Understanding the Popular Appeal Appeal of Horror Cinema: An An Integrated-Interactive Model Online publication date: May !" #$$% Journal of Media Psychology, Psycholog y, Vo Volume 9, No. 2, Spring, 2004
Glenn . !al"ers, Ph..
#ederal $orrec"ional %ns"i"u"ion Schuyl&ill, Pennsyl'ania
Abstract
(f"er defining horror as a fic"ional produc" designed "o e'o&e "error "hrough "he implied presence of superna"ural or grossly a)normal forces and furnishing a )rief descrip"ion of eigh" ma*or psychological "heories of horror+psychodynamic, ca"harsis, eci"a"ion "ransfer, "ransfer, curiosi"y-fascina"ion, sensa"ion see&ing, disposi"ional alignmen", gender role socialia"ion, and socie"al concern+"hree descrip"i'e fea"ures of horror film appeal are iden"ified/ "ension, rele'ance, and unrealism. !hereas "radi"ional psychological "heories ha'e con"ri)u"ed "o our unders"anding of peoples in"eres" in and response "o horror films, none pro'ides a full accoun"ing of "he popular appeal of "he horror genre. (ccordingly, an in"egra"ed1in"erac"i'e "heory is ad'anced in an effor" "o eplain "he allure of horror mo'ies, i"h con"rol1rela"ed fears a" "he core and )elief sys"ems "ha" deri'e from a persons effor"s effor"s "o cope i"h "he arousing and "errifying s"imuli found in horror films a" "he periphery.
Understanding the Popular Appeal of Horror Cinema: An Integrated-Interactive Model
#rom Nosferatu #rom Nosferatu 39225 39225 "o Interview "o Interview with the Vampir Vampiree 39945, from 6disons Frankenstein 6disons Frankenstein 3905 3905 "o 7o'ecraf"s Re-animator 7o'ecraf"s Re-animator 39845, 39845, and from "he Cabinet of Dr. Dr. Caligari Caligari 3995 3995 "o "he Island "he Island of Dr. Dr. Moreau Moreau 39945 39945 e ha'e spen" a significan" amoun" of "ime, energy, and money crea"ing and en*oying fic"ionalied horror. %n fac", 2 of "he 00 "op grossing mo'ies of all "ime fall in"o "he "he horror genre 3%M), 2005. Gi'en "ha" "he produc"ion cos"s of horror films are of"en much loer "han "he c os" of producing mo'ies in many o"her genres, i" is no mys"ery hy horror pic"ures con"inue "o )e made. !ha" is less clear is hy e con"inue a"ching "hem/ ha" is so so en"er"aining a)ou" )eing scared: ;eenagers ;eenagers may floc& "o horror films in dispropor"iona"e num)ers, )u" "here is no lac& of ad ul" in"eres" in cinema"ic horror. ;herefore, hile adolescence may )e a period in hich horror films seem par"icularly rele'an", "hese films main"ain "heir rele'ance ell )eyond )eyond "he "eenage years. ;he purpose of "his paper is "o eplain "he allure of cinema"ic horror )y defining "he genre, re'ieing ma*or models of horror film appeal, and offering an in"egra"ed1in"erac"i'e "heory of horror mo'ie populari"y. efining
and commonly asser" "ha" ="he source of "hrea" is ?of"en@ superna"ural in i"s composi"ion> 3;am)orini 3;am)orini A !ea'er, !ea'er, 99B, p. 25.
