I admit, I’m not a massive horror fan. This could be seen as odd, considering we’re dedicating the week to the horror genre, but there are a few issues worthy of discussion. Before highlighting those problems, it’s only fair to show respect to the films and filmmakers which have moulded and influenced horror.
The Good
Despite my negativity above, I do like the horror genre. The potential of the genre is great. What other genre of film allows low budget filmmakers to find distribution? So many great writers and directors found their craft making horror films; it’s a great way to test you as a filmmaker. The disciplines of writing within the genre and interpreting conventions allow the filmmaker to test his or her abilities. These are key ingredients to anyone wishing to develop and put their hat in the ring with iconic filmmakers such as Hitchcock, Lynch and Carpenter.
Seeing what other filmmakers have done with the genre should inspire us, it should motivate us to want to make film. The key to any great filmmaker is innovation. Innovation in horror is magnified, everyone remembers those moments when great filmmakers turned the horror conventions inside out. Hitchcock gave the leading role to Psycho (1960), Scream (1996) presented a logical antagonist and The Blair Witch Project (1999) (via Cannibal Holocaust and Last Broadcast) not only gave found footage to the mainstream, but also was responsible for the birth of viral film marketing. These innovations stand out as markers for future filmmakers to build upon. This is good news, not only for the horror genre but for film and filmmaking in general.
The horror genre is iconic, great filmmakers are often influenced and been inspired by it. Horror can give film depth, it can be atmospheric, it can be satirical and it can be symbolic of something we repress. We connect with fear and this is why it can be both mesmerising and addictive for filmmakers. A great example of how horror can be multilayered is in Jennifer Kent’s Babadook (2014). On the surface, its chilling imagery can create the very fear I’ve mentioned above. Such imagery sticks with you. It strikes a chord with the audience and allows for the participation that’s essential for escapism in film. If you delve deeper you get an exploration of parental repression and how it can manifest into something very dark. The confidence of the filmmaker here is what’s impressive. Jennifer Kent knows this story and its characters inside out, for this, the horror benefits.
The above can also be applied to films such as The Shining, It Follows, The Exorcist, The Wicker Man and The Texas Chainsaw Massacre. Each of these films show there’s much potential with the genre; it has potential to show us a world we want to avoid, but can’t help but to take a peek. These films show iconic imagery, whilst exploring themes which have depth and most importantly, comment on who we are.
The films that do more than rely on horror are the ones we invest in and will often appear on the annual “top ten horror films” lists. They’re more than just horror, they’re great films. Yes, there’s plenty to get from a jump scare, but the best horror films make you believe this horror actually exists in our world.
The Bad
There’s one reason I don’t call myself a passionate horror fan and that’s down to the fact that I’ve seen a lot of terrible horror films. I’m not a keen viewer of the “I watch it because it’s bad” films, and I feel there are a lot of filmmakers exploiting the foundations the previous (great) filmmakers have built.
For me, the horror genre is a way for some not-so-good filmmakers to get films made. They think by ticking a box (blood, guts and jump scares) they’re adding to the great films we’ve had in the past. Relying on the same tricks is not innovative, it’s lazy and unfortunately quite common in modern horror.
For us to believe in horror, first we have to be dealt a script written by someone who understands human nature. For us to believe what we see, we need a director who not only understands the script but also shows innovation. The motives of the filmmaker have to be right and when they are not, you notice the difference.
Every Halloween we’re now dealt a new franchise. We get seven or eight films which are identical. There’s an acceptance now of quantity over quality and as long as you tick certain boxes, your film will get some viewers. The majority of what’s released is template filmmaking, and this is at all levels within horror. Be it mainstream or low budget, I know if I were to watch a horror film that’s just been given a release, it’s more than likely going to rely on the conventions which have diluted the horror genre.
A great example of this is found footage. As I mentioned above, The Blair Witch Project created something new upon its release in 1999. It goes without saying, the success of this was pretty impressive both critically and commercially. The profit the film’s made is insane. Not only at the time but it still continues today. Since the release back in 1999 we’ve had a barrage of found footage films. They’re cheap to make and show potential for vast profits. This is the reason they’re made, and it tells. Cliché after cliché.
The Saw films, Paranormal Activity and even the film we discussed last night Halloween (Halloween – Masterful filmmaking on a Miniscule Budget) gave birth to a series of films which focused more on profit than story. I appreciate people want to make money but by doing so, those responsible should be open to criticism and we shouldn’t be afraid to speak out when the bar has dropped.
Fear is as powerful as laughter and sadness, and when it’s done right, there’s not much better. Unfortunately there are some people who have exploited this and therefore hindered the genre. For every one or two great horror films that get released, there are a lot more we have to consciously avoid.
There’s one way to avoid the dilution of horror, this is by watching and rewatching the classics. Be it Dracula, Frankenstein, Leatherface or The Babadook, there’s plenty of wonderful horror out there to help us avoid those just wanting to line their pockets.