History of horror films
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The history of horror films was described by author Siegbert Solomon Prawer as difficult to read as a linear historical path, with the genre changing throughout the decades, based on the state of cinema, audience tastes and contemporary world events.
Films prior to the
The
In the 21st century,
Background
In his book Caligari's Children: The Film as Tale of Terror (1980), author Siegbert Solomon Prawer stated that horror films cannot be interpreted as following a linear historical path. Historians and critics like Carlos Clarens noted that while some film audiences at the time took films made by Tod Browning that starred Bela Lugosi with utmost seriousness, other productions from other countries saw the material set for parody, as children's entertainment or nostalgic recollection.[1] John Kenneth Muir in his books covering the history of horror films through the later decades of the 20th century echoed this statement, stating that horror films mirror the anxieties of "their age and their audience" concluding that "if horror isn't relevant to everyday life... it isn't horrifying".[2]
Prior to the release of
Early influences
Pre-film
Forms of filmmaking that would become film genres were mostly defined in other media before
Early Gothic fiction such as The Castle of Otranto (1764) and works of Ann Radcliffe dealt with the stories involving seemingly supernatural doings and magnetic yet repulsive villains set in castles, but with their supernatural pretenses often explained in the end.[10] The most famous of these gothic novels was Frankenstein (1818) which would be adapted into several film adaptations.[11] American writer Edgar Allan Poe wrote several stories in the 1830s and 1840s that would be translated to the film screen in the future. These included "The Black Cat", "The Murders in the Rue Morgue", "The Pit and the Pendulum", "The Fall of the House of Usher", and "The Masque of the Red Death".[11][12] Poe's tales often presented women who were dead, dying or spectral and focus on the obsessions of their male protagonists.[12]
More key horror texts would be produced in the late 1800s and early 1900s than in all centuries preceding it, including: Strange Case of Dr Jekyll and Mr Hyde (1886), The Picture of Dorian Gray (1890), Trilby (1894), The King in Yellow (1895), The Island of Doctor Moreau (1896), Dracula (1897), The Invisible Man (1897), The Turn of the Screw (1898), The Hound of the Baskervilles (1902), Ghost Stories of an Antiquary (1904), and The Phantom of the Opera (1911).[12] As these and many similar novels and short stories were being made, early cinema began in the 1890s.[5] Many of these stories were not specifically focused on the horrific, but lingered in popular culture for their horrific elements and set pieces that would become cinema staples.[13]
Early film
In the nineteenth century, the word "horror" began to be used as a generic signation, albeit a rare one. In early cinema,
In the early 20th century as films became popular around the world films were production was so hectic that often told tales were made and then remade within months of each other.[17] Adaptations of the work with Poe were often adopted in France such as Le Puits dett le Pendule (1909) and America with The Sealed Room (1909) The Raven (1912) and The Pit and the Pendulum (1913).[18] Other famous horror characters made their film debut in the era including Frankenstein's monster with Edison's Frankenstein (1910), Life Without Soul (1915), and the Italian production Il mostro di Frankenstein (1921).[18] Several adaptations of other novels like The Picture of Dorian Gray were adapted around the world, including Denmark (Dorian Gray's Portaet (1910)), Russia (Portret Doryana Greya (1915)), Germany (Das Bildnis des Dorian Gray) and Hungary (Az élet királya (1918)).[18] The most adapted horror story was Strange Case of Dr Jekyll and Mr Hyde, which included early adaptations like William Selig's Dr. Jekyll and Mr Hyde (1908). This was followed by several versions, including a British version of the story (The Duality of Man (1910)), a Danish production (Den skæbnesvangre Opfindelse (1910)), and another American film in Dr. Jekyll and Mr. Hyde in 1912.[17] In 1920, three versions were made: J. Charles Haydon's Dr. Jekyll and Mr. Hyde, John S. Robertson's Dr. Jekyll and Mr. Hyde, and F. W. Murnau's Der Januskopf.[17]
