled in its ability to depict an allegorical version of what a security collapse might look like.
Given all of the current emphasis on masks, it’s especially noteworthy that the two most successful home invasion films of 2016 took the time to expose the identities of our burglars to the audience.
2016’s best home invasion film is a total subversion of the trope — especially the idea of America as an invaded sanctuary
A handful of home invasion films released in 2016 challenged the conventional narrative of an innocent victim being attacked by faceless nihilists. Several of them, such as Mercy and Don’t Breathe, call into question both the notion that the invaders are the bad guys and the premise that those who are being invaded are the innocent ones. The popularHushfeatures a sequence in which the intruder — whose identity and motivations are never revealed; he is credited only as “Man” — removes his face mask in order to demonstrate to his victim, a deaf woman named Maddie, that he isn’t all that concerned with keeping his identity hidden from her.
Similar to The Purge: Election Year, the invasion is portrayed in Hush as a wake-up call, with the characters ultimately coming to the same conclusion regarding the progress of any attack on local turf: the best course of action is to fight back.
When set against the backdrop of Detroit, which is shown as a type of ruined capitalist wasteland, Don’t Breathe challenges us to identify fully with the invaders by making them the protagonists, while yet acknowledging that they are imperfect individuals.
However, Don’t Breathe’s notoriously convoluted storyline contains so many unexpected twists and turns that the entire game of kill-or-be-killed that takes place within the blind man’s house becomes a far bigger societal commentary on the way American capitalism has dehumanized the people who live there.
They are unable to maintain silence despite their best efforts since the blind man’s house is a minefield of clattering garbage and ruin.
If the house in a home invasion story is a metaphor for America, then Don’t Breathe’s house is a decrepit, unsightly shell of material greed — one that appears to be held together by sheer willpower on the part of the terrifying (but admittedly badass), gun-wielding white veteran at the center of the narrative.
The political anxieties and economic worry of down-and-out white America were shown in a number of films in 2016, including Hell or High Water and The Other Side, a topic that would resurface during the 2016 US presidential election.
Horror films show us what we are afraid of, and what we are afraid of is often associated with the types of laws that are enacted.
The premise was rejected by other home invasion films released in 2016, such asPurge: Election Year and Don’t Breathe, which issued scathing critiques of the kind of flawed thinking and fearmongering that resulted in the construction of an unstable, insecure home to begin with.
Some welcomed the trope’s xenophobic inclinations, while others rejected them; yet, there was a deep-seated dread about the status of America today simmering beneath the surface of it all.
Let’s Talk Folk Horror and Appropriation
CW: There has been some conversation about suicide. Cultural appropriation, particularly of Indigenous traditions, is the proverbial elephant in the room when it comes to folk horror, and it’s one that many people find it simple to overlook. How many horror stories include a setting that is constructed on a “Indian burial site,” with the disaster that befalls the main characters being the result of this decision? Moreover, how many stories have we made W*ndigos the main antagonist in, something that Indigenous people have constantly requested that we refrain from doing?
- Now, I’ve written on subjects like this in the past, including why we should stop putting Indigenous mythical beings that are essentially the epitome of pure evil in our films and media.
- It operates in a similar way to sympathetic magic in that by pronouncing the name or even writing it, you attract the attention of the spirit.
- We shouldn’t make the mistake of conflating the monster with a mental illness, though.
- Attempting to turn an ancient cultural tradition into a psychological disorder, particularly one that exclusively affects members of the community in question, merely serves to reinforce the damaging prejudices that already exist within the group.
- Remember the movie The Forest, with Natalie Dormer, that came out a few years ago?
- Local tales claim that Aokigahara was originally the site of ubasute practice, in addition to the more current habit of individuals wandering into the forest with no intention of walking back out.
- Unusual Suspects is a newsletter that features stories about unusual suspects.
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Stop telling stories that rely on the premise that “this other culture is odd and magical,” especially in horror stories where we must also make them frightening in order to be effective.