colorful imagery. Cne of "he forerunners of modern horror fic"ion, <. P. P. 7o'ecraf" 392-9D5, 392-9D5, ro"e "ha" horror s"ories pro*ec" an =a"mosphere of )rea"hlessness and uneplaina)le dread of ou"er, un&non forces . . . of "ha" mos" "erri)le concep"ion of "he human )rain+a malign and
par"icular suspension or defea" of "hose fied las of Na"ure hich are our only safeguard agains" "he assaul"s of chaos and "he demons of unplum)ed space> 3p. E5. ;he modern mas"er of horror, S"ephen Fing 3985, concei'es of ="error as "he fines" emo"ion, and so % ill "ry "o "errorie "he reader> 3p. D5. ;he defini"ion of horror u"ilied in "his paper consis"s of "hree par"s. #irs", horror films are fic"ional ra"her "han non1fic"ional, e'en "hough "hey may )e inspired )y ac"ual e'en"s. 6dard Gein+a !isconsin farmer no"orious for murder, gra'e ro))ery, and necrophilia in "he 9E0s+ser'ed as "he model for por"ions of "hree classic horror mo'ies/ s!"ho 39B05, #e$as Chainsaw Massa"re 39D45, and %ilen"e of the &ambs 3995. e" each mo'ie as clearly fic"ional in na"ure. ;he second componen" of "he presen" defini"ion of horror recognies "he isdom of S"ephen Fings s"a"emen" "ha" elici"ing "error in "he 'ieer is "he ul"ima"e goal of "he horror ri"er and film1ma&er. #inally, as 7o'ecraf" o)ser'ed, horror "ales challenge or suspend "he na"ural las )y hich e li'e. %f no" superna"ural, "he forces se" loose in horror films imply gross a)normali"y, "hus &eeping mo'ies li&e s!"ho 39B05 and 'aws 39DE5 i"hin "he horror genre. reoccurring "hough"s and feelings "ha" ha'e )een repressed )y "he ego )u" hich seem 'aguely familiar "o "he indi'idual. Jung 394-9B85, on "he o"her hand, argued "ha" horror gained i"s populari"y from "he fac" "ha" i"
"ouched on impor"an" arche"ypes or primordial images "ha" he said resided in "he collec"i'e unconscious. Jungians con"end "ha" (naly"ic concep"s li&e "he shado, mo"her, and anima-animus arche"ypes can )e found in many or&s of horror fic"ion 3%accino, 9945. ;he pro)lem i"h psychoanaly"ic eplana"ions of horror film appeal is "he pro)lem i"h psychoanaly"ic eplana"ions of mos" )eha'iorI a serious lac& of precision "ha" ma&es "hese "heories difficul", if no" impossi)le, "o "es" e mpirically. $a"harsis ;he Gree& philosopher (ris"o"le )elie'ed "ha" drama"ic por"rayals ga'e "he audience an oppor"uni"y "o purge i"self of cer"ain nega"i'e emo"ions, a process he called, "atharsis. #esh)ach 39DB5, in e"ending "his approach "o media presen"a"ions of 'iolence and graphic horror, argued "ha" drama"ic or 'iolen" cinema"ic ehi)i"ions encouraged "he purga"ion of pen"1up emo"ion and aggression and in so doing reduced "he pro)a)ili"y "ha" a person ould ac" on "hese emo"ions. $on"rary "o "he ca"harsis hypo"hesis, research has shon "ha" eposure "o 'iolen" media increases ra"her "han decreases su)seuen" ac"s of aggression 3Hushman A Geen, 9905 and "ha" anger can )e reduced )y eperiences incompa"i)le i"h anger, li&e "hose "riggered )y eposure "o humor or ero"ica 3Kamire, Hryan", A Lillmann, 9825. He "his as i" may, an in'erse or nega"i'e rela"ionship appears "o eis" )e"een fear and in"eres" in horror mo'ies 3Mundorf, !ea'er, A Lillmann, 9895, al"hough "here is no ay "o "ell from a correla"ion he"her a"ching horror films reduces fear, loer le'els of fear increase in"eres" in horror mo'ies, or some "hird 'aria)le eplains "he in'erse rela"ionship )e"een "hese "o 'aria)les. 6ci"a"ion ;ransfer ($"itation #ransfer is a 'aria"ion on "he ca"harsis 'ie. Lillmann 39D85 has argued "ha" frigh"ening mo'ie s"imuli physiologically arouse "he 'ieer ho "hen eperiences an in"ensifica"ion of posi"i'e affec" in response "o plo" resolu"ion, he"her or no" "his en"ails a happ y ending. Spar&s 3995, in line i"h "his model, discerned "ha" dis"ress and deligh" in response "o a horror film correla"ed in "hree differen" samples, "he effec" )eing par"icularly pronounced in males.
