[Editorial] Editor’s Note: The gatekeepers of the horror genre
For many of us in the horror community, there seems to have been a lot of conversations regarding what is and what isn’t constituted as horror. It has been a debate that has been going on for far too long, and one that unfortunately highlights the ignorance of so many people in this community and their narcissism that they believe they can be some form of ‘gatekeepers’ to the horror genre, which, let’s be honest, no one is a fucking gatekeeper to unless we invented horror - something I’m pretty certain none of us did.
As much as I absolutely love Twitter because it’s been a place of connection and community, it can also be a toxic place, as with anything on the internet really. When you post about watching a film and you call it horror, you immediately play the pipes to the rats of the film world who hurriedly scavenge around to let you know that ‘No, that is not a horror film.’, which always then divulges into the question of what is a horror film?
A few days back I had the pleasure of joining Chandler Bullock and Nolan Dean on DeVaugh Taylor’s podcast Bloody Blunts Cinema for his 50th episode, and for the discussion we looked at some of the most debated horror films and whether they were truly horror. What seemed clear was that none of us felt like we had any right to be gatekeepers of the genre, and that essentially nearly all of the controversially debated films, we all considered horror in some form or another. The reason being was that horror is a completely subjective genre, one that relies on so many different aspects that it is far more complex than simply saying that one film is horror but another is not.
One particular film that really got me thinking was Jurassic Park. Personally I had always thought of Spielberg’s classic film as an adventure come action movie, but the more we discussed how it was a horror film, the more it became apparent to me that 1) dinosaurs are fucking terrifying and 2) Jurassic Park could definitely be classfied as a horror film. We typically classify horror as something that evokes fear in the watcher, which can be said as true in the dinosaur movie - a man gets bitten in half! But as someone that watches a lot of extreme horror, to me horror goes deeper than just fear, it evokes emotions that typically have a negative connotation attached to them; grief, trauma, loss, depression, suspense, disgust etc. Therefore a horror film doesn’t necessarily have to be scary in order to be classified as a horror, which therefore makes it even more complicated to gatekeep this layered genre.
Which is why people in the horror community get so tired when people do try and say that certain things can and cannot be done within the genre itself. A journalist recently went on record publicly to say that films set in space can never be horror, because horror only exists within the planes of our existence and setting, not outside of it. This caused outrage amongst us horror fans, and for good reason. It might have felt like the entire population of Twitter was trying to take this woman down, but actually the comments made by her felt demeaning and harmful to a genre that means so much to the community. Horror has helped so many of us heal through troubling times, and therefore we do feel protective when people come along and try to mould it into a certain stereotype. Horror can absolutely be set in space, with some of the most terrifying and horrific films ever being set in space: Alien, Event Horizon, Jason X (okay, maybe not terrifying or horrific, but it’s a slasher in space!), Lifeforce and so many others.
Why do people feel the need to try and gatekeep the genre? What do they get out of doing so? It is a shame that we constantly have to see the horror genre chastised in such a way, and that we have to continuously defend the reasons why certain films are horror. It’s not common that you see people defaming the rom com genre, but it is when it comes to horror and therefore us fans feel like we are continuously trying to explain that this particular genre is one of the most complex, and of course, it is completely subjective because what one person finds frightening, another person will not. I have always found the 1997 Bean movie about Mr.Bean ruining a classic painting terrifying since I was a kid, so for me, that absolutely constitutes as a horror film but that’s because I found watching it in the cinema’s at the age of 4 a traumatic and distressing experience. Therefore, completely subjective.
So, to those people that always have to say something about a film not being horror because it doesn’t fit into the conventional tropes of the genre, please just get a life and leave us be. Us horror fans are happy to call whatever we want a horror and watch behind clutched pillows.
And yes, Bean is absolutely a horror movie.
Love and guts,
Z x
RELATED ARTICLES
I can sometimes go months without having a panic attack. Unfortunately, this means that when they do happen, they often feel like they come out of nowhere. They can come on so fast and hard it’s like being hit by a bus, my breath escapes my body, and I can’t get it back.
Films that blend horror with romance always fascinate me; add a niche contemporary setting that I’ve never heard of before and I’m hooked. Cannibal Mukbang was made by Aimee Kuge, a young woman from New York, and I was privileged to spend a little time talking with her over Zoom…
Now it’s time for Soho’s main 2023 event, which is presented over two weekends: a live film festival at the Whirled Cinema in Brixton, London, and an online festival a week later. Both have very rich and varied programmes (with no overlap this year), with something for every horror fan.
In the six years since its release the Nintendo Switch has amassed an extensive catalogue of games, with everything from puzzle platformer games to cute farming sims to, uh, whatever Waifu Uncovered is.
A Quiet Place (2018) opens 89 days after a race of extremely sound-sensitive creatures show up on Earth, perhaps from an exterritorial source. If you make any noise, even the slightest sound, you’re likely to be pounced upon by these extremely strong and staggeringly fast creatures and suffer a brutal death.
