The article is about examples of horror films that trying to expand the genre of horror or contemporary horror and pushes towards art house. The author, Adam Hart, mentions that “the art house has never been far from the grindhouse” (para 1). Art cinema and horror cinema have been in a surprisingly cozy relationship. Then, he shows examples of how each filmmaker develop horror and art together. For example; filmmaker, Michael Haneke, who examines in detail the impulse to see disturbing images onscreen while holding their power to shock. Another filmmaker, Danny Boyle, who restarts the low budgets zombie film to create an imitate portrait of desperate people running from the infected dead. These filmmakers understand the broader expressive possibilities of horror films by bringing in the effects of shock, revulsion and fear into the films. These filmmakers approach horror films with no limits by adding more imaginations and a bit of art can open up new kind of films or genre.
This article is about how horror film or horror art express themselves to the audiences, what messages filmmakers and artists trying to send to the audiences and how the audiences will react or express to the horror films or horror art. The example that is shown in the article is a painting called “Saturn Devouring His Son” by Francisco Jose de Goya. He describe the painting as “Wild- haired and wide-eyed, peering out of the near total gloom that engulfs the canvas, the Titan hunches over his child, naked, mouth agape, body tensed. His pale knuckles dig into the white flesh of a child of indeterminate sex; the child’s head and right arm have already been consumed, and Saturn is in the midst of finishing the left arm” (para 1) The author mentions that first we need to know the actual meaning of “horror”. He states that there are 2 ways of using the word “horror”. “Horror in the first instance is used to indicate a particular emotional response to a stimulus. In the second instance, horror is the genre of art that is somehow connected with this emotion” (para 6).
In the article, Avant-Terror: Contemporary Art-House Horror, Adam Hart asserts that horror is starting to integrate both elements of horror and art. Hart supports his statement with a few examples, which includes Michael Haneke and Claire Denis, whom managed to introduce disturbing images into their films while maintaining the power to shock the audience. Hart further states that modern filmmakers now begin to be more creative in making their films and “they approach horror not as genre that confines or limits the kinds of films they make, but as a mode that opens up their films to new thematic, formal, and narrative opportunities” (Hart, par.3). Hart perceives the horror genre as being incorporated into a form of art and hence, it is essential for filmmakers to be creative in their production. On the other hand, Noel Carroll focuses on what attracts the audience to horror movies. Carroll explores into the ways in which filmmakers produce such horror stories to serve consumers’ needs. She believes that horror is driven by curiosity and that “it engages its audience by being involved in processes of disclosure, discovery, proof, explanation, hypothesis, and confirmation” (Carroll, p.279). Carroll emphasizes solely on the techniques used to create curiosity and satisfaction for the audience, while Hart highlights on the creativity of horror movies as a form of art.
In addition, the article, Dead Letter: The Aesthetics of Horror, written by Jude Russo, questions whether it is possible to produce something that inspires horror for its own sake. Russo begins by defining the word “horror”, which is referred to something that is used to show a certain emotional response to a stimulus and it is also “the genre of art that is somehow connected with this emotion” (Russo, par. 6). Furthermore, Russo states that modern horror relies more on the illustration of disturbing images that are designed to deliver an emotional effect rather than a moral. Modern critiques believe that horror works must convey a moral message to be considered as a good art. However, most modern school of thoughts would prefer to judge the quality by its own standards. Because there are two contradicting ideas about what would be considered as a good art –in terms of moral or emotional effect, Russo states that “we must turn away from holding a work’s intended effect as the highest standard of art” (Russo, par. 21). However, Carroll would argue with his statement for the fact that she believes that horror is induced by an emotion. To her perspective, a good horror work must be able to create the curiosity –which is “an appetite of the mine” (Carroll, p. 284). While the monsters have to be disturbing and repulsive in other to create that satisfaction in a pleasurable way. Therefore, Carroll would assert that a moral message has nothing to do with the quality of work.
Hart, Adam. “Doc Films.” Doc Films. N.p., n.d. Web. 13 Feb. 2015. <http://docfilms.uchicago.edu/dev/calendar/2014/spring/2014-spring-thursday-02.shtml>.
Russo, Jude D. “Dead Letter: The Aesthetics of Horror | Arts | The Harvard Crimson.”Dead Letter: The Aesthetics of Horror. N.p., n.d. Web. 13 Feb. 2015. <http://www.thecrimson.com/article/2014/10/28/arts-cover-horror-aesthetics/>.