sur'i'es "o par"icipa"e in "he seuel, and "here is no e'idence "ha" serial films li&e Frida! the )*th 3980, 98, 982, 984, 98E, 98B, 988, 989, 995 or +alloween 39D8, 98, 988, 989, 99E, 9985 are any less popular "han horror mo'ies in hich "he mons"er or &iller is 'anuished 3!ells, 20005. Mc$auley 39985, in conduc"ing "o small s"udies, also unco'ered da"a inconsis"en" i"h "he eci"a"ion "ransfer hypo"hesis "o "he e"en" "ha" en*o ymen" of cinema"ic horror as higher during "he mo'ie "han a" "he end of "he pic"ure. $uriosi"y-#ascina"ion $arroll 39905 main"ains "ha" ins"ead of elimina"ing or reducing nega"i'e affec", horror films s"imula"e and eci"e posi"i'e emo"ions li&e curiosi"y and fascina"ion. ;he 'iola"ion of socie"al norms, a common "heme in many horror pic"ures, may a""rac" "he a""en"ion of some 'ieers )ecause i" is ou"side "he 'ieers normal e'eryday eperience. %n suppor" of a curiosi"y-fascina"ion eplana"ion of horror film populari"y, ;am)orini, S"iff, and Lillmann 398D5 o)ser'ed a correla"ion of .9 )e"een "he decei" su)scale of "he Machia'ellianism scale, a measure of "he accep"ance of norm 'iola"ing )eha'ior, and in"eres" in horror cinema. (l"erna"i'ely, research conno"es "ha" no" all 'ieers iden"ify i"h norm 'iola"ing and, in fac", respond fa'ora)ly hen norm 'iola"ors, li&e "eena gers ho engage in drug use, premari"al se, or pe""y crime, are punished o'er "he course of a mo'ie 3!ea'er, 995. Sensa"ion See&ing Luc&erman 39D95 has proposed a sensa"ion see&ing "heory of horror film appeal in hich high sensa"ion see&ing people are said "o )e a""rac"ed "o horror pic"ures )ecause of "he increased le'els of sensa"ion "hese mo'ies pro'ide. 6dards 39845, Spar&s 398B5 and Johns"on 399E5 ha'e all recorded ro)us" posi"i'e correla"ions )e"een scores on Luc&ermans Sensa"ion See&ing Scale 3SSS5 and self1repor"ed en*oymen" o f frigh"ening en"er"ainmen" and horror mo'ies, al"hough "he rela"ionship )e"een SSS scores and in"eres" in horror is no" alays significan" 3;am)orini, S"iff, A Lillmann, 98D5. Luc&erman 399B5 himself cau"ions us agains" =in"erpre"ing a preference in "erms of a single "rai" or an y disposi"ion a" all> )ecause ="here are many social facili"a"ing fac"ors "ha" )ring young people in"o "hese films> 3p. E85.
isposi"ional (lignmen" People seem "o en*oy "he 'iolence in horror mo'ies hen i" is direc"ed agains" "hose "hey )elie'e are deser'ing of such "rea"men" 3Lillmann A Paulus, 995. ;his o)ser'a"ion has gi'en rise "o disposi"ional alignmen" "heory in hich i" is hypo"hesied "ha" a persons emo"ional reac"ions "o e'en"s por"rayed in a horror film can )e "raced )ac& "o "he disposi"ional feelings "hey ha'e for "he person in'ol'ed. %n o"her ords, if i" is someone ho is seen as deser'ing of punishmen", li&e a "eenage girl curren"ly engaged in seual ac"i'i"y 3!ea'er, 995, "hen "he 'ieer is li&ely "o adop" a posi"i'e 'ie of "he 'iolence. Violence direc"ed agains" someone no" considered deser'ing of punishmen", li&e an innocen" child, is more li&ely "o )e in"erpre"ed in a nega"i'e ligh". !hile "he disposi"ional alignmen" "heory informs us of hich episodes of 'iolence in a horror pic"ure ill )e accep"a)le "o a 'ieer, i" does no" fully eplain h y horror, graphic or o"herise, is so popular i"h 'ieers. Gender Kole Socialia"ion %n a classic s"udy on gender differences in "he social con"e" of horror mo'ie a"ching, Lillmann, !ea'er, Mundorf, and (us" 398B5 de"ermined "ha" "eenage )oys en*oyed a horror film significan"ly more hen "he female companion "hey ere si""ing ne" "o epressed frigh", hereas "eenage girls en*oyed "he film more hen "he male companion i"h hom "hey ere paired shoed a