Of Monsters and Men: Finding Humans’ Place in the Horror Film
Henry Popp
Senior Thesis | 2026
OfMonstersandMen:FindingHumans’PlaceintheHorrorFilm
Thelinebetweenhumanandmonsterisoftenclear.Much ofhorrorworksoffofthatverydistinction,whetheritbehuman survivorsstrugglingagainstsomesupernaturalbeast,oraperson’s bodychangingininhumanways.Therearetimeswherethelineis blurredthough.Sometimestheheroisn’tfightingbackagainst someunnaturalforce,butratheramaninamask,orsimplya crazed,volatilemurderer.Directlyintertwinedwiththisquestion, isthequestionofwhathorroris.There’sathinlinebetween horror,andnon-horrorthrillers,andoftenthatlineisdrawnatthe presenceofamonster.However,I’darguethatmonsterlesshorror, orhorrorwithsolelyhumanmonstersexists.Thereareprimarily twocategoriesofhumanmonstersthatexistinhorror,single abusiveorcreepyhumans,andhumancollectives.Singlehumans existinmanyforms,oftenbeingwarpedbythewaythemain characterperceivesthem.Thispaperwilllookattwomain examples, A Tale of Two Sisters’Eun-Joo,and Perfect Blue’sMr. MeManiaandRumi.Inbothofthesefilms,themaincharacteris repeatedlyattackedbypeoplewho’reentirelyhuman.However, throughouttheirrespectivearcs,themaincharactersbegintolose theirsanity,withtheirantagoniststakingonsupernaturalpowers andappearancesastheirsanitydeclines.Asexamplesofgroupsof peoplebecomingmonsters,I’veincluded Midsommar’scultand The Texas Chainsaw Massacre’sfamilyofcannibals.Inbothof thesemovies,humansparticipateinstrange,oftencruel,ritualsand customs.Throughthesebehaviours,thepeopleinthesegroups becomemonstersastheylosetheirhumanitytothecollective.In bothcases,despitehumansandmonstersbeinginherently different,thesefilmsemployhumansasmonstersthroughstrange behaviourandpresentation.
Carrolldefinestheideaofamonsterinthecontextof horrornarrowlyinordertoseparatehorrorfromothersuspenseful genres,buthisdefinitionallowsforexceptions.Hisfirstgoalisof coursedefininghorroratlarge;todoso,heusesmonsters.Carroll sayshewantstodefinehorroras,“markedbythepresenceof monsters”inorderto,“[distinguish]horrorfromwhatare sometimescalledtalesofterror”(Carroll15).Hemakesan importantdistinctioninthispassage,being,thedifferencebetween thrillers,aswewouldcallthemtoday,andhorrormovies.Thrillers canberootedinhuman,ornaturalfears,likeforinstanceaserial killer,anaturaldisaster,oraplague.Allofthesetopicsrightfully leadtofeelingsoffearandsuspense,butarefundamentally differentfromhorror,which,Carrollbelieves,requiresamonster whichis“threatening”and“impure”(Carroll27).Lookingat A Tale of Two Sisters then,itseemsobviouswheretoapplythis theory,thatis,totheghostsofthemovie’svariousdreamand hallucinationsequences,creatureswhichtheaudienceknowsnot tobereal,andwhichare“impure,”and“threatening.”However, thatisn’ttheonlyexampleofamonsterinthefilm;Eun-Jooisalso abletobeamonster.Whileanostensiblyhumancharacterbeinga monstermayseeminitiallyantitheticaltoCarroll’sdefinition,he allowsforexceptionstotheruleinthecasethat,“though nominallytheantagonistsbelongtooureverydayworld,their presentationsinthefictionstheyinhabitturnthemeffectivelyinto fantasticalbeings”(Carroll37).Inthisquotation,Carrollis respondingtocriticismthathisdefinitionleavesoutfamoushorror antagonistslikethesharkfrom Jaws,hisresponseaddsalayerto hisdefinitionofamonster,sayingthatnomatterhownaturalit mayseem,anythingpresentedunnaturallymaybecomeamonster.
