Most people have differing ideas as to what constitutes a classic horror story. Some point out that there has to be bizarre, abnormal violence to make the reader or viewer right into a supreme a feeling of mortality. Others insist that only believable, everyday violence qualifies so that unnerving sense of realistic menace can lurk behind every corner while producing an imposing a feeling of vulnerability.
Many state that psychological shock value equates classic horror because this sort of story renders it impossible to discern and get ready for a psychotic killer merely by observing his looks and manners alone. And others demand that classic horror must embrace the supernatural in some manner because only the terror with the unknown can truly erect gooseflesh.
A lot of people crave the actual existence of unearthly monsters and improbable dangers in order to induce a claustrophobic sensation of terror because there seems to be no escape. And there are even fans that only experience classic horror from the nauseating specifics of gore whether watching it inside a movie, game or enduring the pangs of their imaginations when in contact with a printed or audio book.
Obviously classic horror looks to be a thoroughly subjective thing and then in my experience, it appears that this particular genre displays a substantial all-or-nothing reaction in people. Either they love horror stories to begin passion or they cower while despising the particular reference to this issue. Horror stories don’t apparently produce much indifference.
Abnormal violence, realistic menace, psychological shock, supernatural terror, unearthly monsters, inescapable dangers and nauseous gore elements can deliver effective horror to many, whether during the pristine form of one particular element or maybe a tour de force combined many.
However, I personally consider classic horror to produce an unsettling and increasing a feeling of dread. And through dread After all a riveting bout of suspense. If you ask me, classic horror is produced by the anticipation of what’s going to take place rather then precisely what is happening.
For example, a number of the films I consider to generally be classic horror are usually not widely considered to be inside the horror genre. They can be labeled among the groups of drama, suspense, science fiction and the like. Movies such as Snake Pit (1948), One Thing from Another World (1951), The Not So Good Seed (1956), The Evening of the Hunter (1955), Cape Fear (1962), The Birds (1963), Duel (1971) and Soylent Green (1973) slide neatly into my dread files.
Don’t misunderstand. Like a 50 plus year old horror fan, I really like most of the previous elements before mentioning my sense of dread in practically any combination you can imagine. However for me, the one thing that consistently hackles my flesh is definitely an unrelenting experience of dread. Otherwise I feel short changed after investing in the opportunity to be thoroughly frightened.