Fascination with Horror
by Briana Abraham | Thursday, Oct 26, 2023
The first time I watched the movie
Smile
in theaters, I felt like my back was glued to the seat from my
attempts to put a greater distance between myself and the movie. Throughout the nearly two hours, I sat there
with my heart in my throat and my hands clutching the armrests, I asked myself “Why did I do this to
myself?” This was, of course, not the first time I asked myself this question as the horrors of occult, myth,
and reality presented themselves in a piece of media that took up barely a tenth of my day - yet would occupy
the back of my eyelids late into the night. But really, why do we do this to ourselves? Why do so many of
us often find our attention captured by these stories of horror?
Themes often deemed disturbing have been historically and cross-culturally prevalent within art, news, and storytelling (Schechter, 2005). Research has suggested gender differences, in which men tend to watch more horror movies than women (Nolan & Ryan, 2000), and women are more likely to experience negative
reactions – such as sleep disturbances – following a horror movie (Harris et al., 2000). Some theories have noted that these gender differences could be due to the male desire to conquer one’s fears and a female’s desire to be protected, and when given the opportunity to act out traditional gender roles, both genders
report higher levels of enjoyment (Zillmann & Weaver, 1996). However, more modern research seems to focus on the differences in personality, of which there is a spotlight on the aspect of sensation-seeking (Zuckerman, 1979). In his Sensation-Seeking Scale, Zuckerman noted four dimensions of the behavior:
thrill and adventure seeking; experience seeking; disinhibition, which represents the desire and activities of seeking pleasure through partying, sex, and gambling; and boredom and susceptibility, which is the aversion to boredom. The scale found a correlation between these dimensions and gender, as well as a negative correlation with empathy (Tamborini, 1991). In essence, the conclusion is that there is simply a personality difference that makes people more inclined to seek horror.
Furthermore, with Halloween coming up, horror attractions have officially opened to the public to advertise the experience of fear in person. One study was conducted at one of these sites, Dystopia Haunted House in Denmark. The researchers allowed the participants to self-identify as thrill-seekers, who were questioned
on their attempts to maximize fear, or fear-avoiders, who were questioned on their attempts to minimize fear. It was found that thrill-seekers were more likely to aim for immersion and engagement with the narrative, finding enjoyment in reacting to events and staying close to friends to enjoy fear vicariously; meanwhile, fear-avoiders attempted to use cognitive strategies that framed the environment as non-dangerous or humorous, tending to close their eyes and practice relaxation strategies while staying close to other group members, often keeping physical contact (Clasen et al., 2019). This study found similar levels
Themes often deemed disturbing have been historically and cross-culturally prevalent within art, news, and storytelling (Schechter, 2005). Research has suggested gender differences, in which men tend to watch more horror movies than women (Nolan & Ryan, 2000), and women are more likely to experience negative
reactions – such as sleep disturbances – following a horror movie (Harris et al., 2000). Some theories have noted that these gender differences could be due to the male desire to conquer one’s fears and a female’s desire to be protected, and when given the opportunity to act out traditional gender roles, both genders
report higher levels of enjoyment (Zillmann & Weaver, 1996). However, more modern research seems to focus on the differences in personality, of which there is a spotlight on the aspect of sensation-seeking (Zuckerman, 1979). In his Sensation-Seeking Scale, Zuckerman noted four dimensions of the behavior:
thrill and adventure seeking; experience seeking; disinhibition, which represents the desire and activities of seeking pleasure through partying, sex, and gambling; and boredom and susceptibility, which is the aversion to boredom. The scale found a correlation between these dimensions and gender, as well as a negative correlation with empathy (Tamborini, 1991). In essence, the conclusion is that there is simply a personality difference that makes people more inclined to seek horror.
Furthermore, with Halloween coming up, horror attractions have officially opened to the public to advertise the experience of fear in person. One study was conducted at one of these sites, Dystopia Haunted House in Denmark. The researchers allowed the participants to self-identify as thrill-seekers, who were questioned
on their attempts to maximize fear, or fear-avoiders, who were questioned on their attempts to minimize fear. It was found that thrill-seekers were more likely to aim for immersion and engagement with the narrative, finding enjoyment in reacting to events and staying close to friends to enjoy fear vicariously; meanwhile, fear-avoiders attempted to use cognitive strategies that framed the environment as non-dangerous or humorous, tending to close their eyes and practice relaxation strategies while staying close to other group members, often keeping physical contact (Clasen et al., 2019). This study found similar levels
of satisfaction for both groups and concluded that the attraction to fear-inducing stimuli could have to do
with the high degree of control. In these settings, despite the rush of adrenaline and the jump scares, at no
point is an individual in real danger – other than, perhaps, any nightmares that may result.
