Universal Classic Monsters

Image © of Universal Pictures via Wikipedia

Ever since I was little I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them, ha ha.  That changed the older I got. 

When Halloween comes around you can be sure someone is wearing an Halloween costume that relates to one of the classic monsters mentioned below.

There will be more references to Universal Classic Monsters in the appropriate Decades sections and articles via the Horror index below.

Universal Classic Monsters

Universal Classic Monsters (also known as Universal Monsters and Universal Studios Monsters) is a media franchise based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s.  Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them have led the studio to market them under the collective brand name of Universal Studios Monsters.  Steve Jones of USA Today described Universal’s most famous monsters as pop culture icons, specifically Dracula, Frankenstein, The Mummy and The Wolf Man.

Universal Pictures image from the Internet Archive via Wikipedia and is in the public domain

Bela Lugosi as Dracula.

This is a screenshot from the Internet Archive of the classic 1931 film Dracula.  You can see the trailer it came from here

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as The Mummy.

This is a screenshot from the Internet Archive of the classic 1932 film The Mummy.  You can see the trailer it came from here

Universal Pictures image via IMDb

Boris Karloff as Frankenstein’s Monster.

Directed by James Whale.

You can see the trailer for the classic Frankenstein film from 1931 via The Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain

Lon Chaney Jnr. as The Wolf Man.

This promotional photo is from the classic1941 film The Wolf Man.

You can see the trailer for The Wolf Man via The Internet Archive here.

See more photos and relevant information further down below.

Universal Monsters Films 

For an extensive list of Universal Monsters Films click here.

Universal Monsters Films Free To Watch

Below are just some of the great Universal Monsters films for you to enjoy.

They are not all classic films to me but if I have watched one and I think it is I will say so.

The Phantom Of The Opera 1925 Silent Film In Full

Watch the classic 1925 silent film The Phantom Of The Opera starring Lon Chaney via The Internet Archive here.

See information about this classic film further down at the top of the page.

Dracula 1931 In Full

Watch the classic 1931 film Dracula starring Bela Lugosi via The Internet Archive here.

See information about this classic film at the top of the page.

Frankenstein 1931 In Full

Watch the classic 1931 film Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Mummy 1932 In Full

Watch the classic 1932 film The Mummy starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Invisible Man 1933 In Full

Watch the classic 1933 film The Invisible Man starring Claude Rains via The Internet Archive here.

See information about this classic film further down at the bottom of the page.

The Bride Of Frankenstein 1935 In Full

Watch the 1935 film The Bride Of Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this film further down at the bottom of the page.

Frankenstein Meets The Wolf Man 1942 In Full

Watch the 1942 film Frankenstein Meets The Wolf Man starring Boris Karloff and Lon Chaney Jnr via The Internet Archive here.

See information about this film further down at the bottom of the page.

Universal Classic Monsters Home Video 

Image © of Universal Pictures via Wikipedia

Universal Classic Monsters logo.

This is the official franchise logo as displayed on home video releases

Louis Feola was the head of Worldwide Home Video for Universal Studios and said in 1999 that “a couple of years ago” he decided to “reinvigorate and re-market” Universal’s Classic Monsters catalogue which included the series Dracula, Frankenstein, The Invisible Man, The Phantom of the Opera, The Wolf Man, and The Mummy.  In 1992, in an interview with Billboard, Feola stated that to market and sell home video, the most important thing was the packaging of their sales which was “probably our single biggest priority and has been for a number of years”, and that it was key to make the series of films “look like a line”.

In 1995, MCA/Universal released a collection of the film on home video under the title The Universal Studios Monsters Classic Collection.  This series included Frankenstein, Dracula, The Mummy, The Invisible Man, and The Creature From the Black Lagoon series.  A collection of stamps featuring Universal Classic Monsters was also released in September 1997 titled the Universal Classic Movie Monsters series.  Other characters included in the series included the Mummy and Frankenstein’s monster, both played by Boris Karloff), the Phantom of the Opera played by Lon Chaney and the Wolf Man played by Lon Chaney Jnr.