sense of mas"ery and con"rol. ;hese o)ser'a"ions ha'e gi'en rise "o "he gender role socialia"ion or snuggle theor! in hich horror films are 'ieed as a 'ehicle )y hich adolescen"s demons"ra"e gender role congruen" )eha' ior/ mas"ery and fearlessness in )oys and dependency and fearfulness in girls 3Lillmann A Gi)son, 99B5. ;his "heory fails "o eplain, hoe'er, hy some people prefer "o a"ch horror mo'ies alone 3Mc$auley, 9985. Socie"al $oncerns S"ephen Fing 3985 s"a"es "ha" horror films of"en ser'e as a =)arome"er of "hose "hings hich "rou)le "he nigh" "hough"s of a hole socie"y> 3p. 5. #olloing up on "his o)ser'a"ion, S&al 3995 con"ends "ha" horror films reflec" curren" socie"al issues and concerns )y deno"ing ho "he fear of "o"ali"arianism in "he 90s ga'e )ir"h "o mo'ies li&e Frankenstein 395, "he
fear of radia"ion ga'e fligh" "o "he crea"ure fea"ures of "he 9E0s, "he ar in Vie"nam ga'e rise "o a ne )reed of om)ie mo'ie as represen"ed )y 9B8s Night of the &iving Dead , !a"erga"e inspired mis"rus" for au"hori"y figures and films li&e Nightmare on (lm %treet 39845, and serial &illers encouraged an in"eres" in mo'ies li&e %ilen"e of the &ambs 3995. (s impor"an" as socie"al concerns are in unders"anding "he pop ulari"y of horror mo'ies, i" should )e &ep" in mind "ha" many of "hese mo'ies opera"e on uni'ersal or cross1cul"ural fears. escrip"i'e #ea"ures of
Kele'ance #or a mo'ie "o )e a"ched, i" mus" firs" genera"e in"eres" among po"en"ial 'ieers. %n"eres" can )e spar&ed in a 'arie"y of differen" ays )u" rele'ance is one of "he more common a'enues )y hich in"eres" in a film is es"a)lished. ;he rele'ance of horror mo'ies is of"en"imes less o)'ious "han i" is for o"her genres and e is"s on four differen" le'els/ uni'ersal, cul"ural, su)group, and personal. ;he uni'ersal rele'ance of a film is "he degree "o hich i" "ouches on "he u)iui"ous aspec"s of fear and "error, as "hey apply "o "he "hemes of dar&ness, danger, and dea"h. Jungs 394-9B85 arche"ype of dar&ness is said "o em)ody a)solu"e e'il and is ell represen"ed in cinema"ic horror. anger, as sym)olied )y "he unknown, and dea"h are "o addi"ional uni'ersal fears "ha" or& "heir ay in"o horror pic"ures. #rom a purely e'olu"ionary s"andpoin", a'oiding dar& places here preda"ory animals may hide, a""emp"ing "o unders"and "ha" hich is presen"ly un&non, and finding ays "o pos"pone dea"h ha'e sur'i'al 'alue and may ha'e )een passed on"o fu"ure genera"ions "hrough an e'olu"ionary process. (ccording "o many psychoanaly"ic "hin&ers, uni'ersal fears ma&e a h orror film more rele'an". $ul"ural and his"orical fears may )e as paramoun" "o "he populari"y of horror films as uni'ersal fears. Hased on S&als 3995 socie"al concern model of horror pic"ure appeal, e can see "ha" horror mo'ies in "he ni"ed S"a"esha'e reflec"ed a num)er of cul"ural changes and his"orical e'en"s. ;he crea"ure fea"ures of "he 9E0s, #hem/ 39E45 and 0od1illa 39E45 )eing )u" "o eamples, reflec"ed orld1ide concern o'er "he prolifera"ion of nuclear eapons, hile "he (%S epidemic of "he la"e 980s ga'e rise "o a reneed in"eres" in 'ampires 3e.g., #he &ost o!s, 98D5. George Komero has used horror "o poignan"ly cri"iue (merican socie"y i"h "he om)ies in his 9B8 Night of the &iving Dead represen"ing dead (merican ser'icemen in Vie"nam and his 9D8 Dawn of the Dead eploring "he folly of (merican consumerism. ;he dysfunc"ional (merican family )ecame a popular "arge" for horror films of "he la"e 980s as eemplified )y #he %tepfather series 398D, 989, 9925. Socie"al concern "heory highligh"s "he role of cul"ural and his"orical fears in "he de'elopmen" of horror mo'ie scrip"s 3!ells, 20005.
