Reflective Essay My prompt was to examine the real-world issues that horror films address under all the pop-up scares. At first, I attempted to mainly look up the exact prompt, to only find a lack of articles associated to the poor key terms. I understood there needed to be revisions to the specificity of the key terms in which I used to research. However, there needed to be a foundational examination of the mannerism related to the writing of horror works and the atmosphere of their creation. Gaining a general knowledge of how horror films are written led me to look at periodicals from ProQuest, a large research database. By using key terms such as ‘horror writing elements’ and ‘horror film themes’ my realm of horror film knowledge exponentially expanded. The many helpful librarians and staff allotted me the perfect tools to gain concrete articles related to my topic. The extensive database allowed me to quickly examine and swift through articles to efficiently gain a basic understanding of the elements of horror writing. With this understanding of the fundamentals necessary in a horror film I could cross examine varying films to learn the elements where they differentiated. This revealed the major themes specific to each horror style. Knowing this information expunged vestigial context allowing a fuller comparison in which I could derive the real-world issues emerging from each work. Once I gained this system where I could use the plethora of printers to print the specific sections of articles or online journals of most importance gave me an easy pamphlet of direct references I could use when writing my paper. In addition, using the filters in the ProQuest tab allowed me to find articles specific in a certain time frame where I knew specific historical events altered the major themes of horror works. Looking at filtering out online periodicals and only examining scholarly journals prevailed in my research of the psychology behind these horror films. Furthermore, the vast depth of age of books available in the library led me to read over one of the earliest editions of “Frankenstein” from the 1950’s. Having an edition with minimal editing, although minimal in nuances of context, allowed me to fully understand the relevance of the book in the time period in which it pertained. Not only did the tangible availability of the work allow me to really immerse myself into the writing process of horror films—knowing that the author wrote down his thoughts in a similar script—but it altered my sense of depth. From the book I could take direct references from the author in the author notes and the online search resources of the library allowed me to find books categorized with this piece of literature. This led me to specific books such as, “The Biology of Horror” by Jack Morgan and “Writing the Horror Movie” by Marc Blake. These really highlighted direct example of horror films drawing from real-world issues and their direct implications on our societal image. The extensive research needed to divulge specific societal issues present in fictional works could only be accomplished with the help of the resources and professionals at the library. Just talking with multiple librarians led me to other works far from my familiarity.