Universal Classic Monsters Merchandising

After the Universal horror films were syndicated to television, this led to a rise in the popularity of merchandise based on Frankenstein’s monster and Dracula.  Throughout the 1960s and into the 1970s, the Universal monsters were promoted via merchandising which included: Halloween costumes, Aurora model kits, paperback novelizations, makeup how-to manuals, T-shirt iron-ons, posters, trading cards, and more.  Since 1991, Halloween Horror Nights at Universal Parks & Resorts have featured characters from the Universal Classic Monsters franchise.  From 2006 to 2014, the characters also appeared in the year-round walk-through attraction, Universal’s House of Horrors, at Universal Studios Hollywood.  The franchise is also the central theme of Universal’s Horror Make-Up Show.  The live show opened in 1990 at Universal Studios Florida and is still in operation.  Merchandising of the characters in formats such as clothing and board games has continued into the 21st century.

Universal Monsters Comics

Dark Horse Comics

You can read more about Dark Horse Comics here

Dark Horse Comics released comic adaptions of several of the films, featuring four one-shots and one collected edition, in 1993 and 2006, respectively.  

You can see which comics Dark Horse Comics produced here.

Skybound Entertainment 

You can read more about Skybound Entertainment here.

Skybound Entertainment, an Image Comics company, will publish a new series of Universal Monsters comic books.

You can read more about Image Comics here.

You can see which comics Skybound Entertainment produced here.

Universal Monsters Photos

Below are just some of the great Universal Monsters films photos for you to enjoy.  They are not all classic films to me but if I have watched one and I  think it is I will say so.

Universal Pictures image via IMDb

Lon Chaney as The Phantom Of The Opera.

This photo is from the classic 1925 silent film The Phantom Of The Opera.  

You can see the trailer for The Phantom Of The Opera via the Internet Archive here.

Universal Pictures image by unknown via Wikipedia and is the public domain

The Phantom Of The Opera 1925 film poster.

Universal Pictures image by unknown via Wikipedia and is the public domain

Dracula 1931 film poster.

See information about this classic film at the top of the page.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

Frankenstein 1931 film poster.

See information about this classic film at the top of the page.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This is a very cool Universal Classic Monsters mask I purchased for Halloween 2023.  It is officially licenced by Universal Studios and made for Trick Or Treat StudiosIt is, to date, the favourite mask I have in my mask collection and what I have worn for Halloween parties.  To see me in this and many more masks click here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Mummy 1932 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Claude Rains as The Invisible Man.

This photo is from the classic 1933 film The Invisible Man

Directed by James Whale.

You can see the trailer for The Invisible Man via YouTube here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Invisible Man 1933 film poster.

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as Frankenstein’s Monster.

This promotional photo is from the 1935 film The Bride of Frankenstein.

Directed by James Whale.

You can see the trailer for The Bride Of Frankenstein via the Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain
Image © of Universal Pictures via Wikipedia

The Wolf Man 1942 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Nelson Eddy as The Phantom Of The Opera.

This photo is from the 1943 film Phantom Of The Opera

You can see the trailer for Phantom Of The Opera via YouTube here.

Universal Pictures via Wikipedia and is the public domain

Phantom Of The Opera 1943 film poster.

Universal Pictures via Wikipedia and is the public domain

Creature From The Black Lagoon 1945 film poster.

Universal Pictures via IMDb

Ben Chapman as The Creature From The Black Lagoon. 

There were two men playing the creature in the film, Ricou Browning in the water and Ben Chapman out of the water (shown here).  None of them were credited which was unfair in my opinion considering they were both playing the actual monster in the film title and for that reason, I have rightly acknowledged them both here.

This photo is from the 1954 film Creature From The Black Lagoon

You can see the trailer for Creature From The Black Lagoon via the Internet Archive here.

You can see references and sources to the above articles here.  The above was sourced from a page on Wikipedia and is subject to change. 

Blog Posts

Links

Universal Pictures – Official website.  The image shown at the top of this page, and elsewhere, of the Universal Classic Monsters logo is the copyright of Universal Pictures and was taken from Wikipedia.