Another set of cultural traditions that have been harmed by white mainstream appropriation in the sake of entertainment include santera, voudoo, and hoodoo, to mention a few examples.
To draw inspiration from a culture while simultaneously paying homage to it is one thing, but it is quite another to treat the culture with the decency that it deserves.
Other cultures’ desires that we leave their belief systems alone must be respected, since we have no authority to interfere with their practices or beliefs.
No, there is no such thing as a “white” culture, however there are still civilizations in the United States that may be used in folklore horror stories.
There’s the tailypo, the wampus cat, Mothman, the Bell Witch, and let’s not forget the countless Jack stories that have been told.
That does not include the numerous lake monsters that exist in the United States (there is approximately one per lake, really), the Jersey Devil, the Devil’s Hole Cave, and other such attractions.
The Celtic mythology, which is full with terrifying faeries, takes us outside of the borders of the United States.
Moving on to continental Europe, a historical horror film featuring la Béte du Gévudan, a man-eating wolf (or werewolf, depending on the source) who haunted the French town of Gévudan in the mid-1760s, would be incredible.
Alternatives include creating horror stories centered on Russian demon Koschei the Deathless (which would not be a tough undertaking), any number of Slavic demons from Poland or Ukraine, and setting them all against a cold landscape.
Wastelands that have been frozen over make for wonderful horror scenarios.
What I’m trying to say is that there are many different approaches we may take with folk horror that aren’t cultural appropriation.
We just must be careful not to remove any component of a piece of culture’s context from it, and leaving cultures that we haven’t been very nice to in the past is a good place to start.
Our selection of folk horror literature is a great place to start if you’re new to the genre and want a primer on the genre.
3 Reasons Why Horror has Cultural Value
This page contains articles about horror, including three reasons why horror has cultural significance.
3 Reasons Why Horror has Cultural Value
Despite the fact that they grab the imaginations of many, tales of the strange, the fantastical, and the terrifying are generally regarded as inferior works of writing–if they are even considered works of literature at all. In my opinion, the unequivocal dismissal of horror as a work of artistic merit is incorrect. Here are three reasons why the worth of horror as a form of artistic expression should be reconsidered: 1.Catharsis is a process of letting go. Since the tragedies of ancient Greece, art and literature have aided cultures in confronting and purifying themselves of overwhelming emotions through a process known as cathartic release, which has roots that go back thousands of years.
- Regardless of whether or not the conclusion is happy, the audience exits the encounter on a type of high, shaking off the anguish of the events and riding the rush of adrenaline that has been released.
- The social narrates The way we generate and describe terror differs from one culture to the next.
- For example, in American culture, we have stories like Stephen King’s It as well as tales inspired by The Exorcist, yet in Japanese culture, we have tales of angry spirits such asRingu and war-torn horrors like asOnibaba.
- 3.Examination of the darkness that exists inside the human soul American literature began to veer toward romanticism and the investigation of love, exhilaration, and the generally good side of imagination near the end of the nineteenth century.
- This exploration of our spirit’s duality continues today through the horror stories that arose from the Dark Romantics, and contemporary writers spotlight those dark and unattractive aspects of ourselves, compelling us to confront them head-on.
Though not recognized as a work of creative and cultural excellence by the general public, well-crafted creations retain their cultural significance. Originally from Northeast Ohio, Heather Terry is a writer and teacher. Curious Words is a blog where you may read other people’s work.
Chantal Brown contributed to this article. Art imitates life to a certain extent. So, how does life in the United States of America seem these days? It appears to be a political blue and red sea with a black dividing line in the middle that is being ripped apart in the midst of the sea. African Americans and other people of color continue to bear the brunt of the country’s moral turbulence, as they have for many years. In practically all terrifying movies and thrillers since the inception of the horror genre, this relationship has been portrayed in the most expressive manner possible.
- The cast members, on the other hand, were not.
