Horror is a type of movie that aims to make viewers feel scared, either physically or mentally. These films often include dark themes and may cover unusual or taboo subjects. Common elements in horror movies include monsters, events that cause widespread destruction, and ideas from religious or traditional beliefs.

Horror films began in the early 1900s. Before movies existed, stories from folklore, religious beliefs, and traditions influenced the genre. Writers like Edgar Allan Poe, Bram Stoker, and Mary Shelley also inspired early horror stories. Horror became an officially recognized genre after the release of Dracula in 1931. Over time, many sub-genres developed, such as body horror, comedy horror, erotic horror, slasher films, splatter films, supernatural horror, and psychological horror. Horror movies are made in many countries around the world, with different styles and content in each region. Japan, Korea, and Thailand are among the countries where horror films are especially popular.

Although some horror films have faced criticism for their content, several have become very successful commercially. These films have also influenced society and created well-known characters in popular culture.

Characteristics

The book The Film Experience: An Introduction (2021) explains that horror films are a type of movie that began in Gothic literature. These films aim to scare viewers. The authors say that key parts of horror films include characters with physical, mental, or spiritual problems; stories that build suspense, surprise, and shock; and visual scenes that create fear through what is hidden or revealed.

Another source, The Dictionary of Film Studies (2012), describes horror films as movies that show dark or disturbing topics. These films try to make viewers feel fear, terror, disgust, shock, suspense, and horror. In a book called Hollywood from Vietnam to Reagan (2002), film critic Robin Wood said that a common idea in horror films is that normal life is threatened by monsters. This idea was later expanded on by Noël Carroll in The Philosophy of Horror, or Paradoxes of the Heart (1990). He wrote that being repelled by something can be enjoyable, which is why horror films are popular.

Before the movie Dracula (1931) was released, historian Gary D. Rhodes explained that the idea of horror films as an official genre did not exist. Critics used the word "horror" in reviews before this, but it had many meanings. In 1913, a magazine called Moving Picture World described "horrors" as scenes with violent criminals or dangerous people. Some early films, like The Hand of Horror (1914), had the word "horror" in their titles but were not about supernatural events. During the silent film era, the term "horror" was used for many types of scenes, such as war battles or stories about drug addiction. Rhodes said that the term "horror film" was not used in early movies.

At that time, mystery films were popular, and Dracula was often promoted as a mystery film, even though it relied on supernatural elements. Kim Newman wrote in Companion to Horror that horror films in the 1930s were easy to identify, but after that, the differences between genres became less clear. In the 1940s, some critics, like Siegfried Kracauer, called films such as The Lost Weekend "terror films." The New York Times also described a group of films from 1944 as "horror" productions. Mark Jancovich wrote that in the early 20th century, the word "horror" was often used the same way as "mystery" and was not limited to strange or supernatural stories.

Some writers, like Altman, Lawrence Alloway, and Peter Hutchings, suggested that it is easier to think of films as cycles (groups of films with similar themes or styles) rather than genres. For example, the slasher film cycle could be linked to factors like how movies were made, who worked on them, and how they were marketed. Mark Jancovich noted that there is no single agreement about what makes a horror film. Fans and critics often disagree about which films belong to the genre. For example, some people might see Alien (1979) as a science fiction film, while others might call it horror. Fans also have different ideas about what makes a "true" horror film. Some like characters like Freddy Krueger, while others prefer directors like Dario Argento or underground films. Andrew Tudor wrote that "genre is what we all believe it to be."

Jacob Shelton studied how horror films influence viewers. He said that negative space in a film scene, like an empty wall or dark shadow, can draw attention to other parts of the frame.

Anna Powell explored how directors use lighting and camera angles to affect how viewers feel. She said that extreme lighting, whether very bright or very dark, can hide details and make people feel uneasy. Bright lighting might also make viewers feel safe. Powell also noted that directors use distorted space and time, like tilted camera angles or slow-motion shots, to confuse or disorient viewers. They might also use colors in costumes, settings, or filters to show mood. For example, red might symbolize blood or passion.

A common technique in horror films is the jump scare, where a sudden image and loud sound startle the viewer. This can also be used in a different way to build tension.

Mirrors are often used in horror films to create depth and tension. Shelton said that because mirrors are used so often, viewers are taught to fear them. Changing how mirrors are used in jump scares can increase tension. Close-up shots and tight framing are also common in horror films. These techniques make viewers focus on the protagonist and feel anxious.

