Are Horror Films Republican? (Guest Column)

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As a gamer with over two decades of immersing myself in the intricate worlds of horror games and films, I can confidently say that the political leanings within this genre are as diverse as the creatures lurking in its shadows.

In simple terms, the upcoming election next week is causing a lot of tension and disagreement between two strongly opposed groups, which has led to a sense of fear and anxiety reminiscent of horror movies. It’s interesting to think about why nobody has made a horror film about volunteer canvassers going door-to-door at dusk during an election.

As a gamer, I’ve noticed an unsettling pattern in horror movies: they frequently carry hidden political messages that aren’t always as covert as they seem. To put it plainly, these films don’t actually vote in presidential elections. However, if we look closely, we can see the leanings they might suggest for November. For instance, one could make a strong argument that The Exorcist and the entire satanic-possession genre leans more towards Republican ideologies. In Friedkin’s 1972 film, science and modern medicine are portrayed as utterly powerless against the demonic force possessing the innocent girl, leaving the patriarchal Catholic church to take charge and essentially implement their version of Reaganomics.

The idea of supernatural evil often carries a socially conservative undertone, as demonstrated in films such as “The Blair Witch Project” and “The Ring,” where skeptical main characters attempt to debunk an occult legend but ultimately succumb to its deadly truth. Similarly, the horror genre can lean towards a more hawkish perspective. For instance, the recurring theme of conventional attempts to quell some form of terrifying occurrence failing, requiring the use of extraordinary measures (as seen in monster movies like “King Kong,” “Godzilla,” “Them,” and “Jaws,” which were influenced by self-declared “right-wing extremist” John Milius). Furthermore, there is a sub-genre known as “queermongering,” popularized by films like “Psycho,” “Homicidal,” “Dressed To Kill,” “Silence of the Lambs,” and “Basic Instinct,” which portray LGBTQ characters as killers. This 60-year-old trope still aligns well with today’s MAGA ideology.

Despite giving the entire horror genre a broad sweep with a right-wing blade, it’s essential to remember that not all horror films follow the same pattern. For every movie relying on classic fright-night creatures, there exists another one with deeper, more thoughtful themes. Some horror films depict society as the true monster, terrorizing individuals, such as in ‘Invasion of the Body Snatchers’, ‘Night of the Living Dead’, ‘Rosemary’s Baby’, ‘Carrie’, ‘Get Out’, and ‘Midsommar’. Moreover, after the advent of ‘Jaws’, we see a new type of monster movie where brute force and heavy weaponry prove ineffective, as shown in ‘Alien’, ‘Independence Day’, and ‘Cloverfield’. Instead, these monsters must be outsmarted.

Even though movies featuring recurring supernatural killers targeting young, vulnerable women might initially appear politically straightforward, they can actually be more complex than they seem. As James Kendrick, an associate professor of film and digital media at Baylor University, notes, in many slasher films, traditional male-dominated institutions like the police or military often fail or are eliminated, leaving the main character, typically a woman, to fend for herself. This suggests a subversion of typical gender roles where the female protagonist is often left as the last line of defense against the killer.

If there’s a popular formula for modern horror stories, it’s the “final girl” narrative, which is evident in films like “The Texas Chainsaw Massacre,” “Halloween,” the “Alien” series, “Scream,” “Resident Evil,” “The Descent,” “Happy Death Day,” and of course “The Final Girls.” While it’s tricky to pinpoint their political views, considering the majority of these characters are women, it’s safe to assume they might lean towards candidates such as Kamala Harris.

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2024-10-31 21:26