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Horror films seek to elicit a negative emotional reaction from viewers by playing on the audience's most primal fears.
The term "horror movie" first appears in the writings of critics and film industry commentators in response to the release of Universal's Dracula (1931) and Frankenstein (1931),[2] but has since been applied in retrospect to similar films from the late 19th and early 20th centuries.
Plots written within the horror genre often involve the intrusion of an evil force, event, or personage, commonly of supernatural origin, into the everyday world. The early 20th century brought more milestones for the horror genre including the first monster to appear in a full-length horror film, Quasimodo, the hunchback of Notre-Dame who had appeared in Victor Hugo's novel, "Notre-Dame de Paris" (published in 1831). Many of the earliest feature length 'horror films' were created by German film makers in 1910s and 1920s, during the era of German Expressionist films.
Early Hollywood dramas dabbled in horror themes, including versions of The Hunchback of Notre Dame (1923) and The Monster (1925) both starring Lon Chaney, Sr., the first American horror movie star. It was in the early 1930s that American film producers, particularly Universal Pictures Co.
Universal's horror films continued into the 1940s with The Wolf Man 1941, not the first werewolf film, but certainly the most influential. With advances in technology that occurred in the 1950s, the tone of horror films shifted from the gothic toward concerns that some saw as being more relevant to the late-Century audience. A stream of low-budget productions featured humanity overcoming threats from "outside": alien invasions and deadly mutations to people, plants, and insects, most notably in films imported from Japan, whose society had first-hand knowledge of the effects of nuclear radiation. In some cases, when Hollywood co-opted the popularity of the horror film, the directors and producers found ample opportunity for audience exploitation, with gimmicks such as 3-D and "Percepto" (producer William Castle's pseudo-electric-shock technique used for 1959's The Tingler). Filmmakers continued to merge elements of science fiction and horror over the following decades. During the late 1950s and early 1960s, production companies focused on producing horror films, including the British company Hammer Film Productions.
Other companies also contributed to a boom in horror film production in Britain in the 1960s and 1970s, including Tigon-British and Amicus, the latter best known for their anthology films like Dr. American International Pictures (AIP) also made a series of Edgar Allan Poe–themed films produced by Roger Corman and starring Vincent Price.
Ghosts and monsters still remained popular, but many films used the supernatural premise to express the horror of the demonic.
Hitchcock's The Birds (1963) has a more modern backdrop; its menace stems from nature gone mad, and the film is one of the first American examples of the horror-of-Armageddon sub-genre. The end of the Production Code of America in 1964, the financial successes of the low-budget gore films of the ensuing years, and the critical and popular success of Rosemary's Baby (1968), led to the release of more films with occult themes in the 1970s, such as The Exorcist (1973), and scores of other horror films in which the Devil represented the supernatural evil, often by impregnating women or possessing children. Another example is The Sentinel (1977 film), in which a fashion model discovers her new brownstone residence may actually be a portal to Hell. The ideas of the 1960s began to influence horror films, as the youth involved in the counterculture began exploring the medium. Also in the 1970s, horror author Stephen King debuted on the film scene as many of his books were adapted for the screen, beginning with Brian De Palma's adaptation of King's first published novel, Carrie (1976), which was nominated for Academy Awards. 1979's Alien combined the naturalistic acting and graphic violence of the 1970s with the monster movie plots of earlier decades, and used science fiction. The 1980s saw a wave of gory "B-Movie" horror films- although most of them were panned by critics, many became "cult classics" and later saw success with critics.
New Nightmare, with In the Mouth of Madness (1995), The Dark Half (1993), and Candyman (1992), were part of a mini-movement of self-reflexive or metafictional horror films.
In 1994's Interview with the Vampire, the "Theatre de Vampires" (and the film itself, to some degree) invoked the Grand Guignol style, perhaps to further remove the undead performers from humanity, morality and class.
Two main problems pushed horror backward during this period: firstly, the horror genre wore itself out with the proliferation of nonstop slasher and gore films in the eighties.
To re-connect with its audience, horror became more self-mockingly ironic and outright parodic, especially in the latter half of the 1990s.
The start of the 2000s saw a quiet period for the genre.[18] The re-release of a restored version of The Exorcist in September 2000 was successful despite the film having been available on home video for years. There has been a major return to the zombie genre in horror movies made after 2000.[20][citation needed] The Resident Evil video game franchise was adapted into a film released in March 2002. Horror-Film — Der Horrorfilm ist ein Filmgenre, das beim Zuschauer Gefuhle der Angst, des Schreckens und Verstorung auszulosen versucht.