- With Halloween approaching, it only seems appropriate to look back on how far horror films have come to represent a diverse range of people since their inception, as well as the strides made by actors and directors of color and where they stand today.
- A neutral-colored screen presented the image, with non-diegetic music playing in the background as the monster emerged from the gatch bed it had been bound to for so long.
- It was through the creation of this figure by Mary Shelley that horror novels progressed from just projecting scary and gothic imagery onto a screen to bringing monsters into motion.
- The first movies were simply plays filmed behind a camera; this was the case all the way back in Europe with the majority of Shakespearean stories, in which all roles were acted by white males, including the female protagonists.
- Then something occurred.
- Not only did the picture have a black male protagonist, but he was also paired with a white female lead in the story.
Night of the Living Dead (1968), The Shining (1980), The Texas Chainsaw Massacre (1974), The Exorcist (1973), and Halloween (1978) were the only films in the category’s history to feature significant black characters.
Not to mention the fact that both of the aforementioned characters were found dead and dismembered by the end of the film.
This image is progressively shifting, with Jordan Peele becoming the first African-American screenwriter to win an Academy Award for a horror film, which was released in 2015.
Native American legend has served as inspiration for films whose storyline revolves on “magic” or “witches,” among other things.
An abundance of films portraying members of the LGBTQ community has also been produced.
Art imitates life to a certain extent. As portrayed in the entertainment industry, our lives in the Western Hemisphere are severely separated, with sprinklings of change-makers seeking to bring about positive change.
A Classic Horror Film Bucket List for Scary Movie Buffs
It’s important to start with the classics when seeking for a movie that can give you the shivers in the most serious sense. Yes, there are some incredible recent horror films, but there’s something about the timeless quality of the classics and their capacity to terrify generations after generations without the use of elaborate CGI creatures that appeals to me. That is not to imply that there aren’t any contemporary films that have gone on to become immediate horror classics as well. From old-school Universal creature flicks to current social and psychological horror films like Jordan Peele’s Get Out, our collective concept of terror has altered and grown throughout the years.
The Bride of Frankenstein, legendary slashers like Friday the 13th and Halloween, sci-fi horrors like Aliens and Invasion of the Body Snatchers, and humorous meta-horror films like Scream and Cabin in the Woods are just a few of the titles you’ll find on this list.
1. ‘Psycho’ (1960)
What is the first picture that springs to mind when you think about classic horror films? If you’re thinking of the raised knife from the famous shower scene in Psycho, you’re not alone. More than 50 years after its release, this Hitchcock masterpiece remains a harrowing experience. WATCH OUT FOR IT
2. ‘The Exorcist'(1973)
The demonic possession film has evolved into a distinct sub-genre in its own right, with The Exorcist (1973) serving as the first entry in the genre. WATCH OUT FOR IT
3. ‘Rosemary’s Baby’ (1968)
The prospect of becoming an adult is frightening enough without the addition of demonic components, such as giving birth to the real offspring of Satan. That is the concept of the 1968 filmRosemary’s Baby, and it is every bit as terrifying as it sounds. WATCH OUT FOR IT
4. ‘A Nightmare on Elm Street’ (1984)
Is there a monster murderer that stalks you in your nightmares and murders you as you sleep? A true nightmare, and it serves as the basis for the cult movie from the 1980s. WATCH OUT FOR IT
5. ‘Carrie’ (1976)
When Stephen King’s supernatural horror novel was made into a classic scary movie in 1976, it brought attention to the horrors of adolescence, puberty, and high school in general, and it remains a classic to this day. WATCH OUT FOR IT
6. ‘Saw’ (2004)
Every once in a while, a film comes along that completely changes the way the genre is perceived. Sawwas a horror film in the traditional sense. WATCH OUT FOR IT
7. ‘The Shining’ (1980)
All work and no play causes individuals to become physically mad and seek to murder their family, according to the lesson learned in the 1980 horror film The Shining. In the greatest and worst possible ways, Stanley Kubrick’s adaptation of Stephen King’s novel is a psychological mind trip—in the best and scariest possible ways. WATCH OUT FOR IT
8. ‘Invasion of the Body Snatchers’ (1956)
Work and no play causes individuals to go mad and seek to murder their family, according to the lesson learned in the 1980 film The Shining.
