![]() The emphasis on torture in franchises like Saw and Hostel reflects contemporary political debates about how best to face the future. The found footage style recalls the images of 9/11 captured by citizen journalists and imprinted upon the public consciousness. Indeed, it is quite easy to draw parallels between the War on Terror and the horror movies of the early twenty-first century. This dependence on found footage seemed to represent a logical extension of the ironic postmodernism of the nineties, a fear that the real world and the world of the horror were overlapping. Found footage offered a more grounded and realistic depiction of terror, reflecting the footage of real-life horrors captured on camcorders and mobile telephones for broadcast on the evening news. In the nineties, knowing irony seemed to take over.Įven in the first couple of years of the twenty-first century, the genre came to be dominated by supernatural monsters and found footage. The late eighties gave way to body horror as the AIDS virus became an international crisis. ![]() The haunted house became a fixture of horror in the seventies owing to economic uncertainty, while the zombie became a reflection of unchecked mindless consumerism. The b-movie horrors of the fifties fixated on atomic horrors as an expression of anxiety of the development of the nuclear bomb and fears about science gone mad. ![]() There are any number of obvious examples. As with all cinema, horror movies tend to reflect the era in which they were created. ![]()
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