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Psychological horror

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Poster for the American psychological horror film The Black Cat (1934)

Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, horror, drama, tension, and paranoia of the setting and plot and to provide an overall creepy, unpleasant, unsettling, or distressing atmosphere.

Characteristics

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Psychological horror usually aims to create discomfort or dread by exposing common or universal psychological and emotional vulnerabilities/fears and revealing the darker parts of the human psyche that most people may repress or deny.[1] This idea is referred to in analytical psychology as the archetypal shadow characteristics: suspicion, distrust, self-doubt, and paranoia of others, themselves, and the world.

The genre sometimes seeks to challenge or confuse the audience's grasp of the narrative or plot by focusing on characters who are themselves unsure of or doubting their own perceptions of reality or questioning their own sanity. Characters' perceptions of their surroundings or situations may indeed be distorted or subject to delusions, outside manipulation or gaslighting by other characters; emotional disturbances or trauma; and even hallucinations or mental disorders. Additionally, restricting the characters' and audience's view of potential danger through strategic lighting and visual obstructions—like in Bird Box (film)—can heighten suspense and engage the imagination, leaving much of the threat unseen.

In many cases, and in a similar way as the overlapping genre of psychological thriller, psychological horror may deploy an unreliable narrator or imply that aspects of the story are being perceived inaccurately by a protagonist, thus confusing or unsettling the audience and setting up an ominous or disturbing overarching tone. In other cases, the narrator or protagonist may be reliable or ostensibly mentally stable but is placed in a situation involving another character or characters who are psychologically, mentally, or emotionally disturbed. Thus, elements of psychological horror focus on mental conflicts. These become important as the characters face perverse situations, sometimes involving the supernatural, immorality, murder, and conspiracies. While other horror media emphasize fantastical situations such as attacks by monsters, psychological horror tends to keep the monsters hidden and to involve situations more grounded on artistic realism.

Plot twists are an often-used device. Characters commonly face internal battles with subconscious desires such as romantic lust and the desire for petty revenge. In contrast, splatter fiction and monster movies often focuses on a bizarre, alien evil to which the average viewer cannot easily relate. However, at times, the psychological horror and splatter subgenres overlap, such as in the French horror film High Tension.[2]

Psychological fascination of psychological horror

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Fascination with horror films lies in the unreasonable, irrational, and impossible. Jung and Nietzsche's theories exemplify humans need to escape the real world and live in a sublime space where anything is possible. Horror allows the watcher to escape mundane conventional life and express the inner workings of their irrational thoughts. H.P. Lovecraft's explanation for the fascination of horror stems more from the lack of understanding of a humans true place and our deep inner instinct we are out of touch with, and the basic insignificance of ones life and the universe at large. Horror forces us to remember. Psychological horror further forces the manifestation of each individuals own personal horror. Our unseen humanity and our most basic human impulses forces us to seek out stimuli to remind us of our true nature and potential.[3]

Psychological horror not only ilicits fear, anxiety, and disgust but it also has the capacity to foster empathy in audiences. The genre allows audiences to navigate the complexities of human experiences that prompt viewers to connect with characters confronting conflict.[4] Modern research reveals the relationship between empathy and fear or the lack thereof with interest in horror. Research shows that the effects of psychological horror affects females more than males.[4] A current hypothesis for this difference between the genders is that it relates to social expectations and the gender roles we are exposed to during childhood.[5] As a result of the lack of cross-cultural research on the psychological effects of horror, one hypothesis is that individual cultures develop their own unique sense of horror, based in their cultural experiences.