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They often feature scenes that startle the viewer through the means of macabre and the supernatural, thus frequently overlapping with the fantasy and science fiction genres. Horror films deal with the viewer's nightmares, hidden worst fears, revulsions and terror of the unknown.
Themes or elements often prevalent in typical horror films include ghosts, torture, gore, werewolves, ancient curses, satanism, demons, vicious animals, vampires, cannibals, haunted houses, zombies and serial killers.
Inc., popularized the horror film,[9] bringing to the screen a series of successful Gothic features including Dracula (1931) and Frankenstein (1931), some of which blended science fiction films with Gothic horror, such as James Whale's The Invisible Man (1933). Throughout the decade Universal also continued to produce more sequels in the Frankenstein series, as well as a number of films teaming up several of their monsters.
Some directors of horror films of this period, including The Thing from Another World (1951; attributed on screen to Christian Nyby but widely considered to be the work of Howard Hawks) and Don Siegel's Invasion of the Body Snatchers (1956) managed to channel the paranoia of the Cold War into atmospheric creepiness without resorting to direct exploitation of the events of the day. One of the most notable films of the era was 1957's The Incredible Shrinking Man, from Richard Matheson's existentialist novel. Hammer enjoyed huge international success from full-blooded technicolor films involving classic horror characters, often starring Peter Cushing and Christopher Lee, such as The Curse of Frankenstein (1957), Dracula (1958), and The Mummy (1959) and many sequels.
Some contend that these sometimes controversial productions paved the way for more explicit violence in both horror and mainstream films. The Innocents (Jack Clayton, 1961) and The Haunting (Robert Wise, 1963) are two such horror-of-the-demonic films from the early 1960s. Alice, Sweet Alice (1977), is another Catholic themed horror slasher about a little girl's murder and her sister being the prime suspect.
The movie includes seasoned actors such as Ava Gardner, Burgess Meredith and Eli Wallach and such future stars as Christopher Walken and Jeff Goldblum. Wes Craven's The Hills Have Eyes (1977) and Tobe Hooper's The Texas Chain Saw Massacre (1974)[15] recalled the Vietnam war; George A.
Next, was his third published novel, The Shining (1980), which was slow at the box office, but became more of a classic and an instant success.
The film kicked off a wave of killer animal stories such as Orca (1977), and Up from the Depths. The film was extremely successful at both box office and critical reception, being called "Jaws in space", and a landmark film for the science fiction genre. A notable example is Sam Raimi's Evil Dead movies, which were low-budget gorefests but had a very original plotline that was praised by critics later on. Sequels from the Child's Play (1988) and Leprechaun (1993) series enjoyed some commercial success.
Peter Jackson's Braindead (1992) (known as Dead Alive in the USA) took the splatter film to ridiculous excesses for comic effect.
A French horror film Brotherhood of the Wolf became the second-highest-grossing French-language film in the United States in the last two decades.
In addition to 2004's remake of Dawn of the Dead, as well as 2003's remake of both Herschell Gordon Lewis' cult classic 2001 Maniacs and the remake of Tobe Hooper's classic The Texas Chainsaw Massacre, there was also the 2007 Rob Zombie written and directed remake of John Carpenter's Halloween.[24] The film focused more on Michael's backstory than the original did, devoting the first half of the film to Michael's childhood. Besides, the studio has mentioned their marathon-style tournament of a specialized Survival of the Fittest mode, which featured some gameplay modifications and introduced the Dragon. Tod Browning, director of Dracula, also made the extremely controversial Freaks based on Spurs by Ted Robbins.
Hyde (Paramount, 1931) and Michael Curtiz's Mystery of the Wax Museum (Warner Brothers, 1933) were both important horror films. Also in that decade, Val Lewton would produce atmospheric B-pictures for RKO Pictures, including Cat People (1942), I Walked with a Zombie (1943) and The Body Snatcher (1945). While more of a "science-fiction" story, the film conveyed the fears of living in the "Atomic Age" and the terror of social alienation. Hammer, and director Terence Fisher, are widely acknowledged as pioneers of the modern horror movie. Teaming with Tigon British Film Productions, AIP would make Michael Reeves' Witchfinder General (1968). Produced and directed by Romero, on a budget of $114,000, it grossed $12 million domestically and $30 million internationally. Another popular Satanic horror movie was The Omen (1976), where a man realizes his five year old adopted son is the Antichrist. Jaws is often credited as being one of the first films to use traditionally B movie elements such as horror and mild gore in a big-budget Hollywood film. Other horror film examples include 1985's cult vampire classic Fright Night and 1987's The Lost Boys.