The image above of Bela Lugosi as Dracula is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as The Mummy is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as Frankenstein’s Monster is via Wikipedia and in the public domain.

The image above of Lon Chaney Jnr. as The Wolf Man is via Wikipedia.

The image above of Lon Chaney as The Phantom Of The Opera is via IMDb.

The image above of  The Phantom Of The Opera 1925 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Dracula 1931 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Frankenstein 1931 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The Frankenstein mask photos above are copyright of Universal via Universal Studios and Trick Or Treat Studios.

The image above of The Mummy 1932 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Claude Rains as The Invisible Man is from IMDb.

The image above of The Invisible Man 1933 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Frankenstein’s monster is via Wikipedia and in the public domain.

The image above of The Bride Of Frankenstein 1935 film poster is via Wikipedia and in the public domain.

The image above of The Wolf Man 1942 film poster by unknown is via Wikipedia.

The image above of Nelson Eddy as The Phantom Of The Opera is via IMDb.

The image above of Phantom Of The Opera 1943 film poster by inknown is via Wikipedia and in the public domain.

IMDb on Facebook.

IMDb on Twitter.

IMDb on YouTube.

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information. 

Horror

Image © of Alexa_Fotos via Pixabay

What is there not to like about horror? It is an escapism from the real world and so damn cool.  I love so much about it.  This page concentrates on the Horror genre and anything I post about that can be seen in Blog Posts below.

I have been a fan of Horror, particularly Horror films since I was little.  I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them., ha ha.  That changed the older I got. 

If you mention anything to do with horror then it is inevitable Halloween is mentioned. 

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha. 

About Horror 

Horror is a genre of fiction that is intended to disturb, frighten or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction.  Literary historian J. A. Cuddon, in 1984, defined the horror story as “a piece of fiction in prose of variable length… which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing”.  Horror intends to create an eerie and frightening atmosphere for the reader.  Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.

Prevalent elements include ghosts, demons, vampires, monsters, zombies, werewolves, the Devil, serial killers, extraterrestrial life, killer toys, psychopaths, gore, torture, evil clowns, cults, cannibalism, vicious animals, the apocalypse, evil witches, dystopia and man-made or natural disasters. 

Image by Gustave Dore via wikipedia and is in the public domain

The Raven by Gustave Dore.

This is an illustration of the 1884 edition of Edgar Allan Poe’s The Raven.  It is referring to the illustration “Doubting, dreaming dreams no mortal ever dared to dream before.”

The History Of Horror 

Before 1000

The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.  These manifested in stories of beings such as demons, witches, vampires, werewolves and ghosts.  European horror fiction became established through the works of the Ancient Greeks and Ancient Romans.  Mary Shelley’s well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death.  Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus.  In Plutarch’s The Lives of the Noble Grecians and Romans in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea.

Pliny the Younger (61 to circa 113) tells the tale of Athenodorus Cananites, who bought a haunted house in Athens.  Athenodorus was cautious since the house seemed inexpensive.  While writing a book on philosophy, he was visited by a ghostly figure bound in chains.  The figure disappeared in the courtyard and the following day, the magistrates dug in the courtyard and found an unmarked grave.

Elements of the horror genre also occur in Biblical texts, notably in the Book of Revelation.

After 1000

The Witch of Berkeley by William of Malmesbury has been viewed as an early horror story.  Werewolf stories were popular in medieval French literature. One of Marie de France’s twelve lais is a werewolf story titled Bisclavret.

The Countess Yolande commissioned a werewolf story titled Guillaume de Palerme.  Anonymous writers penned two werewolf stories, Biclarel and Melion.

Much horror fiction derives from the cruellest personages of the 15th century.  Dracula can be traced to the Prince of Wallachia Vlad III, whose alleged war crimes were published in German pamphlets.  A 1499 pamphlet was published by Markus Ayrer, which is most notable for its woodcut imagery.  The alleged serial killer sprees of Gilles de Rais have been seen as the inspiration for Bluebeard.  The motif of the vampiress is most notably derived from the real-life noblewoman and murderer, Elizabeth Bathory, and helped usher in the emergence of horror fiction in the 18th century, such as through Laszlo Turoczi’s 1729 book Tragica Historia.