Su)group fears, par"icularly "hose in'ol'ing de'elopmen"al "rends, are a "hird ay "he rele'ance of horror mo'ies can )e enhanced. Many horror films eploi" *u'enile fears since "eenagers are presumed "o )e one of "he larger, if no" "he larges", groups of horror fic"ion en"husias"s in (merica. (dolescen"1rele'an" issues of independence and iden"i"y figure prominen"ly in horror pic"ures, ma&ing "hem par"icularly a""rac"i'e "o "eenagers. Gender role iden"i"y "heory, i" ould seem, has a grea" deal "o say a)ou" "he rele'ance of "he horror genre "o adolescen" consumers. %" is no coincidence "ha" school ser'es as an impor"an" se""ing for many pic"ures in "he slasher su)genre, mo'ies hich are made i"h "eenage audiences in mind. School plays a significan" role in "he e'eryday li'es of "eenagers in "ha" i" es"a)lishes a con"e" i"hin hich s"uden"s can compare "he msel'es "o "heir peers on cri"eria of success and failure )o"h socially and academically 11 issues "ha" are a" "he hear" of many *u'enile fears 3Jar'is, 2005. ;he neigh)orhood se""ing, as epi"omied )y Nightmare on (lm %treet 39845, also facili"a"es "he su)group and personal rele'ance of horror fic"ion. Kele'ance can also eis" on a personal le'el. %ndi'iduals concerned i"h losing con"rol 3$a'allaro, 20025 or ho possess s"rong sensa"ion see&ing "endencies 3;am)orini A S"iff, 98D5 may find horror mo'ies more rele'an" "han "hose ho are unconcerned a)ou" issues of con"rol or ho possess ea& sensa"ion see&ing "endencies. !ells 320005 ri"es "ha" "he fear eperienced )y a 'ieer in response "o a"ching a horror film is direc"ly propor"ional "o "he 'ieers le'el of sympa"hy for and iden"ifica"ion i"h "he pro"agonis". isposi"ional alignmen" "heory holds "ha" 'ieing pleasure is enhanced hen "he mo'ie por"rays people recei'ing punishmen" "he 'ieer )elie'es deser'e punishmen" 3Lillmann A Paulus, 995.
screen. ;his unreali"y is 'ieed "o )e a conseuence of "he psychological dis"ance hich fic"ion pro'ides and "hrough hich "he appeal of horror cinema is realied. !hen presen"ing a ne psychological "heory, i" is impor"an" "o &eep descrip"ion and eplana"ion separa"e. ;heories "ha" fail "o ma&e "his dis"inc"ion lea'e "hemsel'es 'ulnera)le "o accusa"ions of "au"ology and circular reasoning. ;he disease model of addic"ion, for ins"ance, has )een se'erely cri"icied for miing descrip"ion and eplana"ion in i"s accrual of "heore"ical cons"ruc"s "o accoun" for su)s"ance a)use e"iology. (rguing "ha" pro)lem drin&ing is "he conseuence of a disease process and main"aining "ha" "he e'idence for "his disease process can )e found in a persons propensi"y "o drin& alcohol is )o"h "au"ological and unhelpful 3
"he pro)lems of e'eryday li'ing. (ccording "o "he founding "ene"s of lifes"yle "heory, "he human )eing, li&e all li'ing organisms, has "he capaci"y "o percei'e, process, and manage "hrea"s "o i"s eis"ence. !he"her a "hrea" is prepo"en" 3s"imula"es a sur'i'al response in "he a)sence of prior learning5 or condi"ioned 3learned "hrough associa"ion i"h an unlearned fear s"imulus or response5, i" mus" )e percei'ed )efore i" can )e processed and ac"ed upon. ( percei'ed "hrea" is processed as eis"en"ial fear )y humans ho ha'e a sense of self, independen" of "he surrounding en'ironmen", a cogni"i'e "as& "ha" is ini"ially accomplished in h uman children )e"een "he ages of 8 and 24 mon"hs 37eis A Hroo&s, 9D85. ;hree early life "as&s assis" people in managing eis"en"ial fear and "he "hrea" i" implies/ 35 achie'ing affilia"ion i"h o"hers, 325 gaining a sense of en'ironmen"al predic"a)ili"y and con"rol, and 35 earning s"a"us and iden"i"y. ;hese early life "as&s no" only help people deal i"h eis"en"ial fear, "hey also play a ma*or role in shaping "he fear hich can )es" )e descri)ed as an encapsula"ed epression of a persons curren" eis"en"ial condi"ion 3!al"ers, 2000a5. ;he a)ili"y "o cogni"i'ely represen" e"ernal e'en"s foreshados "he human capaci"y for sym)olic "hough". ;a&ing i"s lead from "he de'elopmen"al or& of Jean Piage" 39B5, "he lifes"yle model asser"s "ha" people cons"ruc" schemes "o ma&e sense of "he orld and "o cope i"h na"ural feelings of eis"en"ial fear. ( scheme is li&e a node in a neural ne"or& "ha" con"ains cogni"i'e, affec"i'e, sensory, )eha'ioral, and mo"i'a"ional elemen"s. #or our purposes, a scheme ill )e defined as "he smalles" or mos" )asic uni" of meaning. Schemes in"erac" i"h one ano"her "o form schema"ic su)ne"or&s, si of hich are emphasied in "he in"egra"ed1in"erac"i'e model proposed in "his ar"icle. (""ri)u"ions are schema"ic su)ne"or&s "ha" code for "he presumed causes of ones on and o"her peoples )eha'ior. Cu"come epec"ancies are "he an"icipa"ed conseuences of a par"icular ac"ion and efficacy epec"ancies are a personal es"ima"e of ones chances of securing a specific ou"come. Goals, a four"h schema"ic su)ne"or&, are "he o)*ec"i'es people pursueI and 'alues are "he priori"ies "ha" delimi" and clarify an indi'iduals life. ( final schema"ic su)ne"or&, "hin&ing s"yles, personifies "he cogni"i'e dis"or"ions "ha" &eep people loc&ed in a pa""ern long af"er i" has s"opped )eing produc"i'e 3!al"ers, 2000)5.