Adapted from Stephen King’s novel, “The Shining,” the Kubrick film is a psychological mind trip—in the best and scariest possible ways, of course. STAY TUNED
9. ‘Scream’ (1996)
Scream was not only the meta-analysis of horror films that horror fans had been yearning for, but it was also a terrifying film in its own right. The smash single from the 1990s became an instant classic. WATCH OUT FOR IT
10. ‘Cabin in the Woods’ (2012)
Cabin in the Woods, a meta-horror film released in 2012, deconstructed, well, pretty much the entire notion of horror—and in the process, addressed some philosophical concerns about good and evil. WATCH OUT FOR IT
11. ‘Nosferatu’ (1922)
It doesn’t get much more “classic” than this when it comes to music. Nosferatu is a 1922 horror film that, in many ways, established the bar for vampire films for the rest of the twentieth century. WATCH OUT FOR IT
12. ‘The Conjuring’ (2013)
You can credit this film for theAnnabelleseries, for example, which will likely outlive us all. This modern classic about a family who moves into an isolated farmhouse is frightening enough to have generated a whole lot of spin-offs (you can thank this film for theAnnabelleseries, for example). WATCH OUT FOR IT
13. ‘The Thing’ (1982)
One of the most terrifying aspects of horror films is the exploration of what it’s like to be genuinely imprisoned with a monster—and in The Thing, Antartica serves as the horrifyingly distant backdrop for a series of attacks by a shape-shifting beast. WATCH OUT FOR IT
14. ‘Alien’ (1979)
When you scream in space, no one can hear you. When your space ship is invaded by a savage murdering machine hellbent on eliminating your whole crew one by one, this becomes a problem. WATCH OUT FOR IT
15. ‘The Birds’ (1963)
The maestro of horror, Alfred Hitchcock, has gone down in history as such, and with good cause. Ordinary, normal, and non-monstrous birds take on an entire community in the 1963 film The Birds by launching terrible attacks on them. It will make you afraid to walk outside for several weeks afterward. WATCH OUT FOR IT
16. ‘Bride of Frankenstein’ (1935)
The Bride of Frankenstein should be essential watching for all cinema enthusiasts, if for no other reason than to fully comprehend the avalanche of pop cultural references it inspired. WATCH OUT FOR IT
17. The Grudge’ (2006)
Thank you to this Sarah Michelle Gellar-led picture for ensuring that you can still hear that characteristic rasping sound without your heart beating. It’s okay to admit that it continues to haunt your dreams. WATCH OUT FOR IT
18. ‘The Haunting’ (1963)
The Haunting, one of the first true haunted home stories, is just as horrific now as it was back in the 1960s when it was released. WATCH OUT FOR IT
19. ‘The Silence of the Lambs’ (1991)
It’s impossible not to see The Silence of the Lambs if you enjoy psychological horror. It puts the psychological side front and center, thanks to the renowned villain Hannibal Lecter and his chats with FBI profiler Clarice Starling. WATCH OUT FOR IT
20. ‘Final Destination’
The question is, how can you get away when the thing following you is death itself? For the most part, you won’t be able to. And when you try to beat death, it gets quite inventive in how it murders you—at least according to this franchise about a group of friends who strive to avoid death only to find themselves being hunted down one by one by it in the process. WATCH OUT FOR IT
21. ‘The Evil Dead’ (1981)