Eun-Jooissetupasamonsterinherintroduction,witha combinationoflighting,andfacialexpressionsmakingherseem unnatural,andscary.Afterthesistersreturnhome,theyarevery quicklygreetedbytheirstepmother,standingattheendofa
narrowhallway.Inthisscene,Eun-Joo’slegsareobscuredin shadowassheveryquicklywalkstowardsthesisters(Tale of Two Sisters 0:12:03).Thelightinginthissceneisdeliberate,and revealshowKimwantstheviewertounderstandEun-Joo.Her speedandobscuredlegsmakeherappeartofloattowardsSu-Mi andSu-Yeonlikeaghost,orothersupernaturalmonster.Herfacial expressionalsoworkstothesamegoal,withanunflinchingsmile plasteredoverherface,evenasshechidesthesisters(Tale of Two Sisters 0:12:10-15).Thedichotomybetweenherexpressionand wordsmakesSu-Yeon,andbyextensiontheviewer, uncomfortable,andmakesEun-Jooseemunnatural.AsCarroll says,howacharacterispresentedcanmakethem“fantastical,” whichthefilmdoes.
AnotheraspectofhorrorthatCarrolldiscussesisthe necessityofthecharactersbeingscared,andtheaudience mirroringthecharacters,whichcanbeseeninSu-Yeon’sfearof Eun-Joo.Hepre-supposesthatinhorrormedia:“ouremotional responsesasaudiencemembersaresupposedtoparallelthoseof characters,”meaningthatwhenseeingamonster,“theshuddering ofthecharacter…cuesoratleastreinforcestheaudience’s response,[and]isconnectedwithabhorrenceandfear”(Carroll19, 23-24).WithinEun-Joo’sintroduction,thisprincipleisobviousin Su-Yeon’sreactionstoher.Su-Yeonisimmediatelyuncomfortable seeingherstepmother,andshrinksawayfromherwhilesqueezes hersister’shandinresponsetohergettingclose(Tale of Two Sisters 0:12:47).Su-Yeon’sreactionshereemphasizeEun-Joo’s monstrousness.Assheshowsfear,andanaversiontobeingclose toherstepmother,theaudienceismeantto"parallel"her,and realizethatEun-Jooisworthbeingafraidof.Thisfear characterizesEun-Jooasstrangeandunnatural,makingherappear asamonster,despitenotbeingimmediatelydangerous.
A Tale of Two Sisters isjustoneexampleofafilmfeaturing ahumanmadeintoamonsterbyacharacter’sperceptionofthem
Popp4 infilm,anotherexampleisSatoshiKon’s Perfect Blue. Perfect Blue isastrange,confusinghorrorfilm,butitscharactersare undeniablyhuman.ItfollowsMima,apopstarwho’sdecidedto quitherbandtotakeupacting,againsttheadviceofheragent Rumi.Aftershequits,Mimaisstalkedbyacrazyfanwhogoesby Mr.MeMania.MeManiabelievesthattherealMimahasbeen replacedbythenewactressMima,andthatsheneedstobesaved. Thefilm’sconflictandhorrorcomefromMima’smentaldeclineas she’sstalked,withMeManiaappearingeverywhereinherlife,and eventuallytryingtokillher.Inthatway,itmirrorsSu-Yeon’sfear ofherstepmotherin A Tale of Two Sisters,and Perfect Blue’s charactersaremademonstrousinmuchthesameway.
In Perfect Blue,Mima’sstalkerismademonstrousbyhis uncannyappearance,andthewayinwhichherepresentsMima’s ownfearslaterinthefilm. Perfect Blue openswithMima’sfinal showbeforeleavingherlifeasapopidoltobecomeanactress.In thisscenethefilmintroducesMima’sstalker,Mr.MeMania.The camerapanstohimholdinghishandupinfrontofhishead,before cuttingtoashotfromhispointofviewwhereMimaappearstobe dancingonhishand(0:05:19).Thefirststrikingthingabouthimis hisappearance.Mr.MeMania'sfaceandexpressionare immediatelyoff-putting.Hisfaceishalfobscuredbyhair,withhis onevisibleeyegrayedout,andastoicexpressionthatgiveshima strangelook.Hisappearanceisonlymademoreuncannywhenthe cameracutstoaclose-up.Herehisfaceisshowninmuchhigher detail,withhugepupilsandasomewhatsnaggle-toothedgrin.His appearanceservestoimmediatelymaketheaudiencesuspiciousof him,andthosesuspicionsarepaidoffwiththesceneofMimain hishand.TheperspectiveandframingofMimainMeMania’s handestablishestherelationshipbetweenthetwocharacters. MeManiaispossessive;hebelievesthatMimaisperformingsolely forhim,andspeakingtohimthroughhersinging,whileMimais entirelyunawareofhisexistence.MeMania’sappearanceand
behaviourmakeitclearthathe’sthefilm’santagonist,butit’sthe wayMimaperceiveshimthatmakeshimintoamonster.
