Horror is a visceral reaction. Much like crying or laughter, fear is often uncontrollable. Noël Carroll describes horror as the presence of impurity and the evocation of disgust (30). She defines the horror genre based on the response of audiences, claiming they react to horror by physically shuddering (Carroll 17-23). Peter Hutchings distinguished horror by stating that it is concerned with “the fear of death and the loss of identity in modern society” (2). Carroll’s definition suggests a physical response to horror while Hutchings suggests an emotional one. Regardless, both are reactionary. Horror cinema has the power to evoke overwhelming effects on audiences and for this reason, it is far easier to define the genre not by style but by how it makes the audience feel. However, while it seems that audiences would want to avoid feeling fear and disgust, horror films have been popular since the early twentieth century (Spratford et al. 5).  Horror films act as a form of catharsis for many and a vessel for shock  to others. Thomas Sipos wrote that horror “presupposes a threat, building tension with its promise that something hideous will occur, and there is no escape” (5). Suspenseful, shocking films built entirely to arouse fear and curiosity, keep viewers on the edge of their seats. 

This chapter will explore the horror film genre while explaining the way audiences can ascribe meaning to films after their release. The chapter will also look at the history of gothic horror in film, the origins of the elements that define today’s horror genre, the evolution as well as popularization of horror cinema, and the characteristics of contemporary gothic horror films.