Editing Horror film (section)

== Characteristics ==
{{See also|Horror and terror}}''The Film Experience: An Introduction'' (2021) defines the horror film as a genre with origins in Gothic literature that seeks to frighten the viewer. They highlight the fundamental elements of the horror film as "characters with physical, psychological, or spiritual deformities"; "narratives built on suspense, surprise, and shock"; and "visual compositions that move between the dread of not seeing and the horror of seeing".<ref name="Kuhn-2012" /> 

Alternatively'', The Dictionary of Film Studies'' (2012) defines the horror film as representing “disturbing and dark subject matter, seeking to elicit responses of [[fear]], [[Horror and terror|terror]], [[disgust]], shock, [[suspense]], and, of course, horror from their viewers.”<ref>{{Cite book |last=Kuhn |first=Annette |title=A dictionary of film studies |last2=Westwell |first2=Guy |date=2012 |publisher=Oxford Univ. Press |isbn=978-0-19-174442-6 |edition=1st |series=Oxford reference online premium |location=Oxford}}</ref> In his chapter "The American Nightmare: Horror in the 70s" from ''Hollywood from Vietnam to Reagan'' (2002), film critic [[Robin Wood (critic)|Robin Wood]] declared that the commonality between horror films is that “normality is threatened by the monster.”{{sfn|Balmain|2008|p=4}} This was further expanded upon by [[Noël Carroll]] in ''The Philosophy of Horror, or Paradoxes of the Heart'' (1990) who added that “repulsion must be pleasurable, as evidenced by the genre's popularity.”{{sfn|Balmain|2008|p=4}}

Prior to the release of ''[[Dracula (1931 English-language film)|Dracula]]'' (1931), historian [[Gary D. Rhodes]] explained that the ideas and terminology of horror films did not exist yet as a codified [[Film genre|genre]], although critics used the term “horror” to describe films in reviews prior to ''Dracula''{{'}}s release.{{sfn|Rhodes|2014|p=91}} “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”{{sfn|Rhodes|2018b|p=97}} Some titles suggested horror such as ''The Hand of Horror'' (1914), a melodrama about a thief who steals from his own sister.{{sfn|Rhodes|2018b|p=97}} During the silent era, the term horror was used to describe everything from “battle scenes” in war films to tales of drug addiction.{{sfn|Rhodes|2018b|p=98}} Rhodes concluded that the term “horror film” or “horror movie” was not used in early cinema.{{sfn|Rhodes|2018b|p=97-98}}

The [[mystery film]] genre was in vogue and early information on ''Dracula'' being promoted as a mystery film was common, despite the [[Dracula|novel]], [[Dracula (1924 play)|play]] and the film's story relying on the [[supernatural]].{{sfn|Rhodes|2014|p=90}} 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 narrative patterns”.{{sfn|Balmain|2008|p=5}} 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 film)|Gaslight]]'' (1944), ''[[Shock (1946 film)|Shock]]'' (1946), ''[[The Spiral Staircase (1946 film)|The Spiral Staircase]]'' (1946), ''[[The Stranger (1946 film)|The Stranger]]'' (1946) ''[[Spellbound (1945 film)|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 film)|The Woman in the Window]]'' (1944), ''[[Dark Waters (1944 film)|Dark Waters]]'' (1944), ''[[Laura (1944 film)|Laura]]'' and ''[[Phantom Lady (film)|Phantom Lady]]'' (1944).{{sfn|Jancovich|2008|p=28}} 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.{{sfn|Jancovich|2008|p=28}}

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 is easier to view films as [[Social cycle theory|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.{{sfn|Jancovich|2000|p=31-32}}
Mark Jancovich in an essay, declared that “there is no simple 'collective belief' as to what constitutes the horror genre” between both [[Fandom|fans]] and [[Film criticism|critics]] of the genre.{{sfn|Jancovich|2000|p=25-26}} 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 (film)|Alien]]'' (1979) as belonging to [[Science fiction film|science fiction]], and horror fan bases dismissing it as being inauthentic to either genre.{{sfn|Jancovich|2000|p=26-27}} Further debates exist among fans of the genre with personal definitions of “true” horror films, such as fans who embrace [[Cult following|cult figures]] like [[Freddy Kruger]] of the ''[[A Nightmare on Elm Street (franchise)|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 film]]s.{{sfn|Jancovich|2000|p=28}} Andrew Tudor wrote in ''Monsters and Mad Scientists: A Cultural History of the Horror Movie'' that “Genre is what we collectively believe it to be.”{{sfn|Tudor|1991|p=6-7}}

