By Michelina Haralson

The Lost Boys by director Joel Schumacher was a horror film of the late 80’s that has since been uncovered as a film of queer background. It’s able to identify with the lgbtq+ community through two ways brought up in Harry M Benshoff’s article “The monster and the homosexual. The first way being “written, produced, and/or directed by a gay man or lesbian”. Whether or not it was Schumacher’s attempt to include it as a queer film it is argued that “gay or lesbian creators of film products infuse some sort of ‘gay sensibility’ into their films either consciously or otherwise”. The second way The Lost Boys inserts “homosexuality enters the genre is through subtextual or connotative avenues”.

Homosexuality is a prevalent connotative and subtextual focus within this film. The main characters of vampires are seen in leather jackets, wild hair dos, and fun earrings. All of which seem to add a layer of glamour to the characters. Not to mention the group seems to only hunt and recruit men. This certain focus on the male gender helps to show the association of queer ideas. Moreover, even with Star seemingly being the love interest of the lead vampire David the audience later discovers that she was only being used as bait to lure Michael in. Even Michael’s first encounter with Star is shadowed by more queer scenes. This being the scantily clad saxophone player who is extremely fit and oiled by sweat. Even his saxophone seems to just be used a phallus resembling object throughout the scene. Moreover, Star and Michael’s relationship fill “the demands of the classical Hollywood narrative system [insisting] on a heterosexual romance within the stories they construct, the monster is traditionally figured as a force that attempts to block that romance”. This is where the exploitation of homosexuality comes in as it is seen as a parallel to that monster by society. Which is of course demonstrated in this film as David and his gang as they seem to be the only thing standing between Michael and Star’s relationship.

Consequently, homosexuality is seen in a negative light in this film. Not only by being the main antagonist and societies hidden monster, but by “a threat to others”. One scene within the film briefly touches on the idea of Michael going after his brother Sam. This perpetuates the lgbtq+ community because it falls into the idea that “homosexuals have been linked… to child molestation”. Although the urge presented is brief and doesn’t return it is still present in the movie and sends a bad message.

By Michelina Haralson

1992’s Candyman is an example of Coleman’s Black Horror film. This is shown through his definition stating “That is, they have an added narrative focus that calls attention to racial identity, in this case Blackness”. This is shown throughout the movie when referencing the stereotypes of the ghetto as well as those living in economically declined lives. Anne Marie is a stereotype that is shown as being a single working mother that references her difference from the “others”; “Blacks have been rendered deficient— childlike… [and] lower in economic standing”. Even the urban legend being studied by Helen and Bernadette is focused on how it stems from the African-American community. 

The film itself continues to be “a catalyst for evil, demonize” the African-American community in which where it takes place is surrounded by the urban legend. This in part is a way to metaphorically make the neighborhood a scary place by filling it with serial killers and ghost stories on top of the already present stereotypes and disadvantages presented in the film. The Candyman himself is a result of societal racism and fear as he was killed for falling in love with a white woman. The fact that he continues to be seen as something scary just progresses the societal racism further by teaching those who hear his story to be afraid of a black man.  

However, as Coleman describes there are also “devastating lessons in the turn of the twentieth century racial hierarchy and white supremacy” presented in the film. Helen angrily mentions how ridiculous it is that there’s a lack of action being taken in Cabrini Green until a white woman is attacked. 

Not only is racism approached but also the idea of sexism when it comes to the crazy woman. The film portrays Helen seemingly as a strong an empowered woman who is willing to go to all ends to finish her thesis. However, she’s seen throughout the film as extremely dependent on Trevor and his lack of reciprocal love. Whenever Helen is presented with a situation with an authoritative man figure she often falls silent and is unable to articulate her thoughts. As shown when first being interrogated. Not to mention Helen is only viewed as an object of desire and manipulation by the Candyman himself. Even her believed sacrifice to die is shown as her being weak and open to sexual interaction. Some castration anxiety is shown as the Candyman uses his hook to slide up her thighs and into her dress. Even at the end when Helen turns out to be the new vessel of evil for the urban legend it’s now the woman who is being demonized and seen in an evil light.

By Michelina Haralson

A key aspect of this film that stands out is grief and the anxieties of motherhood. It becomes obvious to the audience right off the bat that even seven years later Amelia is not over the death of her late husband. She refuses to speak his name, reflect on memories, and even look at pictures of him. Another result of grief is the disdain Amelia has toward her son. It is clearly seen that she somewhat blames Samuel for the death of her husband, not to mention the annoyance of the trials and tribulations of being a mother. Samuel’s actions at the beginning of the film is a horror movie in and of itself that demonstrates the scary idea of disobedient children.

