With the successful wrap of the Western Marathon, it is time to turn our attention to the Horror Marathon - and boy, am I nervous about it! I am not a huge Horror fan and tend to avoid these films whenever possible - but that time is over as I dive into Filmspotting’s next marathon, focusing on the Horror genre. I started off this journey through the safest possible route - reading “The Horror Film: An Introduction” by Rick Worland - an academic text of the genre’s history that also traces the societal context that was reflected in and also shaped by the genre. In this introduction, I will touch on the basics of the genre, summarize the history, explore my own experiences with Horror films, and lay out the list of films we will be watching. Here I go - holding my breath in suspense, closing my eyes in terror, and tiptoeing towards the Horror!

To start at the beginning - what defines a Horror film? At the basic core, a Horror film is intended to provoke an emotional response from the viewer - to shock, disgust, scare, and (in the truest essence of the word) to horrify. This is accomplished through the mise-en-scene of the film - the settings, iconography, and also the themes. A vital component of this package is the villain of the piece - the Monster! Whether a grotesque figure featuring heavy makeup or a regular human maniac, the monster is a violation of regular society and true nature; they must be fearsome and repellent, attacking the normal life of the heroes and seeking to destroy their victims (and oftentimes the domesticity surrounding those protagonists). Early in Horror history, pulling from Gothic trappings, the settings were often sites where monsters would credibly dwell - a decaying haunted house where ghosts still reside, a scientist’s lab where experiments go wrong, or creepy cemeteries where the dead rise to pursue the living. Later on, the settings expanded into “normal society” locations - a small-time hotel, the suburban house, or other teenage hangout spots. The iconography that goes along with these settings are hallmarks of nightmares - the overwhelming shadows, an offscreen terror that is creeping closer, the victims intense scream or look of dread. The early era of Horror featured monsters that were external threats to society and the institutions (church, police, state) were all helpful to the protagonists, who were characters worthy of saving. Once the turbulent 1960s gripped the United States and Hollywood as a business and artistic center began to change, the Horror genre transformed as well - the monster could now come from society itself, plots referenced the decay and breakup of the American family, and an overall questioning of normality and tradition was commonplace. Finally, the genre began to direct its films toward a teenage audience, especially attempting to entice potential youthful ticketgoers with stories centered around sex and violence. In contemporary times, the latest development in the genre revolves around how special effects can escalate the production of gore and the enhancement of the grotesque to even higher levels of mayhem. 

Horror films have their roots in Gothic literature and were first popularized in Germany in the 1920s, when the German Expressionism style gained momentum. Films such as The Cabinet of Dr. Caligari (1920) and Nosferatu (1922) established much of the iconography and early themes for the genre. Many of the film directors and artists left Germany, lured by the opportunity to influence Hollywood and it’s take on the genre. Universal in particular specialized in Horror films - an early cycle during the 1920s with films like The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925), both featuring the first Horror star Lon Chaney. Universal’s second Horror cycle took place in the 1930s, utilizing the talents of Bela Lugosi and Boris Karloff; classic films like Dracula (1931) with Lugosi and Frankenstein (1931) and The Mummy (1932) with Karloff were significant milestones cementing the legitimacy of the genre in popular culture. The genre was less prominent during the WWII years and was overshadowed by Science Fiction during the 1950s (although Roger Corman and Vincent Price both got their start during this time making low-budget teen exploitation Horror films), but made a sharp comeback in the 1960s and into the chaotic Vietnam War era in America. 

Many scholars point to the Alfred Hitchcock film Psycho (1960) as the titular movie in the Horror genre’s shifting viewpoints about the larger society. As noted above, pre-1960s Horror films ended with the destruction of the monster, which brings a sense of closure to the unnatural element it had inflicted upon the characters and society. Once Psycho had established that the villain could be a madman that emerges from society itself and, combined with the turbulent Vietnam and Cold War eras, the institutions once worth preserving were now suspect and even working against the protagonists of Horror films. These themes became even more exaggerated in the 1970s and the rise of the slasher/stalker films (which will be the focus of this Horror Marathon). Filmmakers that grew up as fans of the previous generation of Horror films (and the fan magazines that sprung up in popular culture as well) began making their own versions of the genre in the 1980s and 90s; Steven Spielberg, Brian De Palma, John Carpenter, George Romero, Francis Ford Coppola, Terry Gilliam, and M. Night Shyamalan working with major studios all took their turn at directing Horror films, partnering with makeup artists and special effects masters to heighten the terror. Independent studios also took on the low-budget Horror flick, aimed at the teenage audience, with films like Evil Dead (1981), Scream (1996), and I Know What You Did Last Summer (1997). As the Horror genre entered into the new millennium, the films took on a postmodernist trend - showing awareness of the genre’s history, tropes, and plot conventions - and sometimes even commenting on it for additional screams or for comedic laughs. While the genre has evolved, its core tenant of scaring the bejeezus out of the audience has never strayed from its mission.

Personally, I actively avoid Horror films, whether screening in the theater or watching at home. I have seen exactly zero of these films included in the Marathon and would never have actually pursued them without taking on this challenge. I spent some time reflecting on why I have an aversion to the genre and it comes down to not wanting to actively subject myself to the feeling of fear, which is literally the base intent of Horror. Images of gore (which I usually glimpse through the slits of my fingers covering my eyes) aren’t as terrible for me as the atmospheric suspense; the former I can tell myself is not real and just movie magic - but the monster stalking the woman in the dark or the slow creaking of a door opening or the anticipation of an attack in a rain-soaked alley - these all could be real events!

Over my life, I have watched a few Horror films that have stayed with me. My most vivid memory is watching The Ring (2002) in high school. I went with a group of friends and drove a few of them home. To get back to my house, there was a backroads way that went through wetlands with limited streetlights - so after an extremely suspenseful and scary movie, I drove home through a dark and winding road that was just PERFECT for something creepy to attack me. Thank goodness I made it home ok! Another Horror film that I watched during high school had the opposite of the intended effect - I went to a party where The Exorcist (1973) was screened; chatting with friends, half paying attention to the film, and not truly connecting to the material meant that when the famous head spinning scene happened - laughter rang out amongst all my friends. An entirely different atmosphere surrounded my screening of The Shining (1980) - I was living alone, watching it late at night, and had to pause the movie halfway through and call my Mom to distract me from the growing dread in the pit of my stomach. And my final notable Horror viewing experience was when I began this blog; I watched Nosferatu (1922), one of the original Horror movies filmed in the German Expressionism style. This film was less terrifying and more atmospheric - and I certainly appreciated the filmmaking techniques employed to create the vampires creepy style and tone, despite being so early in film’s history.

I thoroughly enjoyed reading “The Horror Film: An Introduction” because I could enter into the genre through a historical and societal lense, taking an academic approach to an otherwise scary venture. Out of the vast canon of films that have been produced in the genre, this Marathon is only taking a small slice from the 1970s and 80s - primarily looking at the slasher/stalker cycle. It also includes two sequels, so I will be including two additional films as homework to screen before those official entries, although they will not count towards the awards at the conclusion of the Marathon. Here are the films I will be cringing, flinching, and screaming at during Gibelwho Production’s Horror Marathon:

1[a]. Night of the Living Dead (1968), George Romero

1. Dawn of the Dead (1978), George Romero

2. The Texas Chainsaw Massacre (1974), Tobe Hooper

3. Suspiria (1977), Dario Argento

4. Halloween (1978), John Carpenter

5. Re-Animator (1985), Stuart Gordon

6[a]. The Evil Dead (1981), Sam Raimi

6. Evil Dead 2 (1987), Sam Raimi

Watch your back and happy haunting!