Asthefilmprogresses,Mima’smentalstatebeginsto decline,withMr.MeManiabecomingamanifestationofher insecurities.AsMimastrugglesbothwithdefiningherselfand beingstalked,shebeginstohallucinatethatshe’srelivingthesame dayoverandoveragain.Inoneofthesehallucinations,shesees herpopidolpersonatauntingheronapodcastwithherbandmates. Sheimmediatelybeginstochaseherhallucinationthroughthe studioandoutontothestreet,whereshe’shitbyatruckbeing drivenbyMr.MeMania(0:52:52).Asfarastheaudiencecantell, thisentiresequenceistakingplaceinsideofMima’smind,which meansinhersubconscioussheseesherselfbeingkilledbybothher previouslife,andMr.MeMania.MeMania’sroleinher hallucinationrevealsthathehasbecomeamanifestationofher struggleforself-determination.Asshetriestomoveforwardinher careerasanactress,hegetsmoreaggressivetowardsher,believing thatheknowswhat’sbestforher,andshegrowsmorefearfulof him,seeinghimconstantlyatherworkplaceandinher subconscious.InrepresentingthesocietalpressureputonMima, MeManiabecomesamonsterinamoreliterarysenseoftheword. Inclassicalandgothicliteraturemonstersoftenexistasa perversionofsocietalvaluesthattheheromustovercome (Marshall).Bythisdefinition,MeManiaisamonsterdespitebeing human,becausehepervertssociety’sdesireforMimatoremaina pure,innocentpopidol.Whilethisdefinitionstraysfromthetype ofmonsterCarrolldescribes,MeMania’scharacterbeingbothan entirelyhumanstalker,andaninhumanrepresentationofMima’s strugglesallowhimtobeamonster.
Mima’smanager,Rumi,isyetanotherexampleofahuman monsterin Perfect Blue,thoughthistimehermonstrositycomes fromthewaythatshe,andhermultiplepersonalitiesareanimated. Neartheendofthefilm,atwistrevealsthatRumihadsecretly
beengoadingMr.MeManiaalongbyemailinghimpretendingto beMima.InRumiandMima’sfinalconfrontation,Rumiappears asanapparitionofMima’spopidolself.Intheensuingbrawl, MimachokesoutRumi.Asshe’sbeingchokedout,Rumi transformsbacktolookinglikeherself(1:11:40).The transformationisunnaturalanddisturbing,withRumi’seyes bulgingoutofherhead,andherskincolorchangingasMima realizeswhat’shappening,yetRumiisentirelyhuman.Thisscene providesanotherexampleofahumanbeingtakingontheroleof anarthorrormonsterlikeCarrolldescribes.Inthiscase,Rumiis monstrousbecauseshe’sbeingviewedthroughMima’seyes.In Mima’smind,sheisfacingbothRumiandherself,andthefilm mirrorsthatperspective.Inthefollowingscenes,Mimaischased byherself,whotheaudienceknowsisactuallyRumi.Inthisform, Rumiseemstohavesupernaturalabilities,effortlesslyfloating acrossrooftops(1:12:19).Inthesamewaythatlightingandshot compositionmakeEun-Jooseemsinisterin A Tale of Two Sisters, Mima’sdamagedpsycheallowsRumitobeamonster,inlinewith Carroll’sdefinition.It’salsoworthmentioningthehistoryof monstersinhorrorbeingtheresultoftransformationsanddual personalities.BruceF.Kawindescribes"transformingmonsters”in hisbook Horror and the Horror Film,wherehestatesthat“[a] transformedbeing,whichoftencomprisestwoselvesbetween whichitcanchange,isavarietyofmonster”(50).Hisexampleis thefamous Dr. Jekyll and Mr, Hyde,butthesameprinciplescanbe appliedtoanalyzeRumi’srolein Perfect Blue. Shehastwoselves, RumiandidolMima,withfearcomingfromtheunpredictable violentactionsofherMimapersona.Mimaisyetanotherexample ofacharacterwhoisundeniablyhuman,butstillamonster, becauseofMima’sperceptionofher,andthetropeofmonsters shiftingbetweenpersonas.
