In that respect, it is clear that the horror film is a reactionary genre since it provides an easy access into the unknown and scary world in which viewers are able to experience fear without really being in any danger themselves. Precisely, the horror film is reactionary because it relies on the fear of the unknown, people’s most dreaded nightmares and its primary goal is to defeat the irrational and destructive forces in people’s chaotic world. The fear, panic, worry, among other emotional reactions elicited by the horror film are its intended outcomes and driving force; in the end, the horror film allows its viewers to return to a state of normalcy feeling victorious over the invasion of monsters.
The combination of sci-fi and visual special effects in the 1980s redefined the horror film as a reactionary genre, with the gruesome imaginations of viewers and filmmakers producing compounded effects owing to the greater possibilities of depicting the improbable. Within the 1980’s social context of materialistic attitude and material progress as a measure of societal value, the horror film came out strongly to address the issue of gender representations, portraying male monsters as well as the fears and anxieties of men while contrasting males with strong independent women (Dozier 2010).
In that respect, the 1980’s horror film emerged as a reactionary genre, particularly by echoing the reaction against women emasculation and the emergence of the feminist movement. The horror films in this period portray strong women within the context of a restrictive patriarchal society, in contrast to the stereotyped emotional women; the dissenting womenfolk take on traditional patriarchal roles and responsibilities. The 1980’s horror film also portrays many other oppositional social movements, apart from the age long gender conflict; generally, this period’s horror films address manipulation, violence, graphic horror as well as the dangers of youth.
Precisely, the horror films in this period present tales of unfriendly killers keen on revenging various misdeeds pursuing their sexual pervasions (Buxton 2009); in that respect, the 1980’s horror film is a reactionary genre because of its vengeful monsters. Up to date, as in many cases of the 1980’s horror films, the monsters in horror films represent alter egos or superego characters that seek to avenge the progressive sexual liberation or freedom of the females in society. Horror and gender As an unsettling film genre, the horror film seeks to upset its viewers by undermining the universal ideas and notions of real life, including societal norms to with gender and sexuality (Wright 2010); horror’s threat to normalcy and the inclination to assault conventional gender roles and morals are directly linked to the monster.
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