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This chapter argues that of all the horror genre's many strands and variations, the original 'slasher' cycle of the 1970s and early 1980s remains the most disreputable and critically vilified, yet its commercial popularity and lasting influence are unquestionable. Whilst rarely making out-and-out slashers themselves, major Hollywood studios cashed in by buying finished films from their independent producers, giving the makers an instant profit and the studios a cheap marketable film virtually guaranteed an audience of teenagers. The chapter examines a film frequently cited as a forerunner of the slasher, one heavily influenced by the Italian giallo genre of crime fiction. In diverging from the established conventions of the giallo, Mario Bava's Bay of Blood (1971) introduced a number of narrative and aesthetic features found in many of the slasher films that followed. The chapter then considers the influence of the video industry on the evolution of the horror genre (and vice versa), and looks at the issue of censorship as it assesses the British 'video nasties' scare of the early 1980s.

This chapter presents a comparative analysis of a recent horror remake and its original by adapting the critical approach employed by the literary philosopher Tzvetan Todorov in his seminal 1970 study The Fantastic: A Structural Approach to a Literary Genre. It compares John Carpenter’s Halloween and its recent remake by Rob Zombie, and then expands this comparison into a demonstration of the larger transformative mechanisms by which American filmmaking has been appropriating earlier texts to new social and political circumstances.

This introductory chapter provides an overview and a synopsis of John Carpenter's Halloween (1978). Halloween is an acknowledged horror classic, and one of the relatively few horror films added to the National Film Registry by the U.S. Library of Congress, an honour accorded to it in 2006. A large part of the effectiveness of Halloween lies in its willingness to be basic and uncomplicated. Even its stylistic flourishes, highly ambitious for such a low-budget independent production, are smoothly integrated, instead of being showy and ostentatious. Carpenter has characterised Halloween as an exercise in style, and freely uses the term ‘exploitation film’ to describe it. The chapter then considers the relationship between Halloween and the slasher film. It also assesses the role of urban legend themes in Halloween, and how the film evokes a practice that anthropologists and folklorists have dubbed ‘legend tripping’.

This chapter discusses the first character seen on screen in Wes Craven's Scream named Casey, portrayed by Drew Barrymore, in a sequence generally regarded as an arresting self-contained set piece. It explains how Scream serves as a short film in its own right, priming the audience for the film's principal gimmick. It also describes the way Scream acknowledges the standard role of a prologue in a slasher film, which follow the terrorisation and murder of a short-lived character as a means of establishing the antagonist prior to the introduction of the central characters. The chapter mentions the ominous caller in Scream that is voiced by Roger Jackson who represented the vocals of the killer through a universal, gender-defying voice-changing device employed by the antagonist. It talks about Scream's opening scene and the slasher format that has its origins in an enduring urban legend referred to as 'The Babysitter and the Man Upstairs'.

John Carpenter’s Halloween (1978) kicked off the slasher film wave with its disturbing depiction of Michael Myers’s killing spree in a small American town. This chapter argues that Halloween’s emotional and imaginative power has its wellspring in human nature. The film’s horror scenario—the threat of being killed by another human—reflects an evolutionarily ancient hazard, one that has left deep traces in our constitution. Conspecific predation has been a constant danger of social life for millions of years, and the film effectively evokes that danger in a contemporary setting. Halloween gets its power from depicting, and aligning audiences with, likeable and peaceful characters in quiet and safe suburbia, which is suddenly infested with a homicidal agent, Michael Myers, who is simultaneously subhuman and superhuman. Myers became a horror icon because he is a supercharged representation of an ancient danger, a hostile conspecific outside rational reach.

Chapter 3 refines the discussion of the sensational address and horror spectatorship by analyzing the first-person camerawork that I dub “Killer POV.” Killer POV—a subjective camera without a reverse shot—is at the center of many of the most influential writings on modern horror. However, these discussions often start from the assumption that the camera’s point of view produces identification with the unseen killers or monsters whose perspectives we presume to be represented. This chapter attempts to disengage our understanding of horror spectatorship from such models to provide an alternative reading of Killer POV that engages with the genre’s structures of looking and being looked at while remaining sensitive to what precisely is being communicated to viewers by these shots. Killer POV signals to the viewer the presence of a threat without displaying the killer onscreen. This chapter reads Killer POV through the lens of the sensational address, understanding it in terms of its effects on the spectator. In this reading, Killer POV does not elicit fantasies of mastery and control, but, rather, separates the dominating, sadistic look of the killer from the viewer’s powerless look at Killer POV.

This chapter discusses the other serial killers in the cinema before Hannibal Lecter. In 1959, the writer Robert Bloch was inspired by the gruesome case of the Wisconsin mass murderer Ed Gein, with his keepsakes of bones and human skin. He transmuted elements of the Gein case into the phenomenally successful Psycho (published 1959), reconfiguring the real-life Gein as the chubby, unprepossessing mother's boy Norman Bates, who dispatches a variety of victims in gruesome fashion. Subsequently, Alfred Hitchcock's adaptation of the novel (1960) laid down the parameters for a variety of genres: the serial killer movie, the slasher film, and the modern big-budget horror film which utilises above-the-title stars rather than the journeyman actors who had populated such fare previously. But above all else, Hitchcock and his talented screenwriter Joseph Stefano created a template for the intelligent, richly developed, and charismatic fictional serial killer in their version of Norman Bates. Hitchcock's film was to influence a generation of film-makers and writers; among them Thomas Harris.

This chapter examines adolescence as a central theme in Halloween (1978) in a slightly different way, as invoking (and attempting to resolve) the rootlessness of adolescence in the Lost Generation. The character of Laurie Strode is divided between the realms of adults and children, but this capacity for category mobility ultimately proves valuable. Cast in the roles both of virgin and mother, her ability to properly navigate, embrace adult responsibilities and retrain a child's intuition is ultimately what allows Laurie to save herself. The 1950s and John Carpenter's childhood saw the birth of the teen horror film, which followed swiftly on the heels of the ‘invention’ of the American teenager as a discrete segment of the population. In a sense, Halloween is an inheritor to the ‘horror teenpics’ or the ‘weirdies’ of the 1950s, and similarly owed much of its success to its ability to knowingly target the large teenage demographic. The slasher films that followed Halloween would do the same, and it seems no major exaggeration to say that, if slasher films collectively are ‘about’ anything, they are about adolescence.

The chapter gives an outline of the history of American horror across media, from prehistoric roots to postmodern slasher films and horror videogames. A specifically American literary horror tradition crystallizes in the mid-1800s, with authors such as Edgar Allan Poe, and is developed in the twentieth century by writers including H. P. Lovecraft. In that century, horror films—beginning with Universal’s monster films of the 1930s—became the dominant medium for the genre. Horror became a mainstream genre during the 1970s and 1980s, with the emergence of popular writers like Stephen King and many lucrative film releases. Slasher films dominated the 1980s and were reinvented in a postmodern version in the 1990s. Horror videogames became increasingly popular, offering high levels of immersion and engagement. The chapter shows that horror changes over time, in response to cultural change, but changes within a possibility space constrained by human biology.