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complacent, Wall Street frivolous 1990s were mostly in a horror lull, but ended with a bang of excellence with films like Stir of Echoes, The Sixth Sense and The Blair Witch Project.

In the new millennium, a new generation of filmmakers is finding its voice, raised on ubiquitous film courses in high school and beyond, computers that provide in-home editing and sound mixing, mobile, high definition cameras that lead everyone to believe they can be the next John Carpenter. But it is ingenuity that best raises the profile among hordes of wannabes, as well as a point of view.

The world, under the shroud of George W Bush, Tony Blair and their brethren, is dangerous, complicated and nervous. And the boom of horrific storytelling, even when controlled by the mass-media collective out to squeeze every last buck out of it, will reflect a world on edge in its unforgiving mirror… at least until the next cycle.

(Garris in Carolyn, 2008)

In the first section, Configuring the Monster, I will explore the key themes of the genre; the main issues and the debates raised, and engage with approaches and theories that have been applied to horror texts. This theoretical background will be presented via the modernist context within which early horror texts evolved. This brief description of the generic development of the horror film will thus provide a review of its fundamental preoccupations, especially through a discussion of a variety of psychoanalytic and gendered readings. This first part also includes a case study that reviews indicative patterns of readings of horror texts across different age groups that are interesting in terms of the progression of spectator involvement with horror film.

In the second section, Consensus and Constraint 1919-1960, and the final section, Chaos and Collapse 1960-2000, I will further address the chronological evolution of the horror film, looking upon particular historical periods. This analysis will consider the role of both traditional myth and gothic literature in early cinematic representations of horror. Post-war developments are then viewed in terms of the revisiting of these generic formulae. The more contemporary transgression of boundaries of permissible gore and pathological states are then considered through a discussion of the work of postmodern auteurs reworking the genre’s field of operation and its consistent cycling.

Inevitably in a work of this length, many complex arguments will be rendered briefly and simplistically, and many important observations reduced to description and generalistion. This is not a disclaimer; rather it is an encouragement for other researchers to pursue further lines of enquiry and to address the genre anew from a personal, informed perspective.

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