Our Fear of Horror is Cosmic Horror films serve as a fabricated effort for humanity to illustrate the notion of fear they have for present dangers projected onto easier to digest fictional horrors. A lot of films draw on the primitive fear triggers to which humans have evolved in order to protect us from danger. This is seen in popups, monsters with animalistic features and the evil doer hidden in the dark. However, this is merely a basic horror element and doesn’t fully encompass the highly complex narratives in which most horror narratives dwell in. The complexity derives in the necessity to fashion a film where the element of fear draws from a highly relevant fear but is foreshadowed by the fictionality of the scenario. Therefore, horror films draw us away from real world horrors with fictional horrors acting as a reflection of present dire circumstances or presenting outright ludicrous horrors to distract us. Cosmic fear or fear of the unknown is the overarching fear that most humans face; uncertainty triggers a repulsion in which we can find no security. In the book Writing the Horror Movie by Marc Blake and Sara Bailey, “Emmanuel Kant spoke of a cosmic fear (an inability to grasp the extent of the cosmos), which he called the sublime,” (Blake). Uncertainty, whether it be in the form of bad scientific progression, not knowing the cause of mental illness, the validity of the supernatural, the moral compass of government officials or a viral epidemic are humane fears dispersed across cultures. Clinical psychologist Glenn Walters of Kutztown University in 2004 stated that, “control lost under the cover of darkness is rediscovered in the light of day; danger posed by things unknown is reduced by increased knowledge and predictability” (Begley). This action in horror films of conquering the evil present gives the viewer pleasure when dealing with the horrors of reality due to our innate ability to suppress uncertainty in reality. Horror films expose superseding knowledge to the viewer which the protagonist lacks allotting a sense of pleasure since the audience retains some sense of control—knowing some aspect of the plot or that they themselves are in no actual present danger. Control of the uncertainty is conquered by the viewer and is immensely pleasurable in doing so since it is the root of all real-world fear. Perhaps most fundamentally, horror films are popular because they speak to the basic human condition of existential fear, the knowledge that we are all doomed (Holland). This fear that we are all doomed is present in many bad science films which examine the extortion of scientific progression as a means of evil. Bad science can at times coexist with psychological horror films where the degradation of someone’s psyche can be upon the present bad scientist. “Psychological horror deals with the unknown in the shape of humanity itself and our struggle to come to the terms with our own nature. The idea is to access our psyche, the bits of ourselves that we see in dreams, in nightmares, madness, visions or fits. Nearly all psychological thrillers deal in madness or consciousness gone awry” (Blake). In the documentary, A History of Horror with Mark Gatiss, we learned the compelling introduction of horror films and their evolution in the film industry. Boris Karloff used his own extraordinary skill of makeup to create a despicable creature, misshapen pig nose and deformed large upper head. Frankenstein’s monster was a terrifying film which illuminated our disdain for human defects and our fear in scientific progress. However, the abnormalities of the creature were not the major source of fear related to the film as it was the evaluation of the uncertainty related to the mental health of the creature. A monster created in a childlike state turns into a violent creature as his emotions of loneliness and exclusion consume him. This monsters mental degradation closely resembles the onset of mental disorders; something born into purity becomes an outcast. Would science’s attempt on creating life create such a monster? Creating this fictional creature allowed audiences to better understand the real-world fear of science’s progression in the twentieth century. However, it also illuminated the fear of mental health in respect to the creature’s emotional well-being. In fact, it is interesting to note the similarities between the electric shock to bring the monster to life and the electroshock therapy many mentally disabled patients received as “ample” treatment for their condition. A further examination on this topic of mistreatment of the mentally handicapped illuminates the fear of mentally disturbed individuals. In one of the controversial themes in the film, Frankenstein’s monster is playing with a little girl throwing flowers into the lake. He notices the enjoyment of throwing the flowers into the lake and sequentially throws the little girl into the lake. One of the first American serial killers, under the alias H.H. Holmes, came into existence during the end of the 20th century. During this time, there was no extensive knowledge on psychological conditions of serial killers. The childlikeness and isolation of the monster couldn’t save it from becoming a monster. This is how people viewed the degradation of mentally disabled people in this time period. Not having control over one’s mind is a terrible scenario to almost all audiences. “This highlights the psychological issue whether a killer is born or made. Scientific research may be sliding into territory where the pattern of the transgressive quest highlighted in horror films such as Hawthorne’s Rappaccini’s Daughter and Frankenstein as a front to conquer a given medical scourge trigger more virulent iatrogenic versions of that scourge or a near neighbor to it and as we lose track of our poisons. The gothic nightmare of scientific overreach endures, current optimism regarding genome research notwithstanding” (Morgan). Whether it be in the fear of mental disorders or the fear of bad science leading to monster creation, the fear of the uncertainty is merely translated unto present day issues. Furthermore, uncertainty is very present in supernatural fears, specifically surrounding religion which could predispose nations to authoritative control. The creation of Satan in multiple religious sects ultimately was a way for the church to control people’s ideas and subjugate them under the power of fear. In the earliest religions there was a plethora of gods, with demons personifying evil acts and deeds. Not until Zoroastrianism emerged in Persia did a monotheistic religion arise with the concept of duality between a mighty good god and a mighty bad god. This later emerged in Judaism and Christianity which adopted many concepts from their conquerors. This Satanic deity that would torment the souls of sinners for eternity really emerged after emperor Constantine instituted Catholicism as the official religion of the empire. Persecuted Christians now had the ultimate authority of the Roman Empire behind them. Megalomania consumed the church and by adapting lucifer to the times the church became the predominant ruler for centuries. Adaption of pagan gods such as Pan and pagan religious activities, such as the origin of Christmas, allowed for the Catholic church to impose a religious monopoly over thousands. By using the fear of not understanding the power of the supernatural the Catholic Church exploited millions. Dictators enforce the same tactical approach to enforcing their agenda: exterminate threats to the state and use propaganda to create an enforceable ideologically homogenous people. This terror of the possibility of Satan or hell existing was a real-world uncertainty many religious individuals experienced centuries ago but yet is still present today. The immense fear of whether those who disobey commands will be punished in a fiery hell has led thousands of individuals to be controlled for millennium. Horror films which feed of the uncertain fear surrounding the supernatural could possibly be a mere fear of corrupt forces, perhaps political in nature. Uncertainty in the moral compass of government officials, who augment the realities in which their citizens endure, is present throughout horror films. In the Omen, the director writes in diction inspired from the book of Revelations of the antichrist immersing into the world of politics. The devil had infiltrated into our political system which we try so hard to control with elections, checks and balances, vetoes, etc. All the regulations and bureaucratic barriers to retain a government which has the best interests of the people could not stop the manipulation of the devil. Films in the 60’s correlated to the Cold War fear of communism infiltrating into the USA. People’s government could be swayed, such as Germans during Nazi rule and breached such as military coups rising in African nations. People aren’t only scared of the uncertainty of extreme ideologies infiltrating but there emergence in sequential generations. Rosemary’s Baby has another devil child in the film, where a young couple find themselves moving into an apartment surrounded with satanic neighbors. This was during the sex and love social reformation where New Deal Americans feared the new ideologically extreme youth. Gatiss connected the devilish children to the progressive youth of America who were consuming drugs and rebelling against the older class. Therefore, having these kids that are the devil, as in The Exorcist, illuminates the fear that possibly the next generations are moving in the wrong direction and can’t be controlled. Fear that those in power are influenced by spiritual figures or that the next generation will move to polarized beliefs solely exposes the terror of lack of control. The uncertainty of a viral epidemic that could wipe out humanity, seen in such films as Contagion and Shivers, is another instance of cosmic fear. Shivers, where a parasite infects the entire population through people’s lust could highlight the indecencies of the sexual revolution. Interesting that a film talking about a sexually transmitted parasite was only a couple years before the Aids Epidemic in America. The Ebola outbreak or the swine flu epidemic are just a couple real-world instances where this fear became a reality. Real-world epidemics demolish our trust in science. Humans fear the direction of scientific progress yet also fear the incapability’s that might arise if they put their full trust into it. Cosmic fear is the center of all these examples and is profoundly the largest essence of fear in a real-world context. Horror illustrates the real-world terror that we inadvertently have a low locus of control. We try to control so many aspects of our life due to our surmounting conclusion that we really don’t know anything and can’t control everything. Our choices have minimal significance to the events in our lives and this rocks us to our core.

Works Cited Blake, Marc and Bailey, Sara. Writing the Horror Movie. Bloomsbury, 2013, p. 24, 59. Begley, Sharon “Why Our Brains Love Horror Movies: Fear, Catharsis, a Sense of Doom.” The Daily Beast, 25 Oct. 2011. Holland, Norman N. Laughing: A Psychology of Humor. Cornell UP, 1982. p47-60. Holland, Norman N. Literature and the Brain. PsyArt Foundation, 2009. Ch. 10.

Morgan, Jack. Biology of Horror. Southern Illinois University Press, 2002. P.15-19.