Only a few actors and directors began specializing specifically in the genre. These included the German actor and director
1930s
In 1924, British producer
Following the release of Dracula, The Washington Post declared the film's box office success led to a cycle of similar films, while The New York Times stated in a 1936 overview that Dracula and the arrival of sound film began the "real triumph of these spectral thrillers".[35] Other studios began developing their own horror projects with Metro-Goldwyn-Mayer making Dr. Jekyll and Mr. Hyde (1931) and Mad Love (1935) and Paramount Pictures with Island of Lost Souls (1932) and Murders in the Zoo (1933), and Warner Bros. with Doctor X (1932) and Mystery of the Wax Museum (1933).[36] Universal would also follow-up with Whale's The Old Dark House (1932) and The Invisible Man (1933), and Bride of Frankenstein (1935).[32][36] RKO Pictures had also developed their own monster movie with King Kong (1933) which Newman felt owned more to Arthur Conan Doyle's The Lost World than the Dracula-Frankenstein cycle.[37] Other productions included independents in the United States, such as the Halperin Organization making White Zombie (1933) with Lugosi, whose success led to a series of voo doo related film such as Drums O' Voodoo (1934), Black Moon (1934) and Ouanga.[34] A few productions outside of America were also made such as the British film The Ghoul (1933) starring Karloff and the films of Tod Slaughter.[38]
Many horror films of this era provoked public outcry and censors cut many of the more violent and gruesome scenes from such films as Frankenstein,
1940s
After the success of Son of Frankenstein (1939), Universal's horror films received what author Rick Worland of The Horror Film called "a second wind" and horror films continued to be produced at a feverish pace into the mid-1940s.
In March 1942, producer
In April 1946, the Hollywood Reporter announced that horror films were earning "heavier adult patronage" and were receiving "universal appeal" due to higher budgets and higher standards.[53] Rhodes and Kaffenberger noted the elasticity of the term horror in the article, specifically mentioning films like The Spiral Staircase and Bedlam (1946).[54] The magazine also referred to films such as Alfred Hitchcock's Spellbound and a few foreign films such as The Girl and the Devil (1944) and Dead of Night (1945) under the term.[54] In 1946, Curt Siodmak, the screenwriter of films like The Wolf Man (1941) stated that "When horror enters the gilded gate of top production, it is glorified as a 'psychological thriller.' But a rose by any other name. . . "[55] Between 1947 and 1951, Hollywood made almost no new horror films.[56] Between this period, American studios were re-releasing their back catalog of horror film productions by studios such as Universal and Monogram.[57] Box-office receipts had fallen sharply due to decling theatre attendance leading to the Motion Picture Herald reporting that seven of the eleven major producer-distributors companies including MGM, Paramount, RKO, 20th Century Fox, Universal, Warner Bros. and PRC would re-release their previous seasons films.[57] In the period between 1947 and 1951 at least 25 Bela Lugosi horror films were re-released theatrically.[58]
1950s
While studies suggest that
Among the most influential horror films of the 1950s was
Films from the 1950s reflected the filmmaking styles of the era. These included some horror films being shot in 3D, such as
1960s
Newman that the horror film changed dramatically in 1960. Specifically, with
Mario Bava's
Black Sunday's focus on combining eroticism and horror, specifically the eroticism of a tortured body — a trend that other European horror filmmakers like the French
1970s
Historian John Kenneth Muir described the 1970s as a "truly eclectic time" for horror cinema, noting a mixture of fresh and more personal efforts on film while other were a resurrection of older characters that have appeared since the 1930s and 1940s.