Schema"ic ne"or&s and su)ne"or&s eis" on se'eral differen" planes, from "he ones "ha" are nearly as circumscri)ed, simple, and selec"i'e as )asic schemes, "o "hose "ha" are epansi'e, comple, and di'ersified. %n i"s mos" general form, "he schema"ic ne"or& "a&es on "he a""ri)u"es of a )elief sys"em, "o of hich deri'e from an ar"ificial )rea&don of "he space 3self, orld5 and "hree of hich origina"e from "he "ime 3pas", presen", fu"ure5 dimensions of "he "ime1space con"inuum. (ccording "o lifes"yle "heory, "he self1'ie is composed of reflec"ed appraisals 3ho e )elie'e o"hers percei'e us5, social comparisons 3ho e s"ac& up agains" o"hers5, self1represen"a"ions 3fea"ures of "he en'ironmen" i"h hich e iden"ify5, role iden"i"y 3our roles in life "ha" e use "o define oursel'es5, and possi)le sel'es 3desired and feared fu"ure iden"i"ies5. ;he orld1'ie, )y con"ras", is comprised of four dimensions/ organismic1 mechanis"ic, fa"alism1agen"icism, fairness1ineui"y, and male'olence1)ene'olence. ( persons "ime1rela"ed )elief sys"ems, "he presen"1, pas"1, and fu"ure1'ies, demons"ra"e ho a person percei'es and ac"s on informa"ion, recollec"s "he pas", and an"icipa"es "he fu"ure, respec"i'ely 3!al"ers, 2000)5. $ore 6lemen"/ #ear Hecause horror mo'ies feed on fear, "he concep" of eis"en"ial fear ould seem an appropria"e place "o s"ar" in erec"ing an in"egra"ed1in"erac"i'e "heory of horror film appeal. ;he fear1producing na"ure of dar&ness, danger, and dea"h is ell documen"ed in "he annals of human his"ory and is li)erally represen"ed in horror mo'ies. #rom an e'olu"ionary s"andpoin", fear of dea"h and "he fear of "he un&non ha'e sur'i'al 'alue 3Pyscyns&i, Green)erg, A Solomon, 9985, an o)ser'a"ion "ha" has no" )een los" on "he direc"ors of horror films. ;he mons"rous an"agonis" in hantom of the 2pera 392E5 as specifically made up "o loo& li&e "he face of dea"h 3Schneider, 995 and peoples fear of dea"h and desire "o o'ercome n oneis"ence are played ou" in films as di'erse as Dra"ula 395, Re-animator 398E5, and hantasm 39D95. ;he "heme of hantasm is a young )oys s"ruggle i"h loss, )rough" on )y "he dea"hs of his paren"s and older )ro"her. ea"h plays a &ey role in many horror films and is a guiding "heme for "he o'erall genre. %" is rare, in fac", "o find a horror mo'ie in hich someone
has no" *us" died, )een &illed, or is curren"ly )eing "hrea"ened i"h imminen" noneis"ence ) y an e'il force or presence. Kesearch indica"es "ha" disgus" in response "o real1life horrors correla"es significan"ly i"h fear of dea"h 3 3p. 89B189D5. #ear of loss of con"rol eis"s a" all le'els of rele'ance+personal, su)group, cul"ural, and uni'ersal+"o here e migh" predic" "ha"/ 35 indi'iduals ho score high on measures of con"rol1rela"ed eis"en"ial fear ill )e more a""rac"ed "o horror films "han indi'iduals ho score lo on measures of con"rol1rela"ed eis"en"ial fearI 325 su)groups, li&e adolescen"s, ho s"ruggle i"h issues of mas"ery and au"onomy, ill find "he allure of horror films s"ronger "han su)groups for hom mas"ery and au"onomy are less an issueI 35 cul"ures "ha" are preoccu pied i"h con"rol, such as are found in indus"rialied !es"ern na"ions, should sho grea"er in"eres" in horror films "han less con"rol1 preoccupied cul"uresI 345 uni'ersal "hemes surrounding "he fear of losing con"rol should )e prominen" in "he horror li"era"ure of idely di'erse cul"ures.