For those of you who have ever wondered how the trope of “group of young people being attacked at a remote cabin in the woods” came to be, it’s likely that you haven’t seenThe Evil Deadyet, and that needs to change as soon as possible. WATCH OUT FOR IT
22. ‘The Omen’ (1976)
Sometimes the antichrist does not emerge from the womb of the woman who bears him. You may unintentionally adopt him from time to time. According to The Omen, one of the first (and scariest) “terrifying child terrorizes a family” films, this is exactly what happens. WATCH OUT FOR IT
23. ‘Poltergeist’ (1982)
Poltergeist is one of those haunted home movies that will have you investigating your neighborhood to make sure it wasn’t constructed on top of any graveyards or hallowed burial places after watching it. Furthermore, even reading about the franchise’s famed “curse” will drive you down a rabbit hole of online rabbit holes on its own. WATCH OUT FOR IT
24. ‘Halloween’ (1978)
There aren’t many slasher films that are as timeless as the originalHalloween, which established the concept of a masked murderer as the gold standard in horror filmmaking and crowned Jamie Lee Curtis as the Scream Queen of the Horror Film Industry. WATCH OUT FOR IT
25. ‘I Know What You Did Last Summer’ (1997)
Some of the best horror films tap into the inherent campiness of the genre, and few do it better than Wes Craven’s The Conjuring. It’s called I Know What You Did Last Summer, and it’s about a group of friends who become the target of a hook-handed murderer after covering up an unintentional death they committed while on a hit and run. WATCH OUT FOR IT
26. ‘The Blair Witch Project’ (1999)
This low-budget horror craze transformed the face of horror filmmaking, broke box office records, and paved the path for the development of the found footage genre in the years to come. WATCH OUT FOR IT
27. ‘Jaws’ (1975)
While the Steven Spielberg classic Jaws should have been a kitsch fest, even with a notoriously malfunctioning artificial shark as its antagonist, the Steven Spielberg classic is nonetheless frightening enough to make you jump even today. WATCH OUT FOR IT
28. ‘Get Out’ (2017)
Classics can be made available at any moment. Example: Jordan Peele’s game-changing social thriller Get Out, which was released in 2017 and instantly became a classic due to its impact on the film industry. WATCH OUT FOR IT
29. ‘An American Werewolf in London’ (1981)
Werewolf films are notoriously difficult to create well, which is one of the reasons why 1981’s An American Werewolf in London is considered such a triumph. WATCH OUT FOR IT
30. ‘The Ring’ (2002)
A lot of millennials remember seeing this 2002 classic as their first encounter with being completely and utterly terrified out of our minds. She plays reporter Rachel Keller, whose niece dies horrifyingly after seeing a film. Naomi Watts also appears as Rachel Keller’s mother. Rachel, her estranged spouse, and her child all sit and watch the videotape. The rest, as they say, is horror film history. WATCH OUT FOR IT
31. ‘The Fly’ (1986)
The film stars Jeff Goldblum as a scientist who develops a teleportation apparatus and puts it through its paces, not understanding that an unsuspecting fly is also along for the journey. What follows is a genuinely terrifying transition, as Jeff transforms into a hybrid of a fly and a man. WATCH OUT FOR IT
32. ‘Misery’ (1990)
InMisery, we get to see what happens when passionate devotion goes horribly, horribly wrong. After a vehicle accident leaves him gravely injured, the film (which is yet another Stephen King adaption) centers on the author, who is saved by a retired nurse who turns out to be one of his biggest admirers.