Image by unknown via wikipedia and is in the public domain

Vlad The Impaler.

This is a portrait of Vlad Tzepesh (Vlad III).  He was the inspiration for Count Dracula.  Tzepesh ruled from 1455 – 1462 and 1483 – 1496.

18th Century

The 18th century saw the gradual development of Romanticism and the Gothic horror genre.  It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole’s seminal and controversial 1764 novel, The Castle of Otranto.  In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator.  Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste but it proved immediately popular.  Otranto inspired Vathek (1786) by William Beckford, A Sicilian Romance (1790), The Mysteries of Udolpho (1794) and The Italian (1796) by Ann Radcliffe and The Monk (1797) by Matthew LewisA significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.

Image by Joshua Reynolds via wikipedia and is in the public domain

Horace Walpole by Joshua Reynolds.

Image by Henry Justice Ford via wikipedia and is in the public domain

Athenodorus by Henry Justice Ford.

Here Athenodorus confronts the Spectre.  It is from The Strange Story Book by Leonora Blanche Lang and Andrew Lang.

19th Century

The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century.  Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm’s Hansel and Gretel (1812), Mary Shelley’s Frankenstein (1818), John Polidori’s The Vampyre (1819), Charles Maturin’s Melmoth the Wanderer (1820), Washington Irving’s The Legend of Sleepy Hollow (1820), Jane C. Loudon’s The Mummy!: Or a Tale of the Twenty-Second Century (1827), Victor Hugo’s The Hunchback of Notre Dame (1831), Thomas Peckett Prest’s Varney the Vampire (1847), the works of Edgar Allan Poe, the works of Sheridan Le Fanu, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde’s The Picture of Dorian Gray (1890), H. G. Wells’ The Invisible Man (1897), and Bram Stoker’s Dracula (1897).  Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage and screen.

Image by Richard Rothwell via wikipedia and is in the public domain

Mary Shelley By Richard Rothwell.

20th Century

A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing.  For example, Gaston Leroux serialised his Le Fantome de l’Opera (The Phantom Of The Opera) before it became a novel in 1910.   One writer who specialised in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty.  In Russia, the writer Alexander Belyaev popularised these themes in his story Professor Dowell’s Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue, and which was first published as a magazine serial before being turned into a novel.  Later, specialist publications emerged to give horror writers an outlet, prominent among them were Weird Tales and Unknown Worlds.

Influential horror writers of the early 20th century made inroads into these mediums.  Particularly, the venerated horror author H. P. Lovecraft, and his enduring Cthulhu Mythos transformed and popularised the genre of cosmic horror, and M. R. James is credited with redefining the ghost story in that era.

The serial murderer became a recurring theme.  Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon.  The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein.  In 1959, Robert Bloch, inspired by the murders, wrote Psycho.  The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970’s.  In 1981, Thomas Harris wrote Red Dragon, introducing Dr. Hannibal Lecter.  In 1988, the sequel to that novel, The Silence of the Lambs, was published.

Early cinema was inspired by many aspects of horror literature and started a strong tradition of horror films and subgenres that continues to this day.  Up until the graphic depictions of violence and gore on the screen commonly associated with 1960’s and 1970’s slasher films and splatter films, comic books such as those published by EC Comics (most notably Tales From The Crypt) in the 1950’s satisfied readers’ quests for horror imagery that the silver screen could not provide.  This imagery made these comics controversial, and as a consequence, they were frequently censored.

The modern zombie tale dealing with the motif of the living dead harks back to works including H. P. Lovecraft’s stories Cool Air (1925), In The Vault (1926), and The Outsider (1926), and Dennis Wheatley’s Strange Conflict (1941).  Richard Matheson’s novel I Am Legend (1954) influenced an entire genre of apocalyptic zombie fiction emblematized by the films of George A. Romero.