Asimilartropeappearsin The Texas Chainsaw Massacre. Thefilmfollowsagroupofcollegeagedkidsgoingofftoexplore
ahouseoneoftheirfamilymembersowns.They’requickly accostedbyahitchhikerwho’spartofafamilyofcannibalsliving nearby.ThegroupmembersbegintobepickedoffbyLeatherface, achainsawandhammerwieldingmemberofthefamily,leaving oneofthecollegekids,Sally,alive.Thefamily’scook,Drayton, displaysasimilararctoRumi,beginningasafriendlyfacebefore laterbeingrevealedtobemalicious.Again,likewith Perfect Blue, everycharacterishuman,buttheyoftenappearstrange,andactin waysthatmosthumansneverwould.Thefamilymembers' behaviour,andinsomecasesappearance,makethemintohuman monsters.
TobeHooper’s The Texas Chainsaw Massacre featuresa collective,inthiscaseafamily,ofstrangeindividuals,whoare mademonstrousbytheirbehavior.Oneofthefamilymembers, DraytonSawyer,ismaybethemostnormalofthegroup,which makeshisroleinthefamilyallthemorefrightening.Drayton appearsthroughoutthefilm,indrasticallydifferentcontextseach time.First,hemeetsthesoontobekilledcollegestudentsathis gasstation(0:20:27).Inthisscene,Draytonsimplytellsthegroup he’soutofgas,andwarnsthemnottogosnoopingaroundother people’sproperty.Here,Draytoniscompletelyfriendly,andwith thecontextofhisroleinthefamilyit'sclearthathe’sattemptingto giveSallyandherfriendstheopportunitytosavethemselves.He doesn’tappearagaintillthelatterhalfofthefilm,againathisgas station.Thistime,mostofSally’sfriendsaredead,andshe’s runningfromachainsawwieldingLeatherface.Whenshegetsto thegasstationshe’sunderstandablyrelieved,findingwhatshe thinksisafriendlyfaceinDrayton.Drayton’sfacadequickly deterioratesthough,asSallylookstothefireplace,noticingsome suspiciouslyhumanlookingmeatcooking(0:59:41).Uponhis return,DraytonbeatsSallywithabroomandtiesherinasack, beforehedragsherbacktohishousewheretherestofhisfamilyis waiting.ThisscenerevealsthatDrayton’sbeenamonster
somewhatakinto Perfect Blue’sRumitheentiretime.Likeher, Drayton’smonstrositycomesfromthefactthathewasaonce friendlyfacewho’sbecomeviolentandabusive.In The Texas Chainsaw Massacre,theshiftisfarmorepronounced,because DraytonistheonlyseeminglynormalpersonSallymeets.His changefromfriendlytoabusivegetsridofanyhopeSallymay havehadofescapeasshe’sdraggedbacktohishome.Drayton becomesamanifestationoftheinescapabilityofthemovie’s monster,thefamily,andthereforebecomesmonstroushimself. ThinkingbacktoCarroll,thisisanotherexampleofthe protagonist'sreactionscreatingahumanmonster.We’reinSally’s shoesassherealizesthatDraytonisamonster,andthereforefeel thesameway.Finally,Draytonplaysaroleinthefilm’sclimatic dinnerscene.
Atthefamily’sdinnerDrayton’smonstrositycomesfrom hiscomplacencyinthefamily.Sally,havingtriedandfailedto escape,istiedtoachairatDrayton’sfamily’sdinnertable.Atthe table,asshe’sbeingmockedbyDrayton’sfamilymembers,she begshimtosaveher,towhichherespondsit“can’tbehelped.” Thissceneexemplifieshowthefamilyunitcanexistasamonster initsownright.Draytonisabletoliveasanormalperson,yet whenhe’saroundhisfamilyhefeelsobligatedtoperformthese horrificacts,despitesayinghe“can’ttakenopleasureinkilling” (1:13:26-1:14:00).Aspartofthefamily,heisalsopartofthe film’smonster,ashepartakesintheirabuseandcannibalism, despitehavingthepowertostopit.Thecinematographyinthis sequenceemphasizesthesamepoint.Hooperfrequentlyusesa shotofthetablefrombehindSally'shead.Fromthisangle,wesee LeatherfaceandthehitchhikeradvancetowardsSally,with Draytonsittingbehindthem.Theblockingofthescenemakes Drayton’scomplacencyclear,ashetakesontheroleofatitillated observer.He’sbyfarthemosthumancharacterinthefamily,being theonlyonetoshowanyempathyordepthofthought,butthat
doesn’tmakehimlessmonstrous,ratheritshowsthatdespitehis betterjudgementhestillgoesalongwiththeircruelty.