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.{{sfn|Rhodes|2018b|p=79}}

Moreover, the horror genre's flexibility and adaptability are crucial to its enduring popularity. As Rhodes and others note, the genre continuously evolves,<ref>{{Cite book |last=Reyes |first=Xavier Aldana |url=https://books.google.com/books/about/Horror_A_Literary_History.html?id=fHmizQEACAAJ |title=Horror: A Literary History |date=2020 |publisher=British Library |isbn=978-0-7123-5333-5 |language=en}}</ref> 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.{{sfn|Rhodes|2018b|p=82}}

Rhodes also explores the role of [[censorship]] and regulation in shaping the horror genre. The enforcement of the Hays Code in the United States during the 1930s and subsequent rating systems influenced the depiction of [[violence]] and sexuality in horror films. Regulation which limited what a filmmaker could express, and how, has led to the existence of many sub-textual themes that would later become prevalent within the genre, such as homosexuality.<ref>{{Cite book |last=Waldron |first=Abigail |title=Queer screams: a history of LGBTQ survival through the lens of American horror cinema |date=2022 |publisher=McFarland & Company, Inc., Publishers |isbn=978-1-4766-8742-1 |location=Jefferson, North Carolina}}</ref> 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.{{sfn|Rhodes|2018b|p=83}}

=== Cinematic techniques ===
{{One source|date=December 2021|section}}
In a study by Jacob Shelton, the many ways that audience members are manipulated through horror films was investigated in detail.<ref name="Ranker">{{cite web |title=15 Ways You Didn't Even Realize Horror Movies Are Manipulating You into Fear|url=https://www.ranker.com/list/horror-movie-tricks-for-scaring-the-audience/jacob-shelton|access-date=2019-11-22|website=Ranker|language=en}}</ref> [[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.<ref name="Ranker" />

The [[jump scare]] is a horror film [[Trope (cinema)|trope]], where an abrupt change in image accompanied with a loud sound intends to surprise the viewer.<ref name="Ranker" /> This can also be [[subversion|subverted]] to create tension, where an audience may feel more unease and discomfort by anticipating a jump scare.<ref name="Ranker" />
[[File:Woman-wearing-red-t-shirt-2898511.jpg|thumb|[[Mirror]]s are often used to create a sense of tension in horror films.]]
[[Mirror]]s are often used in horror films to create visual depth and build tension. Shelton argues mirrors have been used so frequently in horror films that audiences have been [[Classical conditioning|conditioned]] to fear them, and subverting audience expectations of a jump scare in a mirror can further build tension.<ref name="Ranker" /> [[Framing (visual arts)|Tight framing]] and [[close-up]]s are also commonly used; these can build tension and induce [[anxiety]] by not allowing the viewer to see beyond what is around the [[protagonist]].<ref name="Ranker" />

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 ===
{{Main|Horror film score}}
[[File:John Carpenter Live 2016.jpg|thumb|Filmmaker and composer [[John Carpenter]], who has directed and scored [[John Carpenter filmography|numerous horror films]], performing in 2016]]
[[Horror film score|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. It helps to set the overall tense or chilling mood that horror movies often aim to achieve and can even cause physiological effects effects that override learned reactions and behaviors.<ref>{{Cite book |last=Donnelly |first=K. J. (Kevin J. ) |url=https://archive.org/details/spectreofsoundmu0000donn_i6l0/mode/2up |title=The spectre of sound : music in film and television |date=2005 |publisher=London : BFI |others=Internet Archive |isbn=978-1-84457-025-6}}</ref> [[Dissonance (music)|Dissonance]], [[atonality]] and experiments with [[timbre]] are typical characteristics used by [[composer]]s in horror film music.<ref>{{Cite book|last=Lerner|first=Neil|url=https://books.google.com/books?id=7VyOAgAAQBAJ&dq=horror+film+music&pg=PP1|title=Music in the Horror Film: Listening to Fear|date=2009-12-16|publisher=Routledge|isbn=978-1-135-28044-4|language=en}}</ref> 

