A horror film is a film dominated by elements of horror. This film genre incorporates a number of sub-genres and repeated themes, such as slasher themes, vampire themes, zombie themes, demonic possession, alien mind control, evil children, cannibalism, werewolves, animals attacking humans, haunted houses, etc. The horror film genre is often associated with low budgets and exploitation, but major studios and well-respected directors have made intermittent forays into the genre. Some horror films exhibit a substantial amount of cross-over with other genres, particularly science fiction.
It was in the early 1930s that American movie studios, particularly Universal Studios, created the modern horror film genre, bringing to the screen a series of successful gothic-steeped features including Dracula, Frankenstein (both 1931), and The Mummy (1932) (all of which spawned numerous sequels). These films, while designed to thrill, also incorporated more serious elements, and were influenced by the Freudian concepts that were gaining currency at the time. Actors, notably Boris Karloff, began to build careers around the genre.
In the nuclear-charged atmosphere of the 1950s the tone of horror films shifted away from the gothic and towards the modern. A seemingly endless parade of low-budget productions featured humanity overcoming threats from Outside: alien invasions, and deadly mutations to people, plants, and insects. During this time the horror and sci-fi genres were often interchangeable. These films provided ample opportunity for audience exploitation, with gimmicks such as 3-D and "Percepto" (producer William Castle's electric-shock technique used for 1957's The Tingler) drawing audiences in week after week for bigger and better scares. The better horror films of this period, including Howard Hawks' The Thing From Another World (1951) and Don Siegel's Invasion of the Body Snatchers managed to channel the paranoia of the Cold War into atmospheric creepiness without resorting to exploitation. Filmmakers would continue to merge elements of science fiction and horror, notably in Ridley Scott's Alien (1979).
The late 1950s and early 1960s saw the rise of studios centered specifically around horror. Perhaps most notably were British production company Hammer Films, which specialized in bloody remakes of classic horror stories often starring Peter Cushing and Christopher Lee, and American International Pictures (AIP), which made a series of Edgar Allan Poe themed films starring Vincent Price. These sometimes-controversial productions paved the way for more explicit violence in both horror and mainstream films.
It was during the seventies that horror author Stephen King first came on the film scene. Adaptations of virtually all of his books have made the screen, beginning with Brian DePalma's adaptation of King's first published novel, Carrie 1976). The 1980's got off with a bang when Stanley Kubrick, one of the most highly-regarded film directors of all time, released The Shining, another Stephen King adaptation combining elements of art film, psychological thriller, and splatter movie.
In 1978, the prototypical slasher movie, John Carpenter's Halloween, debuted to great popular success. An effective and atmospheric shocker, Halloween introduced the teens-threatened-by-superhuman-evil theme that would be copied in dozens of lesser, increasingly violent movies throughout the 1980s including the long-running Friday the 13th and A Nightmare on Elm Street series, as well as
several, often far-flung, sequels to Halloween itself.
George Romero's groundbreaking zombie series spawned three decades: Romero introduced the modern zombie drama in 1968 with the low-budget shocker Night of the Living Dead; he later took advantage of the '70s horror-film boom to create a sequel, Dawn of the Dead (1978) and revisited the formula in 1985 with Day of the Dead. The themes of mass conformity and racism were staples of each film.
Of popular recent horror films, only 1999's surprise independent hit The Blair Witch Project attempted straight-ahead scares, and then in the ironic context of a mock documentary.