Gary D. Rhodes wrote that horror films help viewers face their fears in a safe way. Watching horror films can give people a sense of relief and power because they deal with fears in a controlled environment. Sharing experiences with others, like in theaters or fan groups, also helps the genre stay popular.

Music is an important part of horror films. In Music in the Horror Film (2010), Lerner said that horror music often makes viewers feel threatened or uncomfortable. It helps set a tense or scary mood and can even cause physical reactions. Composers use techniques like dissonance (clashing sounds) or unusual musical styles to create fear.

In Dark Dreams, Charles Derry said that horror films often focus on three themes: the horror of personality (monsters as central characters), the horror of Armageddon (large-scale destruction), and the horror of the demonic (supernatural evil). The first theme includes characters like Frankenstein’s monster, whose actions are driven by their psychology.

History

Author Siegbert Solomon Prawer described the history of horror films as difficult to follow as a straight path. The genre has changed over time, influenced by the development of cinema, the preferences of moviegoers, and major events happening in the world.

Movies made before the 1930s, such as early German expressionist films and trick films, are now considered horror films. However, the horror genre was not clearly defined until the 1931 film Dracula. This movie was very popular, leading Universal Studios and other American film companies to create and promote horror films throughout the 1940s. By the 1950s, horror films often included science fiction themes. Horror became a common genre in international films by the end of the decade.

In the 1960s, horror films began to use stories from modern works instead of classic literature. Movies like Psycho, Black Sunday, and Night of the Living Dead introduced more violence and romantic scenes into the genre. During the 1970s, horror films became even more graphic, with some blending horror and adult themes. This era included natural horror films and the rise of slasher films, which grew in popularity during the 1980s. By the 1990s, horror films began to include postmodern ideas, and some of the decade’s most successful movies came from Japan, such as Ring (1998).

In the 21st century, streaming services helped spread horror trends. These trends included films influenced by Saw, which focused on torture; movies using a "found footage" style, where the story is shown like real video recordings; and independent films like Get Out, Hereditary, and the Insidious series, which became major box office successes.

Scholar Isabel Pinedo, in her book Monsters and Mad Scientists: A Cultural History of the Horror Movie (1989), studied how the Anglo-American horror genre developed. She noted that early sound films and post-war movies often showed threats to society as coming from outside forces, with male characters overcoming these threats through violence or knowledge. In postmodern horror, threats are shown as coming from within society. These films often include violent scenes and failed human attempts to stop the threat. Their endings may leave the monster victorious, the monster defeated only briefly, or the outcome unclear, as seen in films like Henry: Portrait of a Serial Killer (1990), Halloween (1978), Night of the Living Dead (1968), The Texas Chainsaw Massacre (1974), The Thing (1982), and Nightmare on Elm Street (1984).

Sub-genres of horror film

Horror is a type of movie that can change to include other types, like science fiction. This makes some movies hard to classify.

A type of horror called Lovecraftian horror is named after the writer H. P. Lovecraft. These movies often include themes like fear of the universe, dangerous knowledge, madness, strange influences on humans, religion, fate, and the dangers of scientific discoveries.

Body horror movies, which started in the 1970s, focus on how a person's body changes. These changes can lead to the body breaking apart or being taken over by something bigger. These movies often show a person watching their own body change, not just the whole world. The first body horror movies were made by director David Cronenberg, such as Shivers (1975). Some experts say these movies can cause fear and disgust, but also excitement, as seen in The Thing (1982) and The Fly (1986).

Christmas horror movies began in the 1970s with films like Whoever Slew Auntie Roo? (1971) and Silent Night, Bloody Night (1972). A famous example is Black Christmas (1974). This subgenre is sometimes seen as part of the slasher movie type, which focuses on violence. However, some people believe it has roots in traditional Christmas ghost stories, like those in books such as A Christmas Carol (1843). These movies often mix holiday themes with horror, like replacing ghosts with serial killers.

Erotic horror mixes sexual and scary themes to create arousal. French and American movies have influenced this type. Films by Jean Rollin, like Le Viol du Vampire, and American movies like Candyman and British films like Hellraiser are examples. The movie Alien includes sexual imagery in its creature design.

Extreme horror began in early 20th-century theater in Paris. It moved to movies, where it showed shocking content like torture and violence. Movies like Last House on the Left (1972) and Salò (1975) are examples. Later, movies like Saw (2004) and Hostel (2005) became popular and appeared in video games and music.

