Each limitation I outlined in the previous section acts as an opportunity for future research. While my scope was limited to three films, further research could explore different 2010s horror films in various ways. Researchers could sample three other movies from the decade or even a larger number of films. Additionally, future studies could look at a different sub-genre of horror and perhaps move away from focusing on gothic influence. As I discussed, my research was also limited because of the cultural context I examined. A variation in my study could analyze similar themes and intertextual references but through a non-Western lens. For example, Asian horror cinema from Japan and South Korea is wildly popular even in the United States. It would be significant to analyze 2010s horror films from those cultural contexts to examine the societal themes they were exploring. Mental health is something that is viewed and discussed differently around the world. Therefore, to better understand where other cultures were at with those conversations during the era, it would be necessary to research the media they were producing. Perhaps mental health would not even emerge as a theme, and researchers studying a different cultural export may find alternative movements and discussions.  

The scope of my analysis looked at the gothic elements and haunted house tropes in the three films. I chose to use comparative film analysis as my method for this study in order to explore the visual, rhetorical, and cultural arguments presented in the films. I felt that a film analysis that reflected upon how the filmmakers were achieving their message through intertextual references and film dimensions, was the best way for me to compare the three films and identify their shared themes. However, there are many other elements to the films worthy of examination that I did not explore. A future variation in this research could use a different methodology, such as feminist, queer, or formal criticism, or audience analysis to understand the films from an alternate perspective. For example, The Babadook, The Invitation, and Crimson Peak each have female leads and multiple female characters. A feminist criticism could highlight how the films subvert traditional horror stereotypes, if at all. Or, a project could use audience analysis to see what themes and ideas multiple viewers see presented in the films.  

Lastly, other horror trends emerged in the genre during the latter half of the 2010s and early 2020s. The frustration Americans have with systemic structures is a concept heavily explored in recent horror cinema. Race, class, and gender oppression through the long standing enforcements of social systems has understandably resulted in a dissatisfaction with our culture. This is something I only touch briefly for it is a trend most visible in the years after 2015. To really explore this idea and support its relevance, there needs to be more research on newer horror films. A study could aim to articulate how horror films from the last five years reflect social discontent with the current structures and acknowledge systems of oppression.