Anyone who knows me will tell you I’m a fairly laid-back character, but if there is one thing that annoys me, it’s people frantically dodging and backpedalling to avoid their work being labelled ‘horror’. What has horror ever done to you, and what exactly is so bad about being a horror writer, a horror director, a horror artist? To be fair, there are numerous people out there who proudly embrace that genre label, and more power to them, but many within the mainstream media seem to be terrified that their work might be branded gasp horror!
This article began percolating a couple of years ago with the Guardian’s piece on ‘post-horror’ by Steve Rose, which it’s fair to say had my blood positively boiling with its superior attitudes. You can take a look at it (https://writ.rs/posthorror) if you feel so inclined, but the gist was that ‘clever’ movies like It Comes At Night, The Witch, Ghost Story and The Neon Demon were too original to be considered horror movies, which could only be safe, stagnant and loaded with tedious tropes and archetypes. Even more recently than that, the term ‘elevated horror’ has been applied to certain movies, with an implication that most horror movies are clearly beneath that level. Non-elevated, or standard, perhaps?
Leggete l'articolo completo e molti altri in questo numero di
Writing Magazine
Opzioni di acquisto di seguito
Se il problema è vostro,
Accesso per leggere subito l'articolo completo.
Singolo numero digitale
September 2019
Questo numero e altri numeri arretrati non sono inclusi in un nuovo
abbonamento. Gli abbonamenti comprendono l'ultimo numero regolare e i nuovi numeri pubblicati durante l'abbonamento. Writing Magazine
Abbonamento digitale annuale
€58,99
fatturati annualmente
Abbonamento digitale mensile
€5,99
fatturati mensilmente