Folk horror uses stories from traditions, religions, or cultures to scare people. These movies often take place in rural areas and include themes like isolation and nature. Examples include Witchfinder General (1968) and The Wicker Man (1973). Movies from Southeast Asia, like those from Thailand and Indonesia, also use local folklore.

Found footage horror movies show events as if they were recorded by someone who experienced them. These movies make viewers feel like they are part of the story. The popularity of websites like YouTube in 2006 helped create more of these movies, such as Paranormal Activity (2007).

Gothic horror is a style that uses settings like castles and old mansions to create a dark, mysterious feel. It can be seen in movies like Frankenstein (1910) and Get Out (2017). This style was popular in the 1930s with Universal Pictures and in the 1950s and 1960s with Hammer Films. In the 1980s, vampire movies focused on lifestyle choices instead of curses.

Natural horror, also called eco-horror, shows nature turning dangerous, like animals or plants attacking humans. Alfred Hitchcock's The Birds (1963) started this trend. Movies like Jaws (1975) made these stories more realistic, using real animals instead of giant creatures.

Regional horror films

Horror films in Asia are often inspired by traditional stories, beliefs, and religious practices, such as those about ghosts or spirits. In his book Asian Horror, Andy Richards explains that many Asian cultures widely accept the idea of supernatural forces. These beliefs are connected to traditions like animism, pantheism, and karma, which are found in religions such as Buddhism and Shintoism. While horror films from China, Japan, Thailand, and South Korea have received the most international attention, horror also plays a significant role in Cambodian and Malaysian cinema.

Ian Olney noted that European horror films often included more erotic themes and unusual content compared to those from Britain and the United States. These films, known as "Euro Horror," draw from European cultural influences, such as surreal art, romantic themes, early 20th-century stories, and comic books. Unlike American horror films, which focus on clear storytelling, European horror films emphasized strange images, exaggerated scenes, and unpredictable events.

Between the mid-1950s and mid-1980s, horror films were produced in countries like Italy, Spain, and France. These films were often shown in the United States at drive-in theaters and grindhouse venues. As global interest in horror films grew, European filmmakers began making low-budget horror movies in the 1960s and 1970s. These films were made in countries such as Italy, France, Germany, the United Kingdom, and Spain, sometimes as joint projects between nations. Some films, like those from Italy, were co-productions because the country lacked internationally famous actors. European horror films gained a strong fan following starting in the late 1990s.

The earliest known Australian horror film is uncertain, with some sources suggesting The Strangler's Grip (1912) or The Face at the Window (1919). Ghost stories appeared in films like Guyra Ghost Mystery (1921). By 1913, Australia's film industry was no longer active until the 1970s, when government funding helped restart production. The first Australian horror film shown in theaters was The Cars That Ate Paris (1974). In the 1970s, Australian horror films were supported by state film companies, which preferred them over local exploitation films due to a cultural belief that foreign films were superior. The success of films like Mad Max (1979) and The Last Wave (1977) led to changes in Australia's film funding system. This system was later closed in 1980 after being misused for tax avoidance. A new funding plan, the 10BA tax shelter, encouraged more film production, but Peter Shelley, author of Australian Horror Films, noted that filmmakers prioritized profit over quality. These films often imitated American horror movies. Few horror films were made in Australia between 1993 and 2000, but the success of Wolf Creek (2005) inspired a new wave of Australian horror films in the 2010s.

By 2005, New Zealand had produced about 190 feature films, most of which were made after 1976. Philip Matthews of Stuff described New Zealand's horror film history as moving from "serious gothic horror" to "funny horror films." Early New Zealand horror films include Strange Behavior (1981), a co-production with Australia, and Death Warmed Up (1984). Other early films, such as Trial Run (1984) and Mr. Wrong (1984), combined horror with supernatural themes. Later films, like Bridge to Nowhere (1986) and Peter Jackson's Bad Taste (1988) and Braindead (1992), mixed horror with comedy. Film producer Ant Timpson helped promote New Zealand horror films through events like the Incredibly Strange Film Festival and by making his own films, including The ABCs of Death (2012) and Housebound (2014). Timpson noted that recent New Zealand horror films, such as What We Do in the Shadows (2014), are often humorous, and some filmmakers, like Jonathan King, have expressed a desire to create genuinely scary horror films but believe audiences and funders prefer comedy.