Mo'ing from "he core elemen" of horror film appeal "o "he peripheral elemen"s en"ails a shif" in focus from fear "o )elief sys"ems. ;he principal means )y hich people manage eis"en"ial fear is "hrough "heir )elief sys"ems, so e ill eplore "he manner in hich horror films help shape a persons de'eloping self1'ie, orld1'ie, presen"1'ie, pas"1'ie, and fu"ure1'ie. %elf-View %n a classic s"udy on "he social psychology of horror films, Lillmann e" al. 398B5 presen"ed college s"uden"s i"h a clip from "he mo'ie Frida! the )*th4 art III hile in "he company of an opposi"e1gender confedera"e ho as ins"ruc"ed "o feign dis"ress, mas"ery, or indifference. Male undergradua"es en*oyed "he film significan"ly more in "he presence of a dis"ressed female confedera"e and found "he dis"ressed confedera"e more a""rac"i'e "han "he mas"ery or indifferen" confedera"es, hereas female undergradua"es en*oyed "he film clip significan"ly more hen accompanied )y a male confedera"e ho displayed mas"ery. ;he au"hors concluded "ha" "he resul"s of "heir s"udy suppor"ed "he gender1role or snuggle theor! of horror film appeal. %n early hun"ing and ga"hering socie"ies, "he adul" male as "he hun"er and "he female remained )ehind "o care for "he home and children.
ho people percei'e "hemsel'es as coming across "o o"hers, a process hich $ooley 3902-9B4 5 called "he looking-glass self , may ha'e played a significan" role in "he Lillmann e" al. s"udy )y ay of peer influence. (dolescen"s possess a s"rong imaginary audience and )elie'e "ha" o"her people are as preoccupied i"h "hem as "hey are i"h "hemsel'es 3Hee A Hoyd, 20025. 3p. 85. Such a *ourney holds "he po"en"ial for confron"a"ion i"h feared sel'es )u" may also permi" eplora"ion of desired sel'es gi'en "he fac" "ha" horror mo'ies are rich in social commen"ary. 5orld-View
more holis"ic and )alanced feel "o "he pic"ure. espi"e fa"alism )eing "he principal "heme of Final Destination 320005, )y "he end of "he pic"ure "he "o main charac"ers, (le 3played )y e'on Saa5 and $lear 3played )y (li 7ar"er5, ha'e defied fa"e. ;he fi'e "eenage 'ic"ims in "he #e$as Chainsaw Massa"re 39D45 unisely pic& up an o)'iously deranged hi"chhi&er and "hen en"er a house "hey ha'e no )usiness en"ering. ;he dea"hs of "hese =arin (ard> hopefuls are no" only ine'i"a)le, "hey seem almos" *us"ified. %neui"y may ne'er"heless en"er "he pic"ure in "ha" "hese "eenagers are as much 'ic"ims of "heir on s"upidi"y as "hey are of 7ea"herface, ye" ho "hey die 3hung on a mea" hoo&, )ludgeoned "o dea"h i"h a sledgehammer5 seems grossly dispropor"ional "o "he se'eri"y of "heir offenses, a conclusion i"h hich direc"or ;o)e
Mundorf e" al. 39895 no"e "ha" indi'iduals i"h loer le'els of self1repor"ed fear ac&noledge grea"er a""rac"ion "o and en*oymen" of horror films. ;his finding can )e in"erpre"ed in one of se'eral ays/ firs", people i"h ini"ially lo le'els of fear may, for ei"her disposi"ional or early en'ironmen"al reasons, )e differen"ially a""rac"ed "o horror films, perhaps )ecause a"ching "his "ype of pic"ure ele'a"es "heir arousal "o a more op"imal le'el. ( second possi)ili"y is "ha" "he indi'idual has learned "o effec"i'ely manage his or her fear "hrough eposure "o h orror cinema. ;his second in"erpre"a"ion is more congruen" i"h "he in"egra"ed1in"erac"i'e model ad'anced in "his paper. None"heless, a longi"udinal s"udy in hich a panel of 'ieers is folloed