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Call#: Van Pelt Library--4 East--Temporary Location Annenberg PN1995.9.H6 C72 1994
In Ch 2 of Terror and Everyday Life, titled “Genre Criticism and the Horror Film”, Crane argues that there has been a dramatic shift in the fundamental characteristics underlying the successful contemporary horror film. He has seen a pattern in earlier films, in which it was obvious to discern whether a moment on screen was to be humorous or frightening. He believes that today’s horror does not draw such a clear distinction, but instead makes the viewer just as likely to laugh or squirm with terror.
In fact, he goes on to discuss how the viewer must take the film seriously, as some parts are harmful, but at the same time it demands detachment—since what could have been a gory scene actually turns out to be a dark joke. In his words, “the audience must willingly allow the film to put blood pressure up a notch and tickle macabre funny bones” (36).
In addition, Crane believes that true fans willingly accept discontinuity and meandering plots. Today’s popular horror films do not make conventional sense and thus cause viewers to watch the screen, continually wondering what to do and how to react. In other words, one must be willing to go on this ‘roller coaster ride’ in order to find the film satisfying. On the other hand, for those who need structure and predictability, these new films seem offensive and incomprehensible.
The Exorcist fits in neatly with Crane’s ideas regarding the basic elements of horror films. Through the use of various special effects, many scenes appear outrageous, consequently affecting the audience on opposite ends of a continuum (where one end represents humor and the other threat). For instance, the unpleasant projectile vomiting, desecration of the statue of Mary in the church, obscene sexual language voiced by the seemingly innocent twelve year old Regan, and her uncontrollable thrashing on her bed can either make the audience snicker and laugh, or cringe in utter fear. In addition, the plot is not completely predictable, and many parts do not neatly tie together (i.e. the ending can have multiple meanings). According to Crane, this marks a true contemporary horror film and thus a shift away from previous conventions.