=== Themes ===
{{multiple image
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| image1            = Frankenstein, or the Modern Prometheus (Revised Edition, 1831) Creature.jpg
| image2            = Apocalypse-Albert Goodwin.jpg
| image3            = Kitab al-Bulhan -- devil.jpg
| caption1          = [[Frankenstein's monster]]
| caption2          = ''Apocalypse'' by [[Albert Goodwin (artist)|Albert Goodwin]]
| caption3          = A [[demon]] in the [[Book of Wonders]]
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| link1             = Frankenstein's monster
| link2             = Apocalyptic and post-apocalyptic fiction
| link3             = Demon
| footer            = Charles Derry proposed the three key components of horror are that of personality, Armageddon and the demonic.
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}}

In the book ''Dark Dreams'', author Charles Derry conceived horror films as focusing on three broad [[Theme (narrative)|themes]]: the horror of [[personality]], horror of [[Armageddon]] and the horror of the [[demon]]ic.{{sfn|Prawer|1989|p=16}} The horror of personality derives from [[Monster movie|monsters]] being at the centre of the plot, such [[Frankenstein's monster]] whose psychology makes them perform unspeakable horrific acts ranging from [[rape]]s, [[mutilation]]s and [[wikt:sadistic|sadistic]] killings.{{sfn|Prawer|1989|p=16}} Other key works of this form are [[Alfred Hitchcock]]'s ''[[Psycho (1960 film)|Psycho]],'' which feature psychotic murderers without the make-up of a monster.{{sfn|Prawer|1989|p=16}} The second 'Armageddon' group delves on the fear of [[Apocalyptic and post-apocalyptic fiction|large-scale destruction]], which ranges from [[List of science fiction horror films|science fiction works]] but also of [[List of natural horror films|natural events]], such as Hitchcock's ''[[The Birds (film)|The Birds]]'' (1963).{{sfn|Prawer|1989|p=16}} The last group of the “Fear of the Demonic” features graphic accounts of [[Satanic film|satanic rites]], [[witchcraft]], [[exorcism]]s outside traditional forms of worship, as seen in films like ''[[The Exorcist (film)|The Exorcist]]'' (1973) or ''[[The Omen]]'' (1976).{{sfn|Prawer|1989|p=17}}

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.<ref name="Lizardi">{{cite journal|last1=Lizardi|first1=Ryan|date=31 August 2010|title='Re-Imagining' Hegemony and Misogyny in the Contemporary Slasher Remake|journal=Journal of Popular Film and Television|volume=38|issue=3|pages=113–121|doi=10.1080/01956051003623464|s2cid=191466131}}</ref> 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]]<ref name="History Horror">{{cite book|last=Heller-Nicholas|first=Alexandra|title=History and Horror|publisher=Screen Education}}</ref> or [[post-9/11]] pessimism.{{sfn|Aston|Walliss|2013|p=4}}  

Anxieties surrounding race and racism have historically and continuously informed the horror genre.<ref name="Kuhn-2012" /> This is exemplified by the history of the [[zombie apocalypse]] sub-genre. The first [[zombie]] horror films, such as ''[[White Zombie (film)|White Zombie]]'' (1932), were inspired by stories brought back to Europe by colonizers and explicitly presented [[Afro-Haitians|Afro-Haitian]] religious and spiritual practices as evil and perverse.<ref>{{Cite book |last=McAlister |first=Elizabeth |title=Zombie theory: a reader |date=2017 |publisher=University of Minnesota Press |isbn=978-1-5179-0091-5 |editor-last=Lauro |editor-first=Sarah Juliet |location=Minneapolis |chapter=Slaves, Cannibals, and infected Hyper-Whites: The Race and Religion of Zombies}}</ref> The film which then revived the sub-genre, ''[[Night of the Living Dead]]'' (1968), incidentally presented themes surrounding race in America by casting [[Duane Jones]], a black actor, as the lead.<ref>{{Cite book |last=Means Coleman |first=Robin R. |title=Horror Noire: A History of Black American Horror from the 1890s to Present |date=2023 |publisher=Taylor & Francis |isbn=978-0-367-76719-8 |location=Oxford}}</ref> Whether accidentally or actively, horror films demonstrate societal issues by who or what is chosen to incite fear and how it is represented, both visually and narratively.