Discourse on more of the positive effects of psychological horror also point to it being a vessel for catharsis. Much in the same way that a sad song might help a listener through a difficult time by helping them purge their emotions to uncover psychological relief, horror can provide a similar route to cathartic experiences. According to Geraci et. al, “Strange things—the monstrous or weird —fascinate us because they evoke quasi-religious dread and desire, but we also pursue that which disturbs us because we desire to control it. Through deliberate exposure to the things we fear, we acclimate ourselves to them.”[6] Humans have a tendency to exhibit a cognitive bias called the negativity bias that points to why we are more likely to identify and dwell on negative aspects of our environments than positive ones, even if they both occur in the same magnitude. Evolutionarily, this helps explain why we might be quicker to notice certain stimuli or changes in our environments as threats to our safety rather than beneficial. This negativity bias also helps account for morbid curiosity and why we consume and enjoy horror media. Freud also points to his observations that children seem to repeatedly engage in the same unpleasurable experience in order to overcome it. It is only through and after these adverse experiences that psychological comfort arises.[7]

Tools of psychological horror

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Lighting and shadows

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Hitchcock's Rear Window used light and deliberate shadows to incite suspense in the viewer. Suspense is a fundamental part of Hitchcockian horror. The use of shadows through light to cover up information results in a subtle escalation of suspense and horror of what can not be seen. Hitchcock's Rear Window places the main character as the primary information source for the viewer; their confusion is pervasive. The viewer lacks an omniscient understanding of events, resulting in an suspenseful and slow then explosive revelation. Shadows hide events or truths yet to be revealed, sometimes foreshadow events, and notify the viewer to hidden truths, resulting in suspense and the self reflection of known truths by the viewer. Light is used as a metaphor for what we know and can be seen, in the light, and what we do not know and are trying to figure out, what is in the shadows. Half illumination can be used to express a duality of emotions and uncertainty. The use of a burning cigarette or cigar, a tiny light in a sea of darkness is enough to inform the viewer that something or someone is there, but reveals nothing else, manipulating the viewers fears of what could be.[8]

Sound and music

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Studies by Thayer and Ellison in the 1980 studied the effects of different types of music layered on top of stressful visual stimuli, they used dermal electromagnetic to capture information about physiological stimulation while watching and listening. They found that with stressful music and composition laid over top stressful images the psychological response was greater than when watching the same visual stimuli with non stressful sound.[9] Music with a positive tone results in viewers perceiving simultaneous visual stimuli as positive, and when negative tones are used viewers perceive visual stimuli as negative or more threatening.

They made three hypotheses and were able to prove two with their research:

  1. The use of equally stressful sounds and music over stressful imagery increased the psychological response in viewers in comparison to the same imagery without sound.
  2. Where sound and music are placed in relation to a stressful visual stimuli effects the psychological response in viewers. This could not be totally proven, as when sound and music are incongruent with visual stimuli the electromagnetic response was heightened without alleviation in moments of non stress.
  3. Sound and music placement can manipulate the viewer into believing a stressful moment is about to happen or has ended, when music is used in opposition to human expectation it can increase stress in the viewer when the expectation the music created doesn't happen visually.[9]

When following a character in a movie or show, the music exemplifies the emotion of the character, the viewer feels what the character feels, creating a synergy between character and viewer.[10] The addition of music breathes more depth into emotional response that visual stimuli can not accomplish on its own. Music can subconsciously influence the viewer, further intertwining them emotionally with what they are watching forcing them to feel more deeply whatever emotion they are feeling from watching making it an important piece of psychological horror and its success in inciting emotions in the viewer.

While sound design is deliberately crafted in the horror genre to evoke an emotional response, the absence of sound can be equally effective in evoking an emotional response.[11] Soundtracks are utilized to build tension or accent a startling event, like a jump scare. However, in the film A Quiet Place, much of what builds suspense is the sparse, muted sound design. Films with minimalistic, limited soundtracks leave audiences unable to predict coming scenes and often lead to more pronounced emotional responses when a sound is added. Additionally, the replacement of soundtracks with sound effects highlights the role of noise in the plot of movies, such as A Quiet Place, where the blind extraterrestrial monsters are programmed to attack noise sources.