o'er "ime is reuired "o de"ermine hich in"erpre"a"ion is correc". %" may 'ery ell "urn ou" "ha" )o"h in"erpre"a"ions are correc" under 'arious circums"ances or "ha" "he "o effec"s in"erac". e )o"h laugh and cringe )ecause e &no "ha" Shelley has )een hac&ed "o pieces in an earlier scene. ;here is also dar& humor in "he scene from #he %tepford 5ives 39DE5 here Joanne, played )y Fa"herine Koss, mee"s her ro)o"ic dou)le and no"ices "ha" "he ro)o" loo&s eac"ly li&e her ecep" for )reas"s "ha" ha'e )een no"icea)ly enlarged. Playfulness is an appealing aspec" of horror films. ( mi"ure of fear and
frolic "ouches on a persons pas"1'ie and ma&es horror mo'ies a genre "ha" can )e en*oyed )y adul"s as ell as older children and adolescen"s. Future-View
mechanisms "ha" ma&e "ension, rele'ance, and unrealism appealing *us" as much as e mus" unders"and hy many people en*oy see"1"as"ing foods. ;he in"egra"ed1in"erac"i'e model differs from mos" "radi"ional "heories of horror cinema appeal in draing a clear dis"inc"ion )e"een descrip"ion and eplana"ion.
H
;hose indi'iduals ho score high on measures of con"rol1rela"ed eis"en"ial fear ill )e significan"ly more a""rac"ed "o horror films "han "hose persons ho score lo on measures of con"rol1rela"ed fear.
H#
ue "o "heir grea"er concern i"h "he de'elopmen"al issues of mas"ery and au"onomy adolescen"s ill find "he allure of horror films significan"ly s"ronger "han adul"s.
H!
H%
ni'ersal "hemes cen"ering around "he fear of losing con "rol should )e e'iden" in "he horror li"era"ure of idely di'ergen" cul"ures.
Self-View
H)
(dolescen" )oys i"h con'en"ional gender1role iden"i"ies and imaginary audiences 3i.e., )oys don" sho fear5 ill display significan"ly less fear hen a"ching a horror film "han adolescen" )oys possessing uncon'en"ional gen der1role iden"i"ies and imaginary audiences.
H*
ifferen"ial iden"ifica"ion i"h "he an"agonis"s and pro"agonis"s in a horror pic"ure ill reflec" fundamen"al differences in self1represen"a"ion.
World-View
H+
;hose indi'iduals ho a"ch more "han 20 horror films a year ill ha'e more mechanis"ic, fa"alis"ic, fairness1leaning, and male'olen" orld1'ies "han "hose indi'iduals ho a"ch feer "han 20 horror films a year.
Present-View
H,
#ear, as measured )y )o"h cogni"i'e and physiological measures, ill drop in propor"ion "o "he forma"ion of coping s&ills and )eyond "he le'el of simple desensi"ia"ion achie'ed "hrough repea"ed eposure "o horror film s"imuli.
Past-View
H
Vieers ill find a horror film "ha" con"ains periodic comic in"erludes significan"ly more en*oya)le "han "he same horror film in hich "he comic in"erludes ha'e )een remo'ed.
Future-View
H$
;he degree "o hich peoples epec"ancies concerning a pre'iously unseen horror mo'ie ma"ch "heir su)seuen" 'ieing eperience ill correla"e i"h "heir ra"ed en*oymen" of "he film.
Se'eral of "hese hypo"heses ha'e already )een "es"ed and found "o ha'e meri", par"icularly <4 3$amp)ell, 9885 and
.eferences
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;he asser"ions and opinions con"ained herein are "he pri'a"e 'ies of "he au"hor and should no" )e cons"rued as official or as reflec"ing "he 'ies of "he #ederal Hureau of Prisons or "he ni"ed S"a"es epar"men" of Jus"ice. $orrespondence concerning "his paper should )e direc"ed "o Glenn . !al"ers, Psychology Ser'ices, #$%1Schuyl&ill, P.C. Ho D00, Miners'ille, P( D9E410D00. Ke"urn "o home page