Have I told you about Mayhem Film Festival before? It’s a favourite event of mine, so I’ve blurted about it in anticipation to many people I know. The event has just passed, so now is the time to gush its praises to those I don’t know.
Loop Track, Thomas Sainsbury’s directorial debut, has such a sparse description that it’s really difficult to know what you’re stepping into when it starts. It’s about Ian (played by the director), who is taking a trek through the New Zealand bush….
For a movie that doesn’t even mention the word “vampire” once throughout the length of the film, Near Dark (1987) is a unique entry in the vampire film genre.
If you like cults, sacrificial parties, and lesbian undertones then Mona Awad’s Bunny is the book for you. Samantha, a student at a prestigious art university, feels isolated from her cliquey classmates, ‘the bunnies’.
GHOULS GANG CONTENT
I can sometimes go months without having a panic attack. Unfortunately, this means that when they do happen, they often feel like they come out of nowhere. They can come on so fast and hard it’s like being hit by a bus, my breath escapes my body, and I can’t get it back.
When people think of horror films, slashers are often the first thing that comes to mind. The sub-genres also spawned a wealth of horror icons: Freddy, Jason, Michael, Chucky - characters so recognisable we’re on first name terms with them. In many ways the slasher distills the genre down to some of its fundamental parts - fear, violence and murder.
Throughout September we were looking at slasher films, and therefore we decided to cover a slasher film that could be considered as an underrated gem in the horror genre. And the perfect film for this was Franck Khalfoun’s 2012 remake of MANIAC.
In the late seventies and early eighties, one man was considered the curator of all things gore in America. During the lovingly named splatter decade, Tom Savini worked on masterpieces of blood and viscera like Dawn of the Dead (1978), a film which gained the attention of hopeful director William Lustig, a man only known for making pornography before his step into horror.
Looking for some different slasher film recommendations? Then look no fruther as Ariel Powers-Schaub has 13 non-typical slasher horror films for you to watch.
Even though they are not to my personal liking, there is no denying that slasher films have been an important basis for the horror genre, and helped to build the foundations for other sub-genres throughout the years.
But some of the most terrifying horrors are those that take place entirely under the skin, where the mind is the location of the fear. Psychological horror has the power to unsettle by calling into question the basis of the self - one's own brain.
On Saturday, 17th June 2023, I sat down with two friends to watch The Human Centipede (First Sequence) (2009) and The Human Centipede 2 (Full Sequence) (2012). I was nervous to be grossed out (I can’t really handle the idea of eating shit) but excited to cross these two films off my list.
Many of the most effective horror films involve blurring the lines between waking life and a nightmare. When women in horror are emotionally and psychologically manipulated – whether by other people or more malicious supernatural forces – viewers are pulled into their inner worlds, often left with a chilling unease and the question of where reality ends and the horror begins.
Body horror is one of the fundamental pillars of the horror genre and crops up in some form or another in a huge variety of works. There's straightforward gore - the inherent horror of seeing the body mutilated, and also more nuanced fears.
In the sweaty summer of 1989, emerging like a monochrome migraine from the encroaching shadow of Japan’s economic crash, Shin’ya Tsukamoto’s Tetsuo: The Iron Man shocked and disgusted the (very few) audiences originally in attendance.
Whether it's the havoc wreaked on the human body during pregnancy, emotional turmoil producing tiny murderous humans or simply a body turning on its owner, body horror films tend to be shocking. But while they're full of grotesque imagery, they're also full of thoughtful premises and commentary, especially when it comes to women, trauma, and power.
EXPLORE
If you know me at all, you know that I love, as many people do, the work of Nic Cage. Live by the Cage, die by the Cage. So, when the opportunity to review this came up, I jumped at it.
When V/H/S first hit our screens in 2012, nobody could have foreseen that 11 years later we’d be on our sixth instalment (excluding the two spinoffs) of the series.
When someone is in a toxic relationship, it can affect more than just their heart and mind. Their bodies can weaken or change due to the continued stress and unhappiness that comes from the toxicity.
If you can’t count on your best friend to check your teeth and hands and stand vigil with you all night to make sure you don’t wolf out, who can you count on? And so begins our story on anything but an ordinary night in 1993…
The best thing about urban legends is the delicious thrill of the forbidden. Don’t say “Bloody Mary” in the mirror three times in a dark room unless you’re brave enough to summon her. Don’t flash your headlights at a car unless you want to have them drive you to your death.
A Wounded Fawn (Travis Stevens, 2022) celebrates both art history and female rage in this surreal take on the slasher genre.
Perpetrator opens with a girl walking alone in the dark. Her hair is long and loose just begging to be yanked back and her bright clothes—a blood red coat, in fact—is a literal matador’s cape for anything that lies beyond the beam of her phone screen.
Filmed on location in Scotland, Ryan Hendrick's new thriller Mercy Falls (2023) uses soaring views of the Scottish Highlands to show that the natural world can either provide shelter or be used as a demented playground for people to hurt each other.