After the 1931 release of a Spanish-language version of Dracula made for the Latin American market, Mexico produced horror films in the 1930s and 1940s, often exploring themes of science versus religion. The Mexploitation horror film era began in 1957 with El vampiro, featuring low-budget, campy-style films with themes like vampires, wrestlers, and Aztec mummies. Abel Salazar was a key figure in this era, especially in vampire films starring Germán Robles. In the late 1960s, Carlos Enrique Taboada became a prominent Mexican horror filmmaker, known for movies like Hasta el viento tiene miedo (1967) and El libro de piedra (1968). Mexican horror films often blend classic gothic and romantic themes with unique Mexican elements, such as the Ranchería setting, colonial history, or the myth of La Llorona, shared with other Hispanic countries.

Horror films remain popular in Mexico, with the country ranking as the most enthusiastic audience for the genre globally in the 21st century, according to a 2016 study.

Effects on audiences

A study by Uri Hasson and others used brain scans called functional magnetic resonance imaging (fMRI) to observe brain activity. The study used a method called inter-subject correlation analysis (ISC) to compare brain responses among people. It found that when watching horror films, audience members often focus on the same parts of a scene at the same time and remain still during the experience.

Another study by John Greene and Glenn Sparks discovered that viewers experience a process called excitation transfer (ETP), which causes physical reactions such as increased heart rate, blood pressure, and breathing when watching violent films. People who enjoy horror films often feel emotions similar to happiness or joy shared with friends, but stronger. Those who dislike horror films may feel emotions similar to those from negative life events.

Only about 10% of Americans enjoy the physical excitement from horror films. People who do not enjoy these films might feel emotional distress similar to post-traumatic stress disorder (PTSD) if they are reminded of scenes from the films.

A 2021 study suggested that horror films that explore grief can help people who are grieving by using the genre’s typical storytelling methods to express sadness.

A study by Medes and others found that long exposure to very low sounds (infrasound and low-frequency noise below 500 Hz) can affect how people use their voices, making their speech lower in pitch. Another study by Baliatsas and others found a link between exposure to these low sounds and sleep problems. Although most horror films use sounds around 20–30 Hz, these sounds can still cause discomfort over time.

Horror films often use a technique called cognitive dissonance, which happens when people hear conflicting or harsh sounds that create tension. A study by Prete and others found that the brain’s left side helps people recognize dissonance, while the right side helps with pleasant sounds (consonance). People generally prefer consonance, and this preference is present even in young children. Musical experience can also influence how much someone dislikes dissonance.

When people experience strong emotions, their body responses such as skin conductance (sweating), heart rate, and muscle activity change. These responses are stronger for negative emotions, a pattern called the "negative bias." When listening to dissonant music, heart rate initially decreases (a reaction to stress), but then increases, while sweating and facial muscle activity rise. This process involves first noticing the problem (slower heart rate) and then reacting defensively (faster heart rate and more sweating). This response, called the "fight-or-flight" reaction, is used in horror films to scare and unsettle viewers.

Reception

Critic Robin Wood was not the first film critic to take horror films seriously, but his 1978 article, Return of the Repressed, helped begin the study of horror films in schools as a type of film. Wood later said he was surprised that his work and the writings of Richard Lippe and Andrew Britton were seen as important in understanding the horror film genre. William Paul, in his book Laughing Screaming, wrote that some people believe horror films are less complex than other types of films. However, others say horror films are more direct in their storytelling. Lower forms of art, like horror films, are often more explicit, while higher forms use more indirect methods. Because of this, higher forms are often seen as more metaphorical and open to detailed analysis by scholars.

Steffen Hantke noted that studying horror films has always been difficult for academics. He said that some scholars worried they were studying something too simple or overly dramatic to be taken seriously.

Some people have said horror films have been overlooked as serious works worthy of film criticism and major awards. As of 2025, only seven horror films have been nominated for the Academy Award for Best Picture, with The Silence of the Lambs being the only winner. However, horror films have still won important awards.

Critics have also discussed how horror films portray women and people with disabilities, as well as how they use racial stereotypes.

Many horror films have caused moral panic, censorship, and legal issues. In the United Kingdom, horror films have often been censored. A moral panic in the 1980s led to some slasher films being banned but later released on videotape. This trend became known as "video nasties." In Indonesia, rules about what can be shown in films have influenced how horror films are made. In March 2008, China banned all horror films from its market.

In the United States, the Motion Picture Production Code, started in 1930, set rules for what could be shown in films, limiting content about controversial topics, violence, or explicit scenes. Over time, these rules were gradually ignored and officially ended in 1968, when they were replaced by the MPAA film rating system, which gave the film industry more freedom.