Horror films continued to be made around the world in the 1970s.[75] In the United Kingdom, Amicus focused their production on humorous horror anthologies, such as Tales from the Crypt (1972).[76] The studio stopped producing horror films by the mid-1970s and closed in 1977.[77] By the 1970s, Hammer Films pushed their films in different directions, such as their new series where vampires are implied to be lesbians in The Vampire Lovers (1970), Lust for a Vampire (1970) and Twins of Evil (1971).[78] Hammer's Dracula series was updated to contemporary settings with Dracula A.D. 1972 (1972) and its sequel The Satanic Rites of Dracula (1973), after which, Lee retired from the Dracula role.[79] Hammer ceased feature film production in the 1970s.[76] Other small booms in the Italian film industry included Argento's The Bird with the Crystal Plumage (1970) which created a trend in Italy for the giallo film.[80][81] Other smaller trends permutated in Italy such as films involving cannibals, zombies, nazis which Newman described as "disreputable crazes".[75] Some films of the 1970s pushed the eroticism to the point of horror and Pornographic film hybrids.[74] The rise of zombie films towards the end of the decade was triggered by Romero's follow-up to Night, with Dawn of the Dead (1978).[82]
Remakes of proved to be popular choices for horror films in the 1970s, with films like
In 1963, Hitchcock defined a new genre nature taking revenge on humanity with
1980s
The 1980s marked the first time since the early 1960s of horror film fandom with far more loose organized community of fans rose with the increased publication of fanzines and magazines such as Cinefantastique, Fangoria and Starburst as horror film festivals like Shock Around the Clock and Dead by Dawn developing.[91] In the appearance of home video, horror films came under attack in the United Kingdom as "video nasties" leading to people having their collection being seized by police and some people being jailed for selling or owning some horror films.[92] Newman described the response to the video nasty issue led to horror films becoming "dumber than the previous decade" and although films were not less gory, they were "more lightweight [...] becoming more disposable , less personal works."[93][92] Newman noted that these directors who created original material in the 1970s such as Carpenter, Cronenberg, and Hooper would all at least briefly "play it safe" with Stephen King adaptations or remakes of the 1950s horror material.[94]
In Italy, the Italian film industry would gradually move towards making films for television.[95] The decade started with a high-budgeted production of Argento's Inferno (1980) and with the death of Mario Bava, Fulci became what historian Roberto Curti called "Italy's most prominent horror film director in the early 1980s".[96] Several zombie films were made in the country in the early 80s from Fulci and others while Argento would continue directing and producing films for others such as Lamberto Bava.[96] As Fulci's health deteriorated towards the end of the decade, many directors turned to making horror films for Joe D'Amato's Filmirage company, independent films or works for television and home video.[97][98]
In the 1980s, the older horror characters of Dracula and Frankenstein's monster rarely appeared in film outside nostalgic films like
Replacing Frankenstein's monster and Dracula were new popular characters with more general names like
Other more traditional styles continued into the 1980s, such as supernatural themed films involving haunted houses, ghosts, and demonic possession.[107] Among the most popular films of the style included Stanley Kubrick's The Shining (1980), Hooper's high-grossing Poltergeist (1982) and films in the Amityville Horror film franchise.[108] After the release of films based on Stephen King's books like The Shining and Carrie led to further film adaptations of his novels such as Cujo (1983), Christine (1983), The Dead Zone (1983) and Firestarter (1984), and Children of the Corn (1984).[109][110] King would even direct his own film with Maximum Overdrive in 1986.[111]
1990s