The slasher films A Nightmare on Elm Street, Friday the 13th, and Halloween all saw sequels in the 1990s, most of which met with varied amounts of success at the box office, but all were panned by fans and critics, with the exception of Wes Craven's New Nightmare (1994) and the hugely successful Silence of the Lambs (1991). Candyman, for example, examined the link between an invented urban legend and the realistic horror of the racism that produced its villain. Wes Craven's Scream (written by Kevin Williamson) movies, starting in 1996, featured teenagers who were fully aware of, and often made reference to, the history of horror movies, and mixed ironic humour with the shocks. The success of foreign language foreign films continued with the Swedish film Let the Right One In which was later the subject of a Hollywood remake, Let Me In. The British film 28 Days Later (2002) featured an update on the genre with The Return of the Living Dead (1985) style of aggressive zombie. It was critically panned by most,[25][26] but was a success in its theatrical run, spurring its own sequel. Caligari, with its Expressionist style, would influence film-makers from Orson Welles to Tim Burton and many more for decades.
Browning's film about a band of circus freaks was so controversial the studio burned about 30 minutes and disowned it.
Released in 1968, it was retitled for American audiences as The Conqueror Worm, most likely in an attempt to capitalize upon the success of AIP's earlier Poe-themed offerings, but the tale of witch hunter Matthew Hopkins (played by an uncharacteristically humorless Vincent Price) was more sadistic than supernatural.
This horror-of-Armageddon film about zombies was later deemed "culturally, historically or aesthetically significant" enough to be preserved by the United States National Film Registry. Invincible to human intervention, Satan became the villain in many horror films with a postmodern style and a dystopian worldview. This subgenre would be mined by dozens of increasingly violent movies throughout the subsequent decades, and Halloween became a successful independent film.
In the Mouth of Madness took a more literal approach, as its protagonist actually hopped from the real world into a novel created by the madman he was hired to track down. Along with I Know What You Did Last Summer (written by Kevin Williamson as well) and Urban Legend, they re-ignited the dormant slasher film genre.
Final Destination (2000) marked a successful revival of teen-centered horror and spawned five sequels. The more recent Swedish film Marianne (2011) shows that foreign language horror is an emerging trend.
This success lead to the remakes, or "reimaginings" of other popular horror franchises with films such as Friday the 13th,[27] A Nightmare on Elm Street (2010),[28] and Children of the Corn.[29] Other remakes include The Amityville Horror (2005), The Hills Have Eyes (2006), Black Christmas (2006), Prom Night (2008), The Wicker Man (2006), My Bloody Valentine (2009), The Wolfman (2010), and House of Wax (2005). These films, while designed to thrill, also incorporated more serious elements, and were influenced by the German expressionist films of the 1920s.
Although The Shining received no awards or award nominations, it is still called a classic and one of the scariest movies of all time.
Other notable '70s slasher films include Bob Clark's Black Christmas (1974), which was released before Halloween, and was another start of the sub-genre.
An updated remake of Dawn of the Dead (2004) soon appeared as well as the zombie comedy Shaun of the Dead (2004). Some actors began to build entire careers in such films, most notably Boris Karloff and Bela Lugosi.
King himself didn't like the film, because it was barely faithful to the 1977 best-seller novel. Films like Wrong Turn, Cabin Fever, House of 1000 Corpses, and the previous mentions helped bring the genre back to Restricted ratings in theaters. Many of the soon-to-be-iconic Universal monster character designs were created by make-up artist Jack Pierce.
A minimalist approach which was equal parts Val Lewton's theory of "less is more" (usually employing low-budget techniques seen on 1999's The Blair Witch Project) has been evident,[citation needed] particularly in the emergence of Asian horror movies which have been remade into successful Americanized versions, such as The Ring (2002), and The Grudge (2004). Stine's Spooky Social Media Takeover October 30, 2013 Netflix Announces Top Rated, Award-Winning Scholastic Television Shows now Available as Kids Go Back to School August 15, 2013 Trick or Read!
Joe 2: Retaliation and will soon begin shooting Ric Roman Waugh's DEA thriller Snitch, co-starring Susan Sarandon and The Walking Dead's Jon Bernthal. Scholastic Celebrates Twenty Terrifically Terrifying Years of Goosebumps & the Safe Scare October 1, 2012 Trick or Tweet! Stine Scares Boys and Girls, Just a Bit (August 2, 2012) Newsweek Goosebumps Creator R.L. A global megabrand, the Goosebumps television show airs on The Hub in the United States and is available for download on iTunes and streaming on Netflix.




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