According to Douglas Winter, in his 1982 anthology Prime Evil “Horror is not a genre, like a mystery or science fiction or the western. It is not a kind of fiction, meant to be confined to the ghetto of a special shelf in libraries or bookstores. Horror is an emotion”.
Stephen King once said “We make up horrors to help us cope with the real ones”.
Perhaps fictional horror provides us with a relatively safe space to inhabit the fear (without the genuine threat) of real horror.
The horror genre essentially revolves around the questions of “What is human?” versus “What is inhuman?”
I heard screenwriting guru John Truby give a talk about genre a number of years ago in London. His view was that horror generally comes from something inhuman trying to act like a human being. The monster is the hero’s greatest fear made physical.
And the best horror stories often tend to involve a “flip” of what is human and what is inhuman, so that somewhere in the story the monster becomes the hero and the hero becomes the monster to fully mine the idea. (For example, Frankenstein).
Horror is also a very metaphorical form and horror archetypes stem from different fears.
Werewolves and vampires stem from the “fear of the animal” – the fear of animal passion and the loss of control. (This genre is all the more popular in a repressive world. Could that, perhaps, have some connection to that fact that a devout Mormon ended up writing a best selling vampire book series?).
A scene from “Bram Stoker’s Dracula” (1992)
Zombies, on the other hand, represent a “fear of the machine” horror – a fear of the loss of identity and individuality.
A scene from the “Resident Evil” computer game
These archetypes never really seem to go away, but rather undergo periodic reinvention and surges in popularity according to the relevant societal context.
For me the best horror film ever made is “Jaws“, the story of a giant man-eating shark which terrorises a (fictional) summer resort town called Amity, in New England. I first watched it on video (back in the dark ages, obviously), as a twelve year old, one Saturday afternoon.
It scared the living crap out of me, but I still thought afterwards that it was probably the best film I had ever seen.
When Jaws came out in 1975 it scared the living crap out of a lot of other people as well, and was a massive hit. It also cemented the idea in public consciousness of sharks as monsters lurking in the ocean, waiting to devour us – an idea that is still taking much effort to change.
The film taps into a strong preexisting primal fear – the horrifying fear of a very real animal which has the power to shred a human body or swallow them whole. Even with the knowledge that shark attacks are incredibly rare, and much less commonly fatal, the nature of a shark attack can provoke a lot of fear in most of us.
One thing Jaws exploits very well is the fear of the unknown, or the unseen. Often what we imagine can be more terrifying than what we see and director Steven Spielberg tapped into this fear by denying his audience any clear visual of the shark – especially not in its entirety – until late in the film. The use of music (that iconic theme by John Williams whenever the shark is around) and objects being moved by the shark through the water (e.g barrels that Clint, Hooper and Brody attach to hunt/kill it in the second half of the film) are used instead to let the audience know that the shark is lurking and present.
In part, this could be an example of what Sidney Lumet meant when he said “For any director with a little lucidity, masterpieces are films that come to you by accident”.
A short film about the infamously problematic mechanical shark in Jaws, called “The Shark that Didn’t Work”.
A highly unreliable mechanical shark – which was often out of action, and already forcing the film well over budget – made it necessary to shoot in ways where the shark in the story was only hinted at.
Another gift the mechanical shark’s perpetual failure gave to the film was time and focus invested into strong naturalistic performances. As Spielberg put it “The more fake the shark looked in the water, the more my anxiety told me to heighten the naturalism of the performances.”
Clint’s famous speech about the SS Indianapolis in a scene from Jaws.
Often in horror films the characters and relationships are highly reduced because the hero/es spend/s so much time running away from or fighting against the monster.
One of the things that truly sets Jaws apart from most other horror films is the naturalistic responses and moments of touching believable humanity in its characters.
Brody’s famous “You’re going to need a bigger boat” moment in a scene from Jaws.
In my opinion this is still a film, especially a horror film , that comes closer to answering the question of “What is human?” than many others.
As Peter Biskind wrote in ‘Between the Teeth’ in Jump Cut: A Review of Contemporary Media No. 9 (1975) “Jaws flatters us by holding out the promise that such triumph over unspeakable terror is within the reach of us all”.