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Why do we crave horror movies
Why do we crave horror movies
Why do we crave horror movies
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In the writing Why We Crave Horror by Stephen King he states several reason to why we crave to watch Horror in our life. In the movies Misery by Stephen King and The Doll directed by Dan Curtis, I will explore the reasons Why We Crave Horror written by King and confirm two of the points with examples from the movies. Additionally, I will explore the parallel relationship between the two movies. When watching the two movies, it is hard to decipher similarities initially. However if you dig into the content further you can pick out some likeness between them. For instance, the opening of the box with the doll in The Doll and the opening of the satchel in Misery both represent objects of obsession. Additionally, the door being locked in both movies symbolizes the desire for control of the situation. Another example is the use of knives as a primitive weapon, in the two movies, to try and free themselves from captivity. Finally, the roller coaster ride of emotions in the two movies. In The Doll, Amelia goes from happy when the movie starts and she is proud of the gift she has bought for her guy friend, to angry and sad after talking to her mother and canceling here date with her friend. In Misery, you find similar emotions from both of the main characters; Annie shows the most emotion when reading the manuscript Paul had with expresses gratitude for being rescued by Annie then to anger when he realizes he was being held captive. The text King has written states, many reasons as to why we crave horror. I plan to correlate his idea to, “show that we can, that we are not afraid, that we can ride the roller coaster”, to the emotional roller coaster of the two main characters (King1). In The Doll, Amelia starts the movie as a very happy ... ... middle of paper ... ...e on exploration. He lies in bed trying to perfect his actions when it is time to proceed with his plan. His second attempt would come later on after he has trained with his typewriter to strengthen himself. In the end it would be a fight to the death between both characters. In his writing King has come up with numerous reasons as to why we crave horror in society today. I have explored the movies The Doll and Misery to find examples towards what King has written in his text. These are only two out of hundreds of movies you could find examples in to confirm King’s statements. The correlation between King and the movies are very distinct. You have the “potential lyncher”, “the roller coaster ride” of emotions and the keen similarities between them all. In the end you could find many forms of evil to depict his statements and the craving of horror in our society.
The article Why We Crave Horror Movies by Stephen King distinguishes why we truly do crave horror movies. Stephen King goes into depth on the many reasons on why we, as humans, find horror movies intriguing and how we all have some sort of insanity within us. He does this by using different rhetorical techniques and appealing to the audience through ways such as experience, emotion and logic. Apart from that he also relates a numerous amount of aspects on why we crave horror movies to our lives. Throughout this essay I will be evaluating the authors arguments and points on why society finds horror movies so desirable and captivating.
King chooses to compare the minds of a child and an adult to see the different resilience levels when exposed to the horror genre. He describes his findings as a paradox, “Children, who are physically quite weak, lift the weight of unbelief with ease” (PP 118). King assumes because the mind of an adult is mature it can handle the horrific depictions within the horror variety yet children seem too be able to withstand the pressure. King backed his theory by analyzing Walt Disney’s movies and their impact on a child’s imagination. Walt Disney’s movie Bambi is what Stephen King pinpointed when comparing the toll of horrific events in children and adult minds. King questioned adults about what was most terrifying about a movie when they were younger and they stated, “Bambi’s father shot by the hunter, or Bambi and his mother running before the forest fire” (PP 119). Another aspect King unveiled was the Doppler Effect and that, “A part of ‘growing up’ is the fact that everything has a scare potential for the child under eight” (PP 119). The cognitive imagination does not stop developing it just suppresses certain mental functions to draw a line between what is real and what is not. Horror novelist mask the tension with comedy yet with one swift motion it, “Knocks the adult props out from under us and tumbles us back down the slide into childhood” (PP
Both Di Muzio (2006) and King (2007) make contradicting arguments towards the horror genre. Di Muzio (2006) provides a thought provoking piece regarding morality in horror films and provides his critique on the movie Texas Chainsaw Massacre. Whereas, King (2007) focuses his attention on the positives of the horror genre and ways it allows one to liberate from their sadistic thoughts, calling it as food “to keep the gators fed” in our psyche. (King, 2007, p. 458)
The Tell Tale Heart, written by Edgar Allan Poe, and Psycho, directed by Alfred Hitchcock were both formidable, revolutionary and horrifying creations to the audience’s of their times and to some extent, still are today. Hitchcock drew audiences in into his work by utilizing certain camera angles, mise-en-scene and diegetic and non-diegetic sounds. However, Edgar Allan Poe used a variety of literary techniques such as varying sentence structure, imagery and irony to draw his readers in. While these two masterpieces are unique in terms of content, both of them explore a prominent theme, fear.
The genre of horror films is one that is vast and continually growing. So many different elements have been known to appear in horror films that it is often times difficult to define what is explicitly a horror film and what is not. Due to this ambiguous definition of horror the genre is often times divided into subgenres. Each subgenre of horror has a more readily identifiable list of classifications that make it easier to cast a film to a subgenre, rather than the entire horror genre. One such subgenre that is particularly interesting is that of the stalker film. The stalker film can be categorized as a member of the horror genre in two ways. First, the stalker film can be identified within the horror genre due to its connection with the easily recognizable subgenre of horror, the slasher film. Though many elements of the stalker film differ from those of the slasher film, the use of non-mechanical weapons and obvious sexual plot points can be used to categorize the stalker film as a subgenre of the slasher film. Secondly, the stalker film can be considered a member of the horror genre using Robin Wood’s discussion regarding horror as that which society represses. The films Fatal Attraction, The Fan, and The Crush will be discussed in support of this argument. (Need some connector sentence here to finish out the intro)
Carroll, N. 1987. The Nature of Horror. The Journal of Aesthetics and Art Criticism, 46 (1), pp. 51-59. Available at: http://www.jstor.org/stable/431308 .