The Texas Chainsaw Massacre’smainantagonist, LeatherfaceismonstrousinaverydifferentwayfromDrayton, withhismonstrositycomingfromhisappearancemorethan anything.Kawindiscussesatypeofsomewhatproblematic monsterhecalls“humananomalies”orfreaks,peoplewhowere bornstrange(158).Leatherfaceisinnouncertainwordsahuman anomaly,walkingaroundwearinganotherperson’sface,barely speaking,andpartakinginhisfamily’scannibalismwithgreatjoy. ThisclassificationservestocontextualizeLeatherfaceasahuman monsterwithinpre-existingtropes.Asananomaly,Leatherface couldnevernotbemonstrous,asKawinputsit:“thefreakswho crawlorrunthroughthenightarescaryevenifweareontheir side”(160).Thisisnottosaythattheaudienceisanywherenear Leatherface’ssideashebludgeonsandchainsawsthecast,but Kawin’sanalysisdoesunveilthefactthatnomatterwhat Leatherfacedoes,hisnaturewillmakehiminherentlymonstrousto mostoftheaudience.Leatherface’sbehaviorisinfactmore nuancedthanitmightseem.Aroundthefilm’shalfwaymark, Leatherfacehaskilledtwopeople,withoneofthemlayingonhis butchertableandanotherinhismeatlocker,whenathirdperson, Jerry,entersandfindstheirbodies.Leatherfaceappearsandkills Jerrybeforebeginningtoquietlypanic(0:46:08-0:47:01).This sceneaddsasmallamountofdepthtoLeatherface’scharacter,and insomewaysmakeshimsympathetic.Leatherfaceseemsclueless andscaredmorethananything,whichislaterrevealedtobe becausehe’sabusedbyhisfamily.Hisfearissympathetic,buthis monstrositygreatlyoutweighsit.Whilethereissomemodicumof uncertaintyinLeatherface’sbehaviour,hisappearanceisso horrifyingthatwithinthehorrorgenrehecouldneverbe redeemed.
Collectivesarecommoninhorror,manifestingasfamilies, likein Texas Chainsaw Massacre,orascults.Thefamilyin Texas Chainsaw Massacre iscult-like,withareveredleader,andstrange practicesthattheyviewasnormal.InAriAster’s Midsommar that dynamicisreversed,featuringacultthatactslikeafamily.The filmfollowsagroupofgraduatestudentsventuringintoastrange ruralcommunity,thistimeinSwedenratherthanTexas.Spurred onbyoneoftheirtheses,theyspendtimelivingwiththecult duringtheirmidsummercelebrations.Thecult'spracticesseem innocuousatfirst,focusedonpsychedelicsandcommunalmeals. Veryquicklythecult’sbehaviourdevolvesintoviolence,andthe groupofstudentsarekilledoneaftertheotherastheybreakthe cult’srules.Likein The Texas Chainsaw Massacre,thehumans’ monstrositycomesfromtheirparticipationinagroupwith monstrouscustoms.
InAriAster’s Midsommar,thesettingandpeoplewho inhabititarethemonsterandsourceofhorror.Thefilmtakesplace inaruralSwedishcommunity,withdisturbingandoftenviolent religiouspractices.Themaincharacter,Dani,isimmediatelygiven psychedelicsuponarriving;whileundertheinfluence,sheruns intoasmallhut.Insideofthehutshetakesamomenttogatherher composureinfrontofamirror,whenoutofthecornerofhereye sheseesaface,barelyvisibleinthedark(0:32:13).Thisisthefirst ofhermanystrangeencounterswithcultmembers,andservesto setthetoneofthefilm.Theman’spresencerevealsthatfromher firstminutesintheircommunity,Daniisundersurveillance,andat thecultmembers’mercy.Thisencounteralsogivesasinisterairto themostlynicepeopleshe’smetsofar;theaudienceismeantto starttoquestionthecultandthepeoplewhomakeitup.Thehorror inthissceneagaincomesfromfilmingtechniquemorethan anything.ThemanisonlyvisiblebehindDaniformaybeasecond, beforehedisappearsbackintotheshadows.Thesceneworks becauseitdoesn’tcallattentiontoitself.Audiencemembersmay
ormaynotnoticetheman,andthosewhodomaysecondguess whattheysaw;ascarelikethisisonlypossibleinavisual medium,becauseitreliesentirelyonperception.Forexample,ina novelascenelikethiswouldhavetobeexpresslynarrated, removingtheambiguityandbyextensionthehorror.Generally, thissceneprovidesanotherexampleofawayinwhichahuman beingcanbemadehorrifyinginfilm,butwithin Midsommar it alsoservestointroduceanothertypeofhumanmonster.