Horror films of the 1990s also failed to develop as many major new directors of the genre as it had in the 1960s or 1970s.[112] Young intendent filmmakers such as Kevin Smith, Richard Linklater, Michael Moore and Quentin Tarantino broke into cinema outside the genre at non-genre festivals like the Sundance Film Festival.[113] Newman noted that the early 1990s was "not a good time for horror", noting excessive sequels such as The Exorcist III (1990), Amityville 1992: It's About Time (1992) and returns of sequels to The Texas Chain Saw Massacre, Friday the 13th and A Nightmare on Elm Street.[114] Muir commented that in the 1990s after the end of the Cold War, the United States did not really have a "serious enemy" internationally, leading to horror films adapting to fictional enemies predominantly within America, with the American government, large businesses, organized religion and the upper class as well as supernatural and occult items such as vampires or Satanists filling in the horror villains of the 1990s.[115]
Muir described the 1990s, more than any decade before it blurred genres and transcended existing ones. This led to post-modern horror films such as Wes Craven's New Nightmare (1994) which examined horror films in an American society, In the Mouth of Madness (1995) which turns reality into a horror film, and Scream (1996) which made several references to horror films of the past.[116] The release of Scream, scripted by Kevin Williamson led to a brief revival of the slasher films including the Williamson-scripted I Know What You Did Last Summer (1997).[117] Other styles of teen-oriented horror that were popular in the 1990s, but with less visibility than the post-Scream films were films about supernatural youth such as Mirror, MIrror (1990) and Shrunken Heads (1994) with the most popular of these films being The Craft (1996).[118] Cultural conflicts of the 1990s became the backdrop for several horror films of the era.[119] Ranging from issues involving abortion seen in films like The Unborn (1991) and Alien 3 (1992), political correctness (Body Snatchers (1993)), to affirmative action, welfare and race related issues seen in The People Under the Stairs (1991), Tales from the Hood (1995), and Village of the Damned (1995).[120] The rise of other television shows such as Inside Edition, America's Most Wanted and The Jerry Springer Show, Geraldo and Donahue , horror films often featured anchorwomen and TV tabloid hosts as protagonists or supporting characters in films like Man's Best Friend (1993), Scream (1996) and The Night Flier (1997).[121] The rapid growth of technology in the 1990s with the internet and the fears of the Year 2000 problem causing the end of the world were reflected in plots of films like The Lawnmower Man (1992), Brainscan (1994) and End of Days (1999).[122]
Following the release of Francis Ford Coppola's Bram Stoker's Dracula (1992), a small wave of high-budgeted gothic horror romance films were released in the 1990s.These included Interview with the Vampire (1994), Mary Shelley's Frankenstein (1994), Wolf (1994) and Mary Reilly (1996).[123] By the end of the 1990s, three films were released that Newman described as "cultural phenomenons."[124] These included Hideo Nakata's Ring (1998), which along with the South Korean film Whispering Corridors (1998), was the major hit across Asia leading to sequels and similar ghost stories from Asian countries. The film only crossed over into the Western world after the 1990s.The second major hit was The Sixth Sense, another ghost story which Newman described as making "an instant cliche" of twist endings.[124] The final hit was the low-budget independent film The Blair Witch Project (1999)[124]
2000s
Newman described the first trend of horror films in the 2000s followed the success of The Blair Witch Project, but predominantly in a parody format: The Bogus Witch Project (2000), The Blair Underwood Project (2000) and the pornographic The Erotic Witch Project (2000). Other films included similar low-budget imitators like The St. Francisville Experiment (2000) with a similar plot to The Blair Witch Project.[125] Alexandra Heller-Nicholas, noted that the popularity of sites like YouTube in 2006 sparked a taste for amateur media, leading to the production of further films in the found footage horror genre later in the decade with Rec (2007), Diary of the Dead (2007), and Cloverfield (2008) and the particularly financially successful Paranormal Activity (2007).[126] Following Paranormal Activity, the style was not known for the footages possible authenticity as it was with Blair Witch, but more of a specific film style.[126]
