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In horror films, audiences’ worst fears and nightmares become reality. Sounds and visuals that explore dark and transgressive themes evoke elevated heartbeats, adrenaline and terror within those who dare to venture into the genre. From slasher to supernatural to psychological, horror is chock-full of different ways to stimulate audiences.
According to the New York Film Academy, horror as a film genre began with George Méliès, a French filmmaker. His 1896 film “Le Manoir du Diable,” or “The House of the Devil,” is widely considered the first horror movie, and although it was not intended to be scary, it was “the first example of a film to include the supernatural and set a precedent for what was to come,” the New York Film Academy wrote.
Though the horror film genre can be creepy and disturbing, individuals who work behind the scenes on these projects see the genre as more than what it’s perceived as, and at ASU, there is no shortage of professors and students who have experience in the industry.
Horror as an art form
According to Chris LaMont, an assistant professor in the Sidney Poitier New American Film School and a WGA screenwriter, horror films do more than just scare audiences — it can also tailor to other feelings.
“Horror is all about (whether people) will live or die,” he said. “(Therefore,) the audience is automatically invested in caring about the characters, hoping that they will be able to survive whatever challenges and conflicts come their way because we are all inherently afraid of death and being hurt.”
Horror films can also provide social or political commentary, like classic Jordan Peele movies such as “Get Out” and “Us,” in which Peele addresses race relations. Filmmakers have different stories to tell and write their reflections on society using metaphors and analogies.
LaMont loves to tell stories that engage audiences emotionally and intellectually, and according to him, the horror genre is the best way to do that. His writing melds well with his writing partner, Joe Russo, as their films draw viewers into a “horror suspense world” with films like “The Au Pair Nightmare,” “The Inheritance” and “Soul Mates.” “The Au Pair Nightmare” was the first film that LaMont and Russo sold, and “Soul Mates” was one of LaMont’s biggest films in 2023.
To LaMont, there is no difference between horror writing and other genres. At its core, horror has the typical elements of any other film genre.
“In ‘Soul Mates,’ the neat thing about horror is that they are regular people who are thrust into extraordinary situations, but at the end of the day, they are still people that you can relate to, that you could sympathize with,” he said.
LaMont described “Soul Mates” as online dating meets “Saw.” A woman wakes up shackled to a guy she’s never seen before and they discover they are in a maze created by an online dating service called Soul Mates.
His other film “The Inheritance” is a supernatural horror starring Peyton List about a billionaire bringing his estranged children to their family’s mansion on the eve of his 75th birthday. While there, he tells them that someone is trying to kill him and the children have until midnight to save him — or they will lose their inheritance.
“And suffice to say, it’s not someone trying to kill him; it’s something, and just let your mind wander there,” LaMont said.
Falling in love with horror
As a child, Brian McAuley, an assistant professor in the Sidney Poitier New American Film School, fell in love with horror through the movie “Alien,” which he rented on VHS when he was eight or nine years old.
McAuley was drawn to the fun side of horror through the monsters and spookiness of the genre.
McAuley, who is a WGA screenwriter and a published novelist, has written films like “Dismissed,” a psychological horror starring Dylan Sprouse about a high school student who’s obsessed with keeping a perfect GPA.
During the production of “Dismissed,” McAuley was also writing episodes for the Netflix original “Fuller House.” “It was funny to go from writing Kimmy Gibbler dialogue during the day into set writing dialogue for a psychopath,” he said.
In his book “Curse of the Reaper,” McAuley drew inspiration from his own experiences in Hollywood to create a character. The character is a horror film actor who played a slasher villain in the 1980s, but his career has since slowed. When the actor learns that his film franchise is being rebooted, the studio kicks him to the curb, claiming he’s too old for the role and recasts a younger, more popular actor instead.
“I got to tap into my own experiences in Hollywood working behind the scenes on film sets to really tell this kind of psychological horror story that is also built into it as this entire slasher franchise,” he said. “So I got to create all these kinds of campy films and one-liners. It’s been well received by horror fans because they understand all the references and appreciate the duality of that story.”