In the late 1960’s and early 1970’s, the enormous commercial success of three books – Rosemary’s Baby (1967) by Ira Levin, The Exorcist by William Peter Blatty, and The Other by Thomas Tryon encouraged publishers to begin releasing numerous other horror novels, thus creating a horror boom.

One of the best-known late-20th-century horror writers is Stephen King, known for Carrie, The Shining, It, Misery and several dozen other novels and about 200 short stories.  Beginning in the 1970’s, King’s stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003.  Other popular horror authors of the period included Anne Rice, Brian Lumley, Graham Masterton, James Herbert, Dean Koontz, Richard Laymon, Clive Barker, Ramsey Campbell, and Peter Straub.

Image © Pinguino Kolb via Wikipedia

Stephen King.

This photo of King was taken at the 2007 New York Comicon in America.

21st Century

Best-selling book series of contemporary times exist in genres related to horror fiction, such as the werewolf fiction urban fantasy Kitty Norville books by Carrie Vaughn (2005 onward).  Horror elements continue to expand outside the genre.  The alternate history of more traditional historical horror in Dan Simmons’s 2007 novel The Terror sits on bookstore shelves next to genre mash-ups such as Pride and Prejudice and Zombies (2009), and historical fantasy and horror comics such as Hellblazer (1993 onward) and Mike Mignola’s Hellboy (1993 onward).  Horror also serves as one of the central genres in more complex modern works such as Mark Z. Danielewski’s House of Leaves (2000), a finalist for the National Book Award.  There are many horror novels for children and teens, such as R. L. Stine’s Goosebumps series or The Monstrumologist by Rick Yancey.  Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions, for example, ParaNorman. These are what can be collectively referred to as children’s horror.  Although it is unknown for sure why children enjoy these movies (as it seems counter-intuitive), it is theorised that it is, in part, grotesque monsters that fascinate kids.  Tangential to this, the internalised impact of horror television programs and films on children is rather under-researched, especially when compared to the research done on the similar subject of violence in TV and film’s impact on the young mind.  What little research there is tends to be inconclusive on the impact that viewing such media has.

Related Genres

Horror Characteristics

One defining trait of the horror genre is that it provokes an emotional, psychological, or physical response within readers that causes them to react with fear.  One of H. P. Lovecraft’s most famous quotes about the genre is “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”.  This is the first sentence from his seminal essay, Supernatural Horror in Literature.  Science fiction historian Darrell Schweitzer has stated, “In the simplest sense, a horror story is one that scares us” and “the true horror story requires a sense of evil, not in necessarily in a theological sense, but the menaces must be truly menacing, life-destroying, and antithetical to happiness.”

In her essay Elements of Aversion, Elizabeth Barrette articulates the need by some for horror tales in a modern world.  She says, “The old fight or flight reaction of our evolutionary heritage once played a major role in the life of every human.  Our ancestors lived and died by it.  Then someone invented the fascinating game of civilization, and things began to calm down. Development pushed wilderness back from settled lands.  War, crime, and other forms of social violence came with civilization and humans started preying on each other, but by and large daily life calmed down.  We began to feel restless, to feel something missing, the excitement of living on the edge, the tension between hunter and hunted.  So we told each other stories through the long, dark nights. when the fires burned low, we did our best to scare the daylights out of each other.  The rush of adrenaline feels good.  Our hearts pound, our breath quickens, and we can imagine ourselves on the edge.  Yet we also appreciate the insightful aspects of horror. Sometimes a story intends to shock and disgust, but the best horror intends to rattle our cages and shake us out of our complacency.  It makes us think, forces us to confront ideas we might rather ignore, and challenges preconceptions of all kinds.  Horror reminds us that the world is not always as safe as it seems, which exercises our mental muscles and reminds us to keep a little healthy caution close at hand.”

In a sense similar to the reason a person seeks out the controlled thrill of a roller coaster, readers in the modern era seek out feelings of horror and terror to feel a sense of excitement.  However, Barrette adds that horror fiction is one of the few mediums where readers seek out a form of art that forces themselves to confront ideas and images they “might rather ignore to challenge preconceptions of all kinds.”

