HISTORY OF HORROR

Horror Films have had a long and winding history, with its beginnings rooted in 1920s silent movies. Over the course of time, horror movies have gone from strength to strength, with even the greatest of directors experimenting with horror elements.

Silent film offered the early pioneers a wonderful medium in which to examine terror. Early horror films are surreal, dark pieces, owing their visual appearance to the expressionist painters and their narrative style to the stories played out by the Grand Guignol Theatre Company. Darkness and shadows, such important features of modern horror, were impossible to show on the film stock available at the time, so the sequences, for example in Nosferatu, where we see a vampire leaping amongst gravestones in what appears to be broad daylight, seem doubly surreal to us now. Nonetheless, these early entries to the genre established many of the codes and conventions still identifiable today. They draw upon the folklore and legends of Europe, and render monsters into physical form.

Horror movies were reborn in the 1930s. The advent of sound, as well as changing the whole nature of cinema forever, had a huge impact on the horror genre. The dreamlike imagery of the 1920s, the films peopled by ghostly wraiths floating silently through the terror of mortals, their grotesque death masks a visual representation of 'horror', were replaced by monsters that grunted and groaned and howled. Sound adds an extra dimension to terror, whether it be music used to build suspense or signal the presence of a threat, or magnified footsteps echoing down a corridor. Horror, with its strong elements of the fantastic and the supernatural, provided an effective escape to audiences tiring of their Great Depression reality, and, despite the money spent on painstaking special effects, often provided a good return for their studio. Making talking pictures was a very different process to producing silent movies and, watching today, some of the early efforts seem very awkward indeed.

Audiences seemed even more enthusiastic about the horror genre than in the 1920s, and flocked into cinemas to be scared by largely supernatural monsters wreaking havoc on largely fantastical worlds, events far removed from the everyday realities of Depression and approaching war. Horror, then as now, represented the best escapism available for that precious few cents it took to buy a ticket. And cinema was a national obsession — 80 million people attended the cinema on a weekly basis in 1930, some 65% of the total US population.

Wartime horror movies were purely an American product. Banned in Britain, with film production curbed throughout the theatre of war in Europe, horror movies were cranked out by Hollywood solely to amuse the domestic audience. The studios stuck with tried and tested ideas, wary of taking risks that might suggest they had no measure of the zeitgeist, and trotted out a series of variations on a theme. This was not an age of innovation, but horror movie memes were, nonetheless, evolving.

The 1950s are also the era when horror films get relegated well and truly to the B-movie category. The studios were too busy incorporating technical changes such as widespread colour production and trying to meet the challenge posed by TV to have much truck with making quality horror pictures. Big stars were reserved for epics and musicals. The main audiences for horror movies were teenagers, who ensured that the genre remained very profitable. They flocked to the drive-ins in hordes, not caring too much about character development, plot integrity or production values. Some of these B-movies are, frankly, ludicrous, in the way they require the audience to suspend disbelief. The aim of the game was thrills, thrills and more thrills, and these monsters, whilst perhaps more terrifying in conception than execution, never fail to deliver on the action front. Nonetheless, they are highly entertaining, and provide a crude, technicolour snapshot of the way America desperately didn't want itself to be.

Between Psycho in 1960 and the Manson Family murders in 1969, the 1960s saw a great sea change in what the public perceived as horrible. The social stability that had marked the post-war years was gone by the end of the decade as a huge rethink occurred in everything from hemlines to homosexuality. Horror movies, usually made for low budgets outside the mainstream studio system, offered the counterculture opportunities to debunk old taboos and explore new ways of perceiving sex and violence. Underground cinema dodged scrutiny, and therefore censorship. As well as being more open to nudity, onscreen violence, and other tropes that challenged social mores, the drive-in teen audiences of the 1950s were growing up, and becoming wise to the empty promises of lurid titles and titillating posters, immune to the scare factor of rubber suits and miniaturized sets. They wanted horror that was more rooted in reality, more believable, more sophisticated, that dealt with some of the issues they faced in a rapidly changing world.

Despite the often tragic events of this era, there was a seeming feeling of optimism, the sense that humanity was moving forward, onward and upward. The concept of Cold War lost heat, and, in 20-odd years without nuclear holocaust, the threat of mass-death-by-radiation had receded. The mutant monsters of the 1950s now looked a little silly. Rather than focusing on external threats, counter-culture thinking involved a re-examination of the social psyche — traditions, stereotypes, prohibitions. If every generation gets the monsters it deserves, then the horror movie goers of the 1960s got... themselves. Going to the cinema to be scared at this time was the equivalent of gazing in the mirror, and noticing, for the first time, that there was something a little... strange about your own face.