Midsommar introducesauniqueformofmonstertothe horrorspace,thatbeing:acollectiveofstrangepeopleasa monster.Whilefolkhorroriscommon, Midsommar straysfromthe normbychoosingnottoincludeanysupernaturalelements. Everythingthattakesplaceinthefilmcanbeexplainedbythe cult’sstrongcontroloveritsmembers,anddruginduced hallucinationorparalysis.Thisisincontrastwithotherformsof folkhorror,orhorrorcomingfromacollectiveofpeoplelikefor instance The Ritual’scultandmonster,orthehordesofreanimated zombiesinGeorgeA.Romero’s Night of the Living Dead trilogy. Assuch, Midsommar needstobeanalyzeddifferently.One exampleofthecult’sstrangebehaviouristheritualsuicideofits elderly,thecult’smembersactverystrangely.Asthefirstperson preparestokillherself,thecameracutstoawideshotofthegroup ofcultmemberssilentlywatching(1:00:33).Asterusesthisscene tocreateacontrastbetweenthecultmembers,standingstilland dressedinwhite,andtheoutsidersthey’veinvitedtowatch, dressedinblue.Thiscontrastcreatesadistinctionbetweenthe naturalreactionsoftheoutsiders,fearanddisgust,andthe unnaturalreactionsofthecultmembers,stoicreverence.Kawin discussesthecultasatropeaswell,writingabout The Wickerman: “Thefireispainful,andthehappysinginganddancingofthe pagans,whoarecontentwiththemselvesandindifferenttothe sufferingofthesacrificed,iscruel”(164).Thesamegoesfor Midsommar wheretheactionsbeingtakenarenotonlycruel,but
shownsidebysidewithempathetic,concernedoutsiders.Thecult membersarestrangeandunnatural;despitetechnicallybeing human,theystrayfarawayfromthenormofhumanempathyand behaviour.
Thelinebetweenhumanandmonsterinfilmisvanishingly small.Throughfilmmakingtechniques,orevenjuststrange appearances,peoplecanbemadetoappearunnaturalandeven monstrous.Filmisuniqueinitsabilitytomakemonsters. Filmmakersareabletoputtheaudienceintotheshoesofthemain characterinawayothermediacan’t.Withoutthecombinationof visualsandaudio,humanswouldn’tbeabletobemonstersnearly aseffectively.Byrelyingonperception,filmopensupnew possibilitiesforsubversionandtrickery,liketheflashofaman sittingbehindDani,orEun-Joo’spanic-inducingmovements.Film worksinlesssubtlewaysaswell.Thegoreof Midsommar and The Texas Chainsaw Massacre couldnevercreateasvisceralof reactionswithouttheworkofeffectsartists,propdesigners,and sounddesign,whichcanonlycometogetherinfilm.Postulating thathumanscanbemonstershasinterestingimplications.Calling someoneamonsterinmanywaysstripsthemoftheirhumanity, andtheirrelatability.Onceapersonisamonstertheyarelittleelse, especiallywithinthegenreconfinesofhorror.Inmakingahuman amonster,afilmmakeralsocondemnsthem,andwhateverthey maystandfor.Often,likeinthecasesof A Tale of Two Sisters and Perfect Blue,humanmonstersfunctionasrepresentationsof trauma,orastruggleagainstoppressivesystems.Atthesametime though,theycanbetoolsofbigotryandhatred.Eitherway,human monstersundeniablyexist,andtheymakesomanyhorrormovies intotheterrifyingexperiencestheyare.
WorksCited
Aster,Ari. Midsommar.UnitedStates:A24.
Carroll,Noël. The philosophy of horror: Or, paradoxes of the heart.London:Routledge,2015.
Hooper,Tobe. The Texas Chainsaw Massacre.UnitedStates: Vortex,inc.
Kawin,BruceF. Horror and the Horror Film,AnthemPress,2012. JSTOR,https://www.jstor.org/stable/j.ctt1gsmz16. Accessed21Jan.2026.
Kim,Jee-Woon. A Tale of Two Sisters.SouthKorea:B.O.M.Film ProductionsCo.,n.d.
Kon,Satoshi. Perfect Blue.Japan:MadhouseProduction.
Marshall,David.“TheSignificanceofMonstersinLiterature.” The Dazed Starling,3May2024, blogs.calbaptist.edu/dazed-starling/2024/05/03/the-significa nce-of-monsters-in-literature/