One can see the confrontation of ideas that readers and characters would rather ignore throughout literature in famous moments such as Hamlet’s musings about the skull of Yorick, its implications of the mortality of humanity, and the gruesome end that bodies inevitably come to.  In horror fiction, the confrontation with the gruesome is often a metaphor for the problems facing the current generation of the author.

There are many theories as to why people enjoy being scared. For example, people who like horror films are more likely to score highly for openness to experience, a personality trait linked to intellect and imagination.

It is a now commonly accepted view that the horror elements of Dracula’s portrayal of vampirism are metaphors for sexuality in a repressed Victorian era.  But this is merely one of many interpretations of the metaphor of Dracula.  Jack Halberstam postulates many of these in his essay Technologies of Monstrosity: Bram Stoker’s Dracula.  He writes, “[The] image of dusty and unused gold, coins from many nations and old unworn jewels, immediately connects Dracula to the old money of a corrupt class, to a kind of piracy of nations and to the worst excesses of the aristocracy.”

Halberstram articulates a view of Dracula as manifesting the growing perception of the aristocracy as an evil and outdated notion to be defeated.  The depiction of a multinational band of protagonists using the latest technologies (such as a telegraph) to quickly share, collate, and act upon new information is what leads to the destruction of the vampire.  This is one of many interpretations of the metaphor of only one central figure of the canon of horror fiction, as over a dozen possible metaphors are referenced in the analysis, from the religious to the antisemitic.

Noel Carroll’s Philosophy of Horror postulates that a modern piece of horror fiction’s monster, villain, or a more inclusive menace must exhibit the following two traits which is a menace that is threatening (either physically, psychologically, socially, morally, spiritually, or some combination of the aforementioned) and a menace that is impure (that violates the generally accepted schemes of cultural categorisation.  

Image by John Tenniel via Wikipedia and is in the public domain

The Irish Frankenstein by John Tenniel.

This illustration is from an 1882 issue of Punch and is anti-Irish propaganda.  Tenniel conceives the Irish Fenian movement as akin to Frankenstein’s monster, in the wake of the Phoenix Park killings.  Menacing villains and monsters in horror literature can often be seen as metaphors for the fears incarnate of a society.

Scholarship And Criticism

In addition to those essays and articles shown above, scholarship on horror fiction is almost as old as horror fiction itself.  In 1826, the gothic novelist Ann Radcliffe published an essay distinguishing two elements of horror fiction, terror and horror.  Whereas terror is a feeling of dread that takes place before an event happens, horror is a feeling of revulsion or disgust after an event has happened.  Radcliffe describes terror as that which expands the soul and awakens the faculties to a high degree of life, whereas horror is described as that which freezes and nearly annihilates them.

Modern scholarship on horror fiction draws upon a range of sources.  In their historical studies of the gothic novel, both Devandra Varma and S.L. Varnado make reference to the theologian Rudolf Otto, whose concept of the numinous was originally used to describe religious experience.

Awards And Associations

Achievements in horror fiction are recognised by numerous awards.  The Horror Writers Association presents the Bram Stoker Awards for Superior Achievement, named in honour of Bram Stoker, author of the seminal horror novel Dracula.  The Australian Horror Writers Association presents the annual Australian Shadows Awards.  The International Horror Guild Award was presented annually to works of horror and dark fantasy from 1995 to 2008.  The Shirley Jackson Awards are literary awards for outstanding achievement in the literature of psychological suspense, horror, and dark fantastic works.  Other important awards for horror literature are included as subcategories within general awards for fantasy and science fiction in such awards as the Aurealis Award.

Alternative Terms

Some writers of fiction normally classified as horror tend to dislike the term, considering it too lurid.  They instead use the terms dark fantasy or Gothic fantasy for supernatural horror, or psychological thriller for non-supernatural horror.

Horror Films Since The 1890’s

For more Horror film lists click here.

Read more about Horror and notes etc. regarding the above post here.

The above articles and the rest of the images on this page were sourced from Wikipedia and are subject to change.

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