Post-modern horror films continued into the 2000s as well with Cherry Falls (2000) and Psycho Beach Party (2000) but soon drifted purely into comedy and parody territory with the Scary Movie film series and Shriek If You Know What I Did Last Friday the 13th (2000).[127][118] Other teen oriented series began in the era with Final Destination while the success of the 1999 remake of William Castle's House on Haunted Hill led to a series of remakes in the decade: Thi13en Ghosts (2001), Willard (2003), Dawn of the Dead (2004), The Fog (2005), Prom Night (2008) and The Last House on the Left (2009).[128] Several film series long left dormant were resurrected in the 2000s as well with Jason X (2001), Beyond Re-Animator (2003), Exorcist: The Beginning (2004), and Land of the Dead (2005).The popularity and innovative approach to zombies seen in 28 Days Later (2002), Shaun of the Dead (2004) and Dawn of the Dead (2004) led to a revival zombie films in the 2000s, with I Am Legend (2007), Zombieland (2009), Dead Snow (2009) and Pontypool (2008).[129][130][131]
Several films came from Hong Kong, South Korea, Thailand, and Japan in the wake of the success of Ring (1998).[132] These films mostly involved female detectives using various forms of detective work to learn mystery about malevolent female ghosts. These included The Eye (2002), Dark Water (2002), and Into the Mirror (2003).[132] This trend was echoed in the West with films like FeardotCom (2002), They (2002) and Gothika (2003). Hollywood also began remaking these Japanese films with The Ring (2002), Dark Water (2005).[133] Outside the Japanese ghost stories, Asian film industries also began developing what Newman described as "bizarre" horror films with Uzumaki (2000), Stacy (2001) and several films by Takashi Miike.[133]
Newman declared there to be a "modest revival" of British horror films in the 2000s, with tiny trend of War film related horror films with The Bunker (2001), Dog Soldiers (2002) and the Hollywood produced Below (2002).[133] Outside several independent films and films attempting a style of horror that Dimension Films was making in the 1990s, Newman felt the breakouts of the new British horror were My Little Eye (2002), 28 Days Later (2002), Shaun of the Dead (2004), and The Descent (2005).[133]
At the turn of the millennium, a movement in French cinema known as
2010s
After the film studio
In the early 2010s, there became a wave of horror films that showed what Virginie Sélavy noted described as having psychedelic tendency that was inspired by experimentation of 1970s and its subgenres, specifically folk horror.[141] The trend began with two films: Enter the Void (2009) and Beyond the Black Rainbow (2010). Since these films, a series of films that Sélavy described as being like "a calamitous trip or creepy dreams" were released such as Berberian Sound Studio (2011), Under the Skin (2013) and We Are the Flesh (2016), and Climax (2018).[141] These films do not always share the consciousness-expanding spirit of 1960s and 1970s.[141] The reasons for these trends tended to be from filmmakers who grew up in the 1970s as well as home video distributors such as Arrow Video, Shameless and Nucleus Films releasing restorations of the more outlandish and forgotten films of the original psychedelic era.[141]
The expansion of international
Adapted from the Stephen King novel, It (2017) set a box office record for horror films by grossing $123.1 million on opening weekend in the United States and nearly $185 million globally.[145] The success of It led to further King novels being adapted, including It Chapter Two (2019), Pet Sematary (2019), and Doctor Sleep (2019).[146] Following the turn of the millennium rise of Asian horror films, South Korean horror films resurrected itself[clarification needed] with zombie films including Train to Busan (2016), The Odd Family: Zombie on Sale (2019) Peninsula (2020) as well as non-zombie related films such as The Wailing (2016).[147]
2020s
The
Blumhouse furthered its relationship with Universal Pictures by scheduling similarly budgeted films like The Invisible Man (2020) following the halted launch of their Dark Universe series with the release of The Mummy (2017).[140][154] Further franchise installments and reiterations of old stories were continued films involving Dracula, exorcisms and other entries in series such as Evil Dead, Insidious, Scream, and Saw.[153]
See also
- History of horror fiction
- History of science fiction films
- A History of Horror
- An Illustrated History of the Horror Film
- Horror Noire: A History of Black Horror
- A Heritage of Horror
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- ^ Newman 2020c, p. 33.
- ^ Bitel 2020, p. 49.
- ^ LaCava 2021.
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- ^ Newman 2020, p. 44.
- ^ Newman 2020b, p. 22.
- ^ Newman 2022.
- ^ a b Newman 2023.
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