King owes his success to his ability to take what he says are “real fears” (The Stephen King Story, 47) and turn them into a horror story. When he says “real fears” they are things we have all thought of such as a monster under the bed or even a child kidnapping and he is making them a reality in his story. King looks at “horror fiction...as a metaphor” (46) for everything that goes wrong in our lives. His mind and writing seems to dwell in the depths of the American people’s fears and nightmares and this is what causes his writing to reach so many people and cause the terror he writes about to be instilled in his reader.
...y seek out and watch them. This behavior, in essence, is the “paradox of horror,” resulting in the generation of a number theories as to why people voluntarily choose to watch films that produce feelings of fear and disgust. Of the existing theories, the most refined are the psychoanalytical, fascination, and enjoyment theories. Upon further inspection however, the psychoanalytical and fascination theories are revealed to have several shortcomings when compared to the enjoyment theory, which presents itself as the most simple and straightforward theory by asserting that people seek out horror films because they like being scared. Furthermore, the enjoyment theory gains credibility as empirical evidence can be provided as to why an individual would enjoy being scared. Thus, enjoyment theory can be set apart as the most feasible theory of why some people like horror.
People are addicted to the synthetic feeling of being terrified. Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned.
We all have cravings, be it for snacks or sweets, there is always something we desire. We crave horror in the same way. In Stephen King’s essay, “Why We Crave Horror Movies,” he argues that people need to watch horror films in order to release the negative emotions within us. King believes that people feel enjoyment while watching others be terrorized or killed in horror movies. King’s argument has elements that are both agreeable and disagreeable. On one hand he is acceptable when claiming we like the thrill and excitement that comes from watching horror movies; however, his views regarding that the fun comes from seeing others suffer cannot be agreed with because the human condition is not as immoral as he claims it to be.
In our world today, scary movies are everywhere, people crave watching someone getting killed or watching someone who is possessed, I don’t get why people enjoy that ? It’s just not fun for me. I don 't “crave” watching those types of movies just as Stephen King said in his article.. I think it’s because since there is a variety of movies, we can choose other genres. maybe. Today I will be explaining the causes and effects of Comedy and Action movies.
Walking in the dark at night isn’t everyone’s favorite thing to do. Stories would always be told that anything could happen, and so for most people watching a scary movie it would always make them jump. Being alone while watching a movie is totally not fun, so most of the time its groups of people going to see scary movies together. I get that craving horror is a thing that we as humans do, but not all claims could be true for why we like it. In Stephen King’s essay “Why We Crave Horror” and it being part of the Human Condition to crave horror, I feel as if Stephen King is telling the truth in the claims of being “mentally ill,” us getting that “adrenaline rush” through horror, but he is wrong about when we watch horror that we’re “facing our
Ever since the advent of celluloid films, horror movies have always held a fascination for viewers. Just why do people pay good money to be scared out of their wits? Apart from its entertainment value, the horror movie satisfies certain primordial needs in man. Through the horror movies, one is able to come to grips with one's personal demons, fear of death and other irrational phobias and in the process achieve a catharsis. Far from being morbid, such movies actually affirm life for the movie-goer, for he is able to emerge from the dark into the light, both literally and figuratively, having explored the world beyond our normal perception as well as the deep recesses of the human soul and say, "It's good to be alive."
For as long as humans have communicated, they’ve written and listened to horror stories. Whether it’s the old Mexican folktale of “La Llorona,” or even Stephen King’s “IT,” of the cosmos of any genre of tales, horrifying stories have been one of the most successful of all time. Why? The characters within these works often transform into better people by the end of the story, grasping the need for change in all those who watch it. Characters often face horror throughout their development in a narrative. These experiences often change the mentality of these characters, transforming them into “new” people. In works such as “The Cask of Amontillado,” by Edgar Allan Poe, “The Birds,” by Alfred Hitchcock, and “Why we crave horror movies,” by Stephen
The horror film as a genre is distinctly defined by its recurring elements such as ghosts and bloody violence and by its attitudes toward those elements. One popular example of a recurring element is monsters in horror films that act as material to differentiate horror films from other genres. For example, what appears to distinguish the horror story from fairy tales is the attitude of characters in the story to the monsters they chance upon. In fairy tales, monsters are part of the everyday furniture of the universe. Beasts, basilisks, and dragons are bothersome and fearful creatures in the world of myths, but they are not unnatural: they can be accommodated by the order of nature that produced them such as one of the beloved fairy tales, Beauty and the Beast, that describes the love between a monster and a young woman. However in the works of horror, “humans regard the monsters that they encounter as abnormal, as disturbances of the natural order”. (Nature of Horror, Carroll, 52). Monsters go against the norms of property of positive human characters in the story; and subsequently, in examples of horror, it would appear that the monster is an extraordinary character in our ordinary world, whereas in fairy tales and the like, the monster is an ordinary character in an extraordinary world. According to Freud, "we adapt our judgment to the imaginary reality imposed on us by the writer." (Freud, ) This concept applies to works of film, as well. In the animistic worlds depicted in fantasy cinema, there is nothing uncanny or otherwise horrifying about the reconfirmation of infantile beliefs in the omnipotence of thought and the prompt fulfillment of wishes; according to Freud, this is because most of us are well aware of the fact th...