She takes him into her house to nurture him back to health—and to keep him as a prisoner for the rest of her life. WATCH OUT FOR IT
33. ‘Happy Death Day’ (2017)
If you’ve ever wondered what it would be like to see Groundhog Day as a slasher film, now is your chance to find out. WATCH OUT FOR IT
34. ‘The Texas Chainsaw Massacre’ (1974)
In the case that you enjoy slashers, you should check out this 1974 classic about a group of friends who are terrified by a deranged family in the middle of nowhere in.texas? This is a must-see if you enjoy horror films. WATCH OUT FOR IT
35. ‘It’ (2017)
It is a must-see if you enjoy slashers. This 1974 classic, which follows a group of friends who are terrified by a psychotic family in the middle of nowhere in, well, obviously Texas, is a must-see. STAY TUNED
36. ‘The Strangers’ (2008)
Because the thought of danger coming into our homes and infiltrating our safest haven is inherently unsettling, home invasion movies have become popular. Taking the notion to its logical conclusion, The Strangers follows a couple who are frightened by a bunch of intruders who choose to attack them at random. WATCH OUT FOR IT
37. ‘Let the Right One In’ (2008)
Despite the fact that this Swedish vampire film is relatively recent, it is a must-see for everyone who believes themselves to be a connoisseur of horror classics. It brilliantly marries old themes with sophisticated psychological thrills to create a thrilling experience. WATCH OUT FOR IT
38. ‘Friday the 13th’ (1980)
After the debut of this slasher classic, summer camp was never the same for anyone. WATCH OUT FOR IT
39. ‘A Quiet Place’ (2018)
What would you do if you lived in a world where making even the slightest noise meant certain death? That’s the idea of John Krasinski’s instant classicA Quiet Place, which is unexpectedly disturbing in its execution. WATCH OUT FOR IT
40. ‘Child’s Play’ (1988)
Was it a murderous doll, possessed by the ghost of a serial murderer, that did the killing? There’s nothing frightening about that. WATCH OUT FOR IT
41. ‘The Witch’
Are you looking for a reclusive Puritan family who lives in the woods? Do you believe in supernatural forces? Goats that look like demons? The cast of this horrific film, which stars Anya Taylor-Joy, has our attention. WATCH OUT FOR IT
If you are a lady and your awful boyfriend wants to study a secluded cult in the middle of nowhere, never, I repeat never, go along with him. It will only lead to disaster. WATCH OUT FOR IT.
Following the death of the Graham family’s matriarch, the remaining members of the clan begin to suspect that she was concealing (and, in some cases, passing down) a number of terrible secrets. WATCH OUT FOR IT
44. ‘The Purge”
It takes set in an alternate-universe America where every crime, including murder, is legal for one night only, and is hailed as a modern-day cult classic. WATCH OUT FOR IT
45. ‘Paranormal Activity’ (2009)
Watch Paranormal Activity for an updated take on the found-footage cliche that makes use of home security cameras. You’ll never look at your Nest or Ring camera in the same way again. WATCH OUT FOR IT
46. ‘Candyman’ (1992)
An updated version of this cult favorite about the Candyman, a man covered in bees who emerges when you speak his name five times, has recently been released, starring Nia DeCosta and Jordan Peele. But don’t worry, the original is just as scary as the remake. WATCH OUT FOR IT
47. ‘Us’ (2019)
What if a version of yourself who has spent its entire existence underground decides that it wants to take your place?
Jordan Peele’s second picture, Us, hits a fresh and unsettling chord with the audience. CLICK HERE TO WATCH
48. ‘The Babadook’ (2014)
In this psychological thriller, a young widow and her kid are frightened by a monster straight out of a cryptic picture book, which has been hailed as one of the finest horror films of the decade. WATCH OUT FOR IT
49. ‘Don’t Breathe’ (2016)
During the course of this inverted home invasion video, a bunch of robbers are given the shock of their life as they target a blind guy who is not as helpless as he appears. WATCH OUT FOR IT
50. ‘Train to Busan’ (2016)
In this South Korean horror film, commuters aboard a South Korean bullet train struggle to survive the outbreak of the zombie virus as the illness begins to spread throughout the train car. If you want to shout and cry, this is an excellent pick. WATCH OUT FOR IT In her role as weekend editor at Marie Claire, Kayleigh Roberts reports on the latest in celebrity and entertainment news, including real-life royals such as Kate Middleton and Meghan Markle as well as Hollywood royalty such as Katie Holmes and Chrissy Teigen.
To find out more about her, look up “Leslie Knope eating salad GIF” on Google.