Horror is an ancient art form. We have tried to terrify each other with tales that trigger the less logical parts of our imaginations for as long as weve told stories. From the ballads of the ancient world to modern urban myths, audiences willingly offer themselves up to sadistic storytellers to be scared witless, and they are happy to pay for the privilege. Theories abound as to why this is so; do we derive basic thrills from triggering the rush of adrenalin which fear brings, or do horror stories serve a wider moral purpose, reinforcing the rules and taboos of our society and showing the macabre fate of those who transgress? Horror movies have long served both purposes. They deliver thrills by the hearseload, as well as telling us stories of the dark, forbidden side of life (and death) – cautionary tales for grown ups. They also provide a revealing mirror image of the anxieties of their time. Nosferatu (1922) is not simply a tale of vampirism, but offers heart-rending images of a town beleaguered by premature and random deaths, echoes of the Great War and the Great Flu Epidemic fatalities. At the other end of the century Blade (1998) is not just a tale of vampirism either, but reflects a fear of the powerful yet irresponsible elements in society, a lawless elite, echoes down the corridor of the growing invincibility of those at the top. Horror movies of the early 21st century cogitate on global concerns of contagion (28 Days Later), or sound reactionary warning notes about the dangers of leaving moral absolutism behind (The Last Exorcism, The Conjuring). Horror movies provide a unique space for free discourse about the moral, political and societal shifts in our communal paradigms. Each generation gets the horror films it deserves, and one of the more fascinating aspects of the study of the genre is the changing nature of the monsters who present a threat. In the early 1940s, a world living under the shadow of Hitlers predatory tendencies identified a part- man, part-wolf as their boogeyman, whose bestial nature caused him to tear apart those who crossed his path. In the 1990s however, there was no need for a part wolf component: Jonathan Doe (Se7en 1994) and Hannibal Lecter (Manhunter 1986, Silence of the Lambs 1991, Hannibal 2001) were entirely human in their calculated and stylised killing methods. As we move on into the twenty first century, the ghosts and zombies are back in vogue as Eastern and Western superstitions converge, and once more we yearn for an evil that is beyond human. In an era of war and waterboarding, supernatural terror is more palatable than the fear inherent in news headlines. Or perhaps its genetic? Recent research has shown that the COMT gene dictates whether horror makes us laugh or scream:
Posted on: Wed, 24 Sep 2014 04:44:04 +0000
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