op-culture has never seen anything like this: Unprecedented ratings, a cult-following without a rival and the kind of events no other show has ever pulled off,” gushed Troy Smith in Cleveland.com on October 13th. “This past Friday night, ‘The Walking Dead’ drew more than 13,000 zombie-crazed fans to Madison Square Garden in New York City for a special premiere of Season 6.” This degree of enthusiasm for what barely counted as a B-movie genre a generation ago is one of the strangest, and most revealing, features of American popular culture.
In the 1930s, when Universal Studios brought out its classic monster films, one out of 300 features was a horror film. Monsters were different back then: exotic imports, party-crashers who clearly did not belong. We humans always guessed their hidden weaknesses, then drove a stake through their hearts. Towards the end of the Vietnam War, though, the monsters began to win for the first time. Satan successfully begat an heir in “Rosemary’s Baby,” and the devil’s child wiped out the competition in The Omen.
Ten years ago the horror genre, thrillers with an expressly supernatural element, supplied one out of 25 film industry products. By 2013 the proportion had risen to one in eight. Horror films touch a number of sore points in the American psyche. Vampires embody a perverse eroticism, which Anne Rice was tasteless enough to make explicit. Satanic apocalypse stories address a more generalized fear. The Frankenstein monster and his emulators speak to our fear of technology. Intelligent scripts and artful acting occasionally have found their way into these themes.