However, this is not always the case. Instances of vicarious fear have been reported, in which people begin to experience abnormal stress behavior following a horror film, including insomnia, hyperactivity, irritability, and decreased appetite (Buzzuto, 1975; Mathai, 1983; Ballon & Leszcz, 2007). Interestingly, the way people cope with fear is very similar to the methods employed by those in the previously referenced haunted house study. Both cognitive and non-cognitive strategies are employed, in which fear is rationalized and individuals may go through gradual desensitization (Cantor and Wilson, 1988). These fear experiences, whether felt through a screen or at a haunted house, can impact the psyche of individuals who are more prone to reactions to these fear stimuli. So, why are we drawn to fear? Maybe for the adrenaline rush, the control of the situation, the desire to prove one can, or the practice of relaxation during stress. Of course, fear isn’t the only motivation for these activities, especially when it comes to more shock and gore factors in the media. This can be seen in psychological horror, like the anime Devilman Crybaby , which uses its thriller content as a metaphor for mental health, and the movie Smile , which revolves around a supernatural entity that gradually forces its victims into insanity through fear until it takes them over. Then there are movies like Human Centipede and Tusk that revolve around body horror and offer a morbid fulfillment of curiosity, which is its own scale inspired by these horror factors. Research has shown that enjoying films with central themes of threat and a desire for knowledge about violent affairs in the world are both correlated with scoring high on the morbid curiosity scale (Scrivner, 2021).
In essence, the enjoyment of fear media can stem from many factors. When you watch horror movies, how do you find yourself reacting in an effort to control your fear? Do you remind yourself that it’s nonfiction? Do you lean into the fear and enjoy the feeling of the adrenaline rush? The next time you watch a horror movie, take note of your reactions and what horror content you find yourself enjoying more. Is it a thriller? Psychological? Supernatural? Ask yourself the question you probably ask yourself already: “Why do you do this to yourself?”.
However, this is not always the case. Instances of vicarious fear have been reported, in which people begin to experience abnormal stress behavior following a horror film, including insomnia, hyperactivity, irritability, and decreased appetite (Buzzuto, 1975; Mathai, 1983; Ballon & Leszcz, 2007). Interestingly, the way people cope with fear is very similar to the methods employed by those in the previously referenced haunted house study. Both cognitive and non-cognitive strategies are employed, in which fear is rationalized and individuals may go through gradual desensitization (Cantor and Wilson, 1988). These fear experiences, whether felt through a screen or at a haunted house, can impact the psyche of individuals who are more prone to reactions to these fear stimuli. So, why are we drawn to fear? Maybe for the adrenaline rush, the control of the situation, the desire to prove one can, or the practice of relaxation during stress. Of course, fear isn’t the only motivation for these activities, especially when it comes to more shock and gore factors in the media. This can be seen in psychological horror, like the anime Devilman Crybaby , which uses its thriller content as a metaphor for mental health, and the movie Smile , which revolves around a supernatural entity that gradually forces its victims into insanity through fear until it takes them over. Then there are movies like Human Centipede and Tusk that revolve around body horror and offer a morbid fulfillment of curiosity, which is its own scale inspired by these horror factors. Research has shown that enjoying films with central themes of threat and a desire for knowledge about violent affairs in the world are both correlated with scoring high on the morbid curiosity scale (Scrivner, 2021).
In essence, the enjoyment of fear media can stem from many factors. When you watch horror movies, how do you find yourself reacting in an effort to control your fear? Do you remind yourself that it’s nonfiction? Do you lean into the fear and enjoy the feeling of the adrenaline rush? The next time you watch a horror movie, take note of your reactions and what horror content you find yourself enjoying more. Is it a thriller? Psychological? Supernatural? Ask yourself the question you probably ask yourself already: “Why do you do this to yourself?”.
References:
Ballon, B., & Leszcz, M. (2007). Horror films: tales to master terror or shapers of trauma? The American Journal of
Psychotherapy, 61 (2). https://doi.org/10.1176/appi.psychotherapy.2007.61.2.211
Bozzuto, J. C. (1975). Cinematic neurosis following “The Exorcist” report of four cases. Journal of Nervous and
Mental Disease, 161 (1), 43-48.