Horror movies of the 1970s reflect the grim mood of the decade. After the optimism of the 1960s, with its sexual and cultural revolutions, and the moon landings, the seventies were something of a disappointment. It all started to go horribly wrong in 1970; the Beatles split, Janis and Jimi died, and in many senses it was downhill all the way from there: Nixon, Nam, oil strikes, glam rock, feather haircuts, medallions... However, when society goes bad, horror films get good, and the 1970s marked a return to the big budget, respectable horror film, dealing with contemporary societal issues, addressing genuine psychological fears. One genuine fear apparent in the horror films of the 1970s is the fear of children, and the fear of the messy, painful and often fatal process of childbirth.

Horror movies of the 1980s (which probably begin in 1979 with Alien) exist at the glorious watershed when special visual effects finally caught up with the gory imaginings of horror fans and movie makers. Technical advances in the field of animatronics, and liquid and foam latex meant that the human frame could be distorted to an entirely new dimension, onscreen, in realistic close up. This coincided with the materialistic ethos of the 1980s, when having it all was important, but to be seen to be having it all was paramount. People demanded tangible tokens of material success - they wanted bigger, shinier, faster, with more knobs on - as verification of their own value in society. In the same way, horror films during this decade delivered the full colour close-up, look-no-strings-attached, special effect in a way that previous practitioners of the art could only dream about. Everything that had lurked in the shadows of horror films in the 1950s could now be brought into the light of day. The monsters were finally out of the closet. Once they were exposed to the light, however, these monsters proved to be the same as ever: ghosts (of supernatural origin), werebeings (of human origin), and slimy things (origin unknown). The latter maintained a strong presence; the cuddly aliens represented in Star Wars and ET were counterbalanced by the grotesque extraterrestrials of the Alien Trilogy and The Thing.

By the end of the 1980s horror had become so reliant on gross-out gore and buckets of liquid latex that it seemed to have lost its power to do anything more than shock and then amuse. Peter Jackson's Brain Dead (1992) epitomises this; a riot of campy spatter, it climaxes with a zombie orgy through which the bespectacled hero must cut his way with a lawnmower. It's hilarious, and not scary in the slightest. The original creations of the late 1970s/early 80s were simply pastiches of their former selves, their power to chill long having disappeared in a slew of sequels and over-familiarity. It seemed that horror had become safe, a branded commodity (Jason, Freddy, Michael) bringing easy recognition and a rigid set of expectations. The uncanny had somehow become the norm, tame and laughable.

However, each generation needs something to be scared of, and yearns for its fears to be fairly represented on the screen. Finding no satisfaction in sequels and pastiche, Generation X got its own special brand of boogeyman: the serial killer. It can be argued that the so-called psychological thriller took precedence over horror in the first half of the 1990s, and indeed, many dark, disturbing films of this period describe themselves as thriller, not horror.

Horror movies in the late 1990s predicted dire things for the turn of the century. Whilst January 1st, 2000 came and went without much mishap, many commentators have identified the true beginning of the 21st century as September 11th, 2001. The events of that day changed global perceptions of what is frightening, and set the cultural agenda for the following years. The film industry, already facing a recession, felt very hard hit as film-makers struggled to come to terms with what was now acceptable to the viewing public. Anyone trying to sell a horror film in the autumn of 2001 (as George Romero tried with Land of the Dead) got rebuffed. "Everybody wanted to make the warm fuzzy movies."(LA Times 30/10/05) There were even calls to ban horror movies in the name of world peace. But, by 2005, the horror genre was as popular as ever. Horror films routinely topped the box office, yielding an above-average gross on below-average costs. It seems that audiences wanted a good, group scare as a form of escapism, just as their great-grandparents chose Universal horror offerings to escape the miseries of the Depression and encroaching world war in the 1930s.

The monsters have had to change, however. Gone were the lone psychopaths of the 1990s, far too reminiscent of media portrayals of bin Laden, the madman in his cave. As the shock and awe of twenty first century warfare spread across TV screens, cinematic horror had to offer an alternative, whilst still tapping into the prevailing cultural mood.

Notable Films which have changed the genre:

Dracula (1931)

Psycho (1960)

Blood Feast (1963)

Night of the Living Dead (1967)

The Exorcist (1973)

The Texas Chainsaw Massacre (1974)

Carrie (1976)

Halloween (1978)

Alien (1979)

The Shining (1980)

Silence of the Lambs (1991)

Scream (1996)

Final Destination (2000)

28 Days Later (2002)

The Ring (2002)

Saw (2003)