Wood’s Theory on the Horror Film
Wood argues that horror film monsters are representations of repression and oppression within society. Drawing upon Freudian theory, Wood distinguishes between two forms of repression: basic repression and surplus repression. Basic repression is deemed necessary for survival as it allows individuals to exercise self-control and compassion. In contrast, surplus repression is considered unnecessary and arises when individuals are socialized from birth to conform to normative cultural values such as heterosexuality, monogamy, and capitalism.
The essay shows how repression and oppression differ in their nature. Repression is an internal process, where a person imposes restrictions on themselves. On the other hand, oppression is an external force that is imposed upon us when we resist repression. When someone breaks free from societal norms, they give rise to the concept of the Other. The Other challenges the dominant bourgeois ideology and therefore, mainstream society must respond by either assimilating or rejecting the Other. Mainstream society may choose to suppress any evidence of the Other, or it may incorporate it to normalize it. Oppressed individuals encompass various groups such as women, children, the working class, queer people, racialized individuals, and cultures that are different from one’s own.
Horror cinema exploits the viewer’s suppressed anxieties by compelling them to confront the notion of repression, the Other, and the monster, as horror cinema can generate monstrous portrayals of these various groups. Furthermore, Wood asserts that there exists a basic formula in the creation of horror films, which involves the presence of a monster that poses a threat to prevailing social norms. By doing so, horror cinema prompts the audience to contemplate the potential consequences when individuals who have been oppressed acquire or exert power. What happens when an individual releases their repressed feelings? Wood concludes that the presentation of a monster in a horror film is a vehicle for conveying social and political messages, thereby rendering a horror film either progressive or reactionary.
Wood presents some compelling arguments regarding horror films. Many films, particularly older ones such as The Text Chainsaw Massacre (1974), align with Wood’s analysis. This film revolves around the struggles faced by the impoverished and the extreme measures disenfranchised individuals are willing to take to survive. The film encourages the audience to empathize with the main character, while Leather Face symbolizes the oppressive forces within America.
What makes horror films intriguing is their ability to blur the line between normality and monstrosity. They have the potential to make viewers question the societal norms that are in place, while simultaneously evoking fear and, in some cases, even sympathy towards the monster. However, it is important to note that every film adheres to Wood's criteria for the basic formula of a horror film.
For instance, Get Out (2017) features a Black actor in the lead role. The character can be characterized as an Other, someone who is expected to suffer from the pressures of oppression. However, this film deviates from the traditional formula by placing the Other as the protagonist, allowing them to reclaim power and fight against oppression without being vilified or victimized. As a result, Get Out humanizes the Other and challenges the stereotypes typically associated with the Other.