Some people theorize (citation needed...) that the horror genre gives us an embodiment and outlet for our amorphous and repressed fears. There are corollaries about the rise of horror revenues during times of socioeconomic tumult and war. Horror, the theories go, allows us to release these emotions vicariously, in small doses, and within the safe confines of genre. Cinema has an arc, a structure, and most importantly a resolution. We do not have to explore our own psychological demons introspectively, without a net. Instead, we can sit back, blow off some steam and know that in 90 minutes all will be right in the world again. It grants catharsis and control to the conscious, and spear points to keep the darkest recesses of our minds at bay.
Bias warning: I personally am not a fan of the horror genre. I have a variety of personality traits that prevent me from getting much enjoyment horror movies. Mostly I prefer to be in control of as much as possible at all times. Perhaps I am just not able to let go of this, and thus the idea of impending doom actually creates more anxiety for me rather than releasing it. Regardless, my general ambivalence to the genre has prevented me from studying it too closely. However, the above theories are very intriguing to me as a filmmaker.
It seems there are hundreds, if not more, awful horror flicks made each year. Most of the movies made by my casual acquaintances and friends of friends are horror movies. These movies are poorly written and made, but never seem to lack for cast or crew, or strangely audience. Perhaps the genre itself is able to ignite enough passion to perpetuate itself, even in spite of the fact that so many works lack the quality that other films and filmmakers strive for.
If this is true, and also, if there is any merit to the theories of vicarious catharsis, horror might serve as a perfect case study for what indie filmmaking can achieve. Horror tackles deep psychological ailments of the masses. It has a built-in audience (though this is a characteristic of all genres), and it is able to inspire people to sweat the unglamorous parts of production with little to no hope of money or recognition. If a filmmaker were to explore complex and universal elements of the human psyche and to write and produce to pre-existing communities united by a common passion, they might be able to repackage the success of the horror genre to further their own unique point-of-view. I am not advocating using the horror genre as a veil for any theme that may inspire you. But, if you were to truly study why horror works and deconstruct it, you might be able to harness the potential that keeps Hollywood churning out slasher films. Further, the tumultuous times within which horror thrives, times like the one I am writing in, present ample opportunity for art to raise a voice. Whether by tackling political issues (Frost|Nixon, Good Night and Good Luck) or the precious and precarious balance of security and justice/freedom (Bourne Ultimatum, The Dark Knight), indie filmmakers can couple the unique contexts of their time and space with the lessons of the horror genre, and perhaps carve a place for themselves in the public consciousness.
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2 days ago
1 comment:
I hear what you're saying about the horror genre, both in terms of it as a model and in not getting much enjoyment out of it... but that aside... I hear, also, you saying that indie filmmakers can learn from that perhaps... but I feel lost on how, or, more specifically, on how whether or not a film is "indie" has anything to do with using the construct of how horror uses the human psyche as a vehicle for sales... In fact, in some ways that sounds more like a bent perfectly fit for Hollywood--using our own subconscious to drive us to their movies... dialog to follow, hopefully?
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