The denial and refusal to face grief after loss coupled with the growing anxiety and annoyances of motherhood begins to physicalize into the form of a monster. This is of course the Babadook. At first we assume the Babadook is just a result of Samuel’s fears as he seems to be the only one truly effected by it. However, once Amelia is targeted we begin to realize that she is at the root of the problem. The metaphor for grief is showed the most through the book itself when it says “The more you deny me the stronger I get.”. Another example is her inability to get a good nights rest which is again referenced in the book, “See him in your room at night and you won’t sleep a wink”. Even when Amelia attempts to destroy the book it only comes back stronger. This is again in reference to grief and how ignoring it only allows it to sit and fester. However, suppressing emotions doesn’t work as people tend to begin to spiral and fall into a breakdown. Which is exactly what happens to Amelia and causes her to fall into the madness of the Babadook as she tries to kill her son and their dog.

By the end though Amelia is able to defeat the Babadook and face her grief. The scene depicting her feeding the Babadook is just a way to show how she continues to face and accept it rather than to refuse it. It’s even being held in the basement where all of her late husbands stuff is located.

Another really good use of symbolization in the film is color. Throughout the entire film Amelia is surrounded by the color blue. Blue can often be seen as a representation of the emotion ‘sad’ or in the more extreme case of this movie depression. A dull blue is everywhere Amelia turns whether it’s in the clothing of others or the walls and furniture of her house. Amelia however, wears pink the majority of a film showing how she simply ignores the emotions (color) surrounding her. At the end of the film is the only time we really see color in a better light. after she has faced her grief her world is now bright and lively.

By Michelina Haralson

A theme present in The Stepfather is “the Oedipally defined ‘Law of the Father'”. This is shown through Jerry’s constant want to “repress [his family] into being conformist products”, the product being a perfect happy loving family. Anyone that goes against this idea of family hood is seen as a threat and a monster. For example when Dr Bondurant attempts to go undercover and look into Jerry’s psyche he is killed due to his apparent threat to the ideal family. Even the Dr Bondurant’s comments about being ‘bachelor’ manage to get under Jerry’s skin. Another person that is seen as a monster due to their lack of family love is Stephanie. Stephanie’s constant repression of Jerry’s presence/”love” is seen to be a constant aggressor for him. This again ties back to “The Law of the Father” and how often “the children become conveniently designated as monsters.”.

The idea of the Final Girl is also somewhat present within this movie. However, Stephanie’s Final Girl goes against the outline previously set up by Carol Clover. Tony Williams points out how often the “Final Girls are never entirely victorious at the end of certain films” due to the fact that they require a man to save them in the end. This of course goes against the feminine empowerment being pushed throughout most of these certain films. Luckily in The Stepfather this is not the case. Even though a man does attempt to show up and save the day it’s Stephanie in the end who remains triumphant as she herself stabs Jerry and saves herself and her mother. This helps to push the idea of feminine empowerment. Even at the end of the film Stephanie topples the masculine patriarchal family ideal which is symbolized through her sawing down the birdhouse made by Jerry earlier in the film.

Even though Stephanie helps to portray feminine empowerment she herself is not often seen as feminine. Throughout the film Stephanie is dressed in the color blue with her hair tied back. Blue of course is usually male gendered. As the film continues and Stephanie briefly slips into the mask of a perfect daughter her color pallet changes and she begins to wear colors such as reds and pinks. These of course are colors seen as more feminine. This is done to portray the perfect feminine daughter that Jerry idolizes.

Consequently even the dining room set up is done to represent the current family standings. In the beginning of the film Jerry and Susan are always sitting across from each other at the head of each table with Stephanie at the side. This helps to show how Stephanie is excluding and closing herself of from the perfect family ideal. However, at the end of the film when even Susan starts to doubt Jerry the seating is changed. Susan is now seen at the side of the table rather than at the head. Her and Stephanie now face each other while Jerry is the one alone and excluded as he sees his perfect family plan slipping out of his fingers.

By Michelina Haralson

The Texas Chainsaw Massacre is a classic slasher film in the world of horror. It demonstrates ideas such as the final girl, sexual repression/confusion, and castration anxiety.

Sally is the final girl in this movie however, unlike most final girls she’s not seen as undesirable or sexually repressed. Do to this fact Sally demonstrates an empowerment within her own femininity. As the movie continues Sally continues to demonstrate her own empowerment in her inability to give up and her constant strength that leads her to escape. Even when tied up in the dining room Sally does not relent for a second. She tries everything from screaming to trying to reason with the clearly psychotic family. Sally never stops fighting throughout the film and this drive allows her successfully evade death. 