Horror as commentary
Kristen Semedo, an ASU alum, has been drawn to horror films like “Halloween” and “A Nightmare on Elm Street” since she was a child. As she’s gotten older, she’s realized that horror is more profound than just being scared.
“It’s a very intimate thing,” she said. “Learning about someone else’s fear or a group of people’s fears can say a lot about them as people and what’s going on in society. [Horror films] are a great refractive lens for viewing the world. Many horror movies make commentary on political and social issues, but also part of that [is] it’s fun to be scared.”
Semedo, a director and scriptwriter, bounced around on the set of her first short film “Vermin,” running lines with actors, troubleshooting problems with cinematographers and setting up props with the art department. Work bled into the night, and they finally wrapped after 12 long hours.
Semedo graduated in May 2024 with a bachelor’s in film and media studies and wrote “Vermin” before graduating. She started the filming process the summer after graduation and looked forward to polishing it up and having it ready for ASU’s Student Showcase that took place on Oct. 23.
“Vermin” follows a recently divorced man who struggles to take responsibility for his life after separating from his wife, who filled the role of a caretaker — which a lot of women end up being for their partners in heterosexual relationships, Semedo said.
“It’s an allegory about men who fall into this category of self-made victims. This guy can’t get out of his way, and ultimately, things start happening to him when he doesn’t choose to grow
up,” she said. “‘Vermin’ is my version of getting to do to a man what I’ve seen men do to women in horror films. It’s kind of like revenge, in a way.” Semedo said the audience should pay attention to the spider in the film. She and her team hired a spider wrangler to bring it on set.
“The black widow was a really important piece to me,” she said. “The black widow female spiders are seen as vicious creatures who eat the male after mating. The title ‘Vermin’ refers to both the male lead and the way the male lead perceives women as disgusting creatures to sort of eradicate or trap or get rid of.”
For the past three years, she has been making a name for herself in the film industry. She worked as a prop master and an art assistant before shooting “Vermin,” and she’s puppeteered for indie horror films like “Destroy All Neighbors” and “V/H/S/85.” She was also a set decorator for a Headspace Super Bowl ad that featured John Legend.
Similarly, during spring break, Byron Roberson, a senior studying film and media production, shot his capstone film, “XLI.” The film’s production lasted two intense days inside a cabin in northeastern Arizona.
After her mother’s suicide, the main character, Willow, struggles to save her brother from his indoctrination into a cult. The film explores responses to trauma, family dynamics and the impact of religious iconography.
“So many of us grow up in an environment where family is everything. To a lot of us, family is, but at the same time, how can that be distorted?” he said.
Dane Futrell, a graduate student studying dramatic writing, has been acting for 10 years. After taking a playwriting class, he realized that he was filling his personal journals with dialogue. In other words, he was writing plays.
Today, he adds horror elements to his plays to make audiences feel unsettled.
“I love how simple dialogue can sometimes be so insightful and very scary at the same time,” he said. “It’s an ancient Greek tradition not to show the worst of it ... but rather to have a character recount what happened to them. And I love that tradition very much because when the audience uses their imagination, it’s going to be the most scared that they can be.”
In Futrell’s plays, the characters are outcasts who are hard to like but easy to love. Their worst parts make them relatable and humanize them.
In his play “Dirty Kids,” the main character wants to live forever while maintaining sobriety after a lifetime of addiction. Throughout the story, the audience believes that he will persevere, but he ultimately ends up relapsing and returning to his old ways in a shocking twist.
When people think of horror, they may feel it is only meant to be scary. But horror creatives see it as a way to tell stories with deep messaging. Horror films can explore complex emotions, profound or relatable themes and even psychological depth.
Edited by Savannah Dagupion, Leah Mesquita and Audrey Eagerton.
This story is part of The Horror Issue, which was released on November 1, 2024. See the entire publication here.
Reach the reporter at fgabir@asu.edu and follow @FatimaGabir on X.
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Fatima is a junior studying journalism and mass communication with a minor in justice studies. This is her fourth semester with The State Press. She has also worked at Phoenix Magazine.