Novels

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The novels The Golem written by Gustav Meyrink, The Silence of the Lambs written by Thomas Harris, Robert Bloch novels such as Psycho and American Gothic, Stephen King novels such as Carrie, Misery, The Girl Who Loved Tom Gordon, The Shining, and Koji Suzuki's novel Ring are some examples of psychological horror. Shirley Jackson's We Have Always Lived in the Castle is often viewed as one of the best examples of psychological horror in fiction.

Films

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Main article: Psychological horror films

Bill Gibron of PopMatters declared a mixed definition of the psychological horror film, ranging from definitions of anything that created a sense of disquiet or apprehension to a film where an audience's mind makes up what was not directly displayed visually. Gibron concluded it as a "clouded gray area between all out splatter and a trip through a cinematic dark ride."[12]

Academics and historians have stated different origin periods to the psychological horror film. Historian David J. Skal described The Black Cat (1934) as "being called the first psychological horror movie in America."[13] Academic Susan Hayward described them as a post-World War II phenomenon and giving examples of psychological horror films as Psycho (1960) and Peeping Tom (1960).[14] Hayward continued that the psychological horror films and slasher films are both interchangeable terms with "horror-thrillers".[15]

Hayward said the genre resembled the slasher film with both being "vicious normalizing of misogyny".[14] She wrote that in both film genres, the male had a dependence on the female for a sense of identity derived from his difference from her, and often killed them with items like knives or chainsaws.[16]

Video games

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See also: Psychological horror game

Psychological horror video games are a subgenre of horror video games. While such games may be based on any style of gameplay, they are generally more exploratory and "seek to instigate a sense of doubt about what might really be happening" in the player.[17][18] Phantasmagoria (1995),[17] D (1995),[19] Corpse Party (1996)[20][21] and Silent Hill (1999)[22] are considered some of the first psychological horror games. Sometimes, psychological horror games will simulate crashes, file corruptions, and various other errors, such as the 2017 visual novel Doki Doki Literature Club![23]

Aligning with Freud's observations of childrens' repeated engagement with unpleasurable experiences, researchers have found that many many people derive similar emotions and experiences when engaging in horror video games.[24] Scary, disturbing, and unsettling characters in horror media tend to be heightened and exagerrated personifications of our actual anxieties and fears. It is human nature to be attracted to things that elicit fear and to seek to overcome those fears as it allows individuals to gain "temporary victory over ourselves." Horror video games elicit a consistent level of anxiety in players and allows them to act on it. To deal with the threat of horror in the game, players are driven to strengthen and protect their characters, and their success translates to both achievement and a cathartic experience having overcome their fears and anxieties. Research also indicates that some players even noted diminshed fear in their real lives after playing horror video games.