Furthermore, one of the most notable antagonists in the film is Leatherface. Leatherface is a symbol for sexual repression and confusion. First off Leatherface wields the titled chainsaw, this can be seen as a replacement phallus due to castration anxiety. The audience is brought to believe this sexual repression comes from a lack of maturity and from the fact that Leatherface is seen in a childlike state when first presented. When Kirk first walks into the house we hear sounds resembling a child whimpering which we later find out to be Leatherface. This childlike nature is continuous throughout the film and shown through noises as well as a crouched and small body language around his father. Then at dinner leather face is seen to take on possible transsexual characteristics. His once terrifying mask now is dressed up with make up and he has a wig on. Not only that but he’s now heard making more feminine sounds. This only plays into sexual repression more so stemming now from not only an underdeveloped childlike nature but also a confusion of gender. 

Moreover, since this is a slasher film castration anxiety is apparent. As previously stated the “missing” phallus is replaced by the chainsaw and used to penetrate the victims. However, at the end the replacement phallus is not broken and the final girl doesn’t produce her own and emanate masculinity as in most films. Instead Leatherface loses control of the chainsaw and injured himself. This is as if his inability to penetrate his final victim is too much for him to handle and pulls the final straw. This loss of control is also in turn a moment of empowerment for Sally as she laughs triumphantly as her escape. 

By Michelina Haralson

David Robert Mitchell’s It Follows is a new modern horror film that came out in 2014. In a time where horror movies has been reduced to relying strictly on jump scares and gore for a scream Mitchell’s unnerving built suspense is a refreshing change. The movie itself is more conventional in the sense of using sex as a main factor for anxieties.

It Follows punishes those sexually active as seen in most horror films however, the consequence isn’t as nearly immediate. By making the “villain” a slow ever moving creature Mitchell creates a steady tension build throughout the movie. The second the viewers understand the problem at hand the audience finds themselves as paranoid as Jay herself. They remain on the edge of their seat scouring the screen for any sign of movement and are hyper aware of any person seemingly walking straight towards Jay. As if the audience isn’t just plain unnerved by that fact Mitchell goes even further to make some variations of the creature just as bad. Some examples include a partially nude woman with urine streaming down her leg to an abnormally large man with dark circles under his eyes.

Furthermore, the one continuity of these variations is that they all seem to be wearing white. Looking at the color white in general it’s seen to symbolize peace, purity, and innocence. By making the creature wear white it’s like a physical juxtaposition of that which is pure and that which is sinister. This goes on to show a stripping of innocence and purity from the person effected by this truly deadly STD.

Additionally, another reoccurring color in the film is seen on the main character Jay. When Jay is first introduced she is seen wearing a pink bathing suit. Then when going out she is seen getting ready in a pink room with a pink dress on. Finally when deciding to have sex she is in a matching pink set of bra and underwear. The color pink itself represents femininity and could even be linked to a child and girl like nature. However, after contracting the creature and coming in contact with it she is seen in the color less and less until it finally doesn’t appear anymore. This shows how the situation has taken away any childlike nature she might of had left and any confidence she might’ve had in herself as a woman.

Finally, the main idea itself of making the monster a consequence of sex represents the negative outlook society has on sex itself. By focusing the story around teenagers it pushes the narrative even farther as young adults are scrutinized the most for being sexually active. The monster itself is just a scary version of an STD as if the movie wants to scare teens away from having sex and truly just exaggerating the consequences sex might have.

By Michelina Haralson

When one thinks of the classic horror film The Exorcist the first thing that comes to mind are the grueling and vile images presented on screen. From things like excreting on the floor or the projectile vomit of a bright green bile. The effect scenes like this has on the audience is so great because they are “central to our culturally/socially constructed notions is the horrific”. The excrement itself portrays the dangers or evils hidden within that can no longer be contained.  Not only does this shock the viewers with disgust but also continues to push the narrative “in relation to the symbolic, as ‘whole and proper’”. It continues to widen the spot between right and wrong as well as sister comparisons such as good versus evil, life versus death or Satan versus God.

These are all themes shown throughout the film itself. Religion plays into a big part as the climax of the film comes from an exorcism. This in turn fulfills the theme of Satan versus God. The exorcism demonstrated on screen is a constant battle between the two extremes as well as a battle for power. In the end god overcomes Satan as the demon is exercised and transferred to Father Karras. However, due to his regained strength in god he’s able to make the ultimate sacrifice and jumps out the window to end the plague brought on by the demon.

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Good company in a journey makes the way seem shorter. — Izaak Walton