Cantor, J., & Wilson, B. J. (1988). Helping children cope with firghtening media presentations. Current Psychology,
7 , 58-75. https://doi.org/10.1007/BF02686664
Clasen, M., Anderson, M., & Schjoedt, U. (2019). Adrenaline junkies and white-knucklers: A quantitative study of
fear management in haunted house visitors. Poetics, 73, 61-71. https://doi.org/10.1016/j.poetic.2019.01.002
Harris, R. J., Hoekstra, S. J., Scott, C. L., Sanborn, F. W., Karafa, J. A., & Brandenburg, J. D. (2000). Young men's
and women's different autobiographical memories of the experience of seeing frightening movies on a date. Media
Psychology, 2(3), 245–268. https://doi.org/10.1207/S1532785XMEP0203_3
Mathai, J. (1983). An acute anxiety state in an adolescent precipitated by viewing a horror movie. Journal of
Adolescence, 6 (2), 197-200. https://doi.org/10.1016/S0140-1971(83)80027-X
Nolan, J. M., & Ryan, G. W. (2000). Fear and loathing at the cineplex: Gender differences in descriptions and
perceptions of slasher films. Sex Roles: A Journal of Research, 42(1-2), 39–56.
https://doi.org/10.1023/A:1007080110663
Schechter, H. (2005). Savage pastimes: A cultural history of violent entertainment . Macmillan.
Scrivner, C. (2021). The psychology of morbid curiosity: Development and initial validation of the morbid curioisty
scale. Personality and Individual Differences, 183 . https://doi.org/10.1016/j.paid.2021.111139
Tamborini, R. (1991). Responding to horror: Determinants of exposure and appeal. In J. Bryant & D. Zillmann (Eds.),
Responding to the screen: Reception and reaction processes (pp. 305–328). Hillsdale, NJ: Lawrence Erlbaum
Associates
Zillmann, D., & Weaver, J. B. (1996). Gender-Socialization Theory of Reactions to Horror. In J. B. Weaver & R.
Tamborini (Ed). Horror Films: Current Research on Audience Preferences and Reactions . (1 st ed., pp. 78-99). L.
Erlbaum Associates, Inc. https://doi.org/10.4324/9780203812129
Zuckerman, M. (1979). Sensation seeking: beyond the optimal level of arousal. Hillsdale, N.J.: New York, L. Erlbaum
Associates.
Ballon, B., & Leszcz, M. (2007). Horror films: tales to master terror or shapers of trauma? The American Journal of
Psychotherapy, 61 (2). https://doi.org/10.1176/appi.psychotherapy.2007.61.2.211
Bozzuto, J. C. (1975). Cinematic neurosis following “The Exorcist” report of four cases. Journal of Nervous and
Mental Disease, 161 (1), 43-48.
Cantor, J., & Wilson, B. J. (1988). Helping children cope with firghtening media presentations. Current Psychology,
7 , 58-75. https://doi.org/10.1007/BF02686664
Clasen, M., Anderson, M., & Schjoedt, U. (2019). Adrenaline junkies and white-knucklers: A quantitative study of
fear management in haunted house visitors. Poetics, 73, 61-71. https://doi.org/10.1016/j.poetic.2019.01.002
Harris, R. J., Hoekstra, S. J., Scott, C. L., Sanborn, F. W., Karafa, J. A., & Brandenburg, J. D. (2000). Young men's
and women's different autobiographical memories of the experience of seeing frightening movies on a date. Media
Psychology, 2(3), 245–268. https://doi.org/10.1207/S1532785XMEP0203_3
Mathai, J. (1983). An acute anxiety state in an adolescent precipitated by viewing a horror movie. Journal of
Adolescence, 6 (2), 197-200. https://doi.org/10.1016/S0140-1971(83)80027-X
Nolan, J. M., & Ryan, G. W. (2000). Fear and loathing at the cineplex: Gender differences in descriptions and
perceptions of slasher films. Sex Roles: A Journal of Research, 42(1-2), 39–56.
https://doi.org/10.1023/A:1007080110663
Schechter, H. (2005). Savage pastimes: A cultural history of violent entertainment . Macmillan.
Scrivner, C. (2021). The psychology of morbid curiosity: Development and initial validation of the morbid curioisty
scale. Personality and Individual Differences, 183 . https://doi.org/10.1016/j.paid.2021.111139
Tamborini, R. (1991). Responding to horror: Determinants of exposure and appeal. In J. Bryant & D. Zillmann (Eds.),
Responding to the screen: Reception and reaction processes (pp. 305–328). Hillsdale, NJ: Lawrence Erlbaum
Associates
Zillmann, D., & Weaver, J. B. (1996). Gender-Socialization Theory of Reactions to Horror. In J. B. Weaver & R.
Tamborini (Ed). Horror Films: Current Research on Audience Preferences and Reactions . (1 st ed., pp. 78-99). L.
Erlbaum Associates, Inc. https://doi.org/10.4324/9780203812129
Zuckerman, M. (1979). Sensation seeking: beyond the optimal level of arousal. Hillsdale, N.J.: New York, L. Erlbaum
Associates.