See also

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References

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  1. ^ Lofberg, Ivy (2016-11-16). "Beginner's Guide: Psychological Horror". Film Inquiry. Retrieved 2024-10-11.
  2. ^ "Psychoanalytic theory in times of terror". Journal of Analytical Psychology. 4 (48): 407. September 2003.
  3. ^ Hauke, Christopher (2015-10-26). "Horror films and the attack on rationality". Journal of Analytical Psychology. 60 (5): 736–740. doi:10.1111/1468-5922.12181. ISSN 0021-8774. PMID 26499301.
  4. ^ a b Martin, G. Neil (2019-10-18). "(Why) Do You Like Scary Movies? A Review of the Empirical Research on Psychological Responses to Horror Films". Frontiers in Psychology. 10: 2298. doi:10.3389/fpsyg.2019.02298. ISSN 1664-1078. PMC 6813198. PMID 31681095.
  5. ^ Lin, Carolyn A.; Xu, Zhan (2017-10-02). "Watching TV Series with Horror Content: Audience Attributes, Motivations, Involvement and Enjoyment". Journal of Broadcasting & Electronic Media. 61 (4): 638–657. doi:10.1080/08838151.2017.1375503. ISSN 0883-8151. S2CID 149437842.
  6. ^ Geraci, Robert M.; Recine, Nat; Fox, Samantha (2016). "Grotesque Gaming: The Monstrous in Online Worlds". Preternature: Critical and Historical Studies on the Preternatural. 5 (2): 213–236. doi:10.5325/preternature.5.2.0213. ISSN 2161-2196.
  7. ^ Read, C. Stanford (1955). "Beyond the Pleasure Principle. By Sigm. Freud. Authorised translation from the second German edition by C. J. M. Hubback. London, Vienna: The International Psycho-Analytical Press, 1922. Medium 8vo. Pp. 90. Price 6s. net". The Hogarth Press. 69 (286): 367–369. doi:10.1192/bjp.69.286.367. ISSN 0368-315X.
  8. ^ Bradley, Devon (2022). "The Best Things Happen in the Dark". Mise-en-scène: The Journal of Film & Visual Narration. 7 (2): 26–29. ISSN 2369-5056. Archived from the original on 2023-04-26. Retrieved 2023-04-26.
  9. ^ a b Meinel, Larina Sue; Bullerjahn, Claudia (2022-02-14). "More horror due to specific music placement? Effects of film music on psychophysiological responses to a horror film". Psychology of Music. 50 (6): 1837–1852. doi:10.1177/03057356211073478. ISSN 0305-7356. S2CID 246843004.
  10. ^ Deutsch, Stephen (2010-07-01). "<I>Psycho</I> and the orchestration of anxiety". The Soundtrack. 3 (1): 53–66. doi:10.1386/st.3.1.53_1. ISSN 1751-4193.
  11. ^ Smith, Eleanor Katie. Music, madness & memory : Victorian constructions of madness & musical horror tropes in contemporary film & television. OCLC 1255875757.
  12. ^ Gibron 2013.
  13. ^ Skal 2001, p. 180.
  14. ^ a b Hayward 2001, pp. 188–189.
  15. ^ Hayward 2001, p. 188.
  16. ^ Hayward 2001, p. 189.
  17. ^ a b Perron, Bernard (2009). "Games of Fear: A Multi-Faceted Historical Account of the Horror Genre in Video Games". In Perron, Bernard (ed.). Horror Video Games: Essays on the Fusion of Fear and Play. McFarland & Company. pp. 26–45. ISBN 978-0786441976.
  18. ^ Krzywinska, Tanya (2009). "Reanimating H.P. Lovecraft: The Ludic Paradox of Call of Cthulhu: Dark Corners of the Earth". In Perron, Bernard (ed.). Horror Video Games: Essays on the Fusion of Fear and Play. McFarland & Company. pp. 267–288. ISBN 978-0786441976.
  19. ^ Kurl, Daniel (11 April 2019). "The "D Trilogy" Was Weird, Wild, and Truly One-of-a-Kind". Bloody Disgusting. Archived from the original on 7 November 2020. Retrieved 24 December 2020.
  20. ^ Fahey, Mike (October 31, 2011). "Paranoia, Madness, Suicide and Cannibalism; Who Says 16-Bit Can't Be Scary?". Kotaku. Archived from the original on 18 June 2012. Retrieved 12 June 2012.
  21. ^ Mortensen, Torill Elvira; Linderoth, Jonas; Brown, Ashley ML (June 5, 2015). "14: Sonic Descents – Musical Dark Play in Survival and Psychological Horror". The Dark Side of Game Play: Controversial Issues in Playful Environments. Routledge. p. 226. ISBN 9781317574460. Retrieved 4 May 2017.
  22. ^ Fahs, Travis (30 October 2009). "IGN Presents the History of Survival Horror". IGN. IGN Entertainment, Inc. p. 5. Archived from the original on 29 June 2010. Retrieved 9 June 2011.
  23. ^ Rose, Victoria (October 22, 2017). "Doki Doki Literature Club is an uncontrollably horrific visual novel". Polygon. Archived from the original on October 23, 2017. Retrieved May 10, 2020.
  24. ^ Mohammed, Farah (2020-06-15). "The Therapeutic Value of Horror Video Games". JSTOR Daily. Retrieved 2024-12-02.

Bibliography

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