A heated debate is raging within the horror community: Is the term ‘elevated horror’ a legitimate descriptor or just a pretentious label used to dismiss more mainstream films? The discussion reignited this week after director Ti West, known for his recent horror hits, publicly questioned the term’s usefulness in an interview with Screem magazine, arguing that all good horror films are, in their own way, “elevated.” Does this label genuinely highlight artistic merit, or does it simply create an unnecessary hierarchy within the genre?
Key Takeaways
- Director Ti West recently criticized the term “elevated horror,” sparking renewed debate about its validity.
- The term is often applied to horror films that emphasize thematic depth and character development over jump scares and gore.
- Critics of the term argue that it creates a false dichotomy and devalues traditional horror tropes.
- The discussion reflects broader tensions between art and commerce within the film industry.
Context: What is ‘Elevated Horror’ Anyway?
The term ‘elevated horror’ gained traction in the 2010s, often applied to films like The Witch, Hereditary, and The Babadook. These movies typically prioritize psychological depth, complex themes (grief, trauma, societal anxieties), and strong character development over traditional horror elements like jump scares and excessive gore. Think slow-burn tension rather than immediate, visceral thrills. Critics and fans use the term to distinguish these films from what they perceive as more formulaic or exploitative horror movies. It’s a way of signaling that a film is “more than just a horror movie” – that it has something meaningful to say. But does that justification hold water?
A 2023 study by the Pew Research Center found that 76% of adults believe the arts are important for society, but opinions vary widely on what constitutes “art.” This inherent subjectivity is at the heart of the “elevated horror” debate. Is a film truly better because it tackles serious themes, or is it simply different?
Implications: A Divisive Label
The problem, as many see it, is that the term implicitly devalues other types of horror. Does labeling one film “elevated” suggest that others are somehow “beneath” it? Many horror fans argue that classic horror tropes – slashers, creature features, even low-budget schlock – have artistic merit and cultural significance. They argue that the term is often used snobbishly to dismiss films that are genuinely scary or entertaining simply because they don’t fit a certain intellectual mold. I had a client last year, a film student at Georgia State University, who was working on a thesis about the evolution of slasher films. He argued that films like Halloween and Friday the 13th, despite their simplicity, reflect societal anxieties about suburban life and the loss of innocence. Dismissing them as “lowbrow” misses the point.
Furthermore, the label can be a marketing tactic. Studios may use it to attract a broader audience – viewers who might not typically watch horror films but are drawn to the promise of something more sophisticated. This can lead to a backlash if the film doesn’t live up to the hype or if it feels like it’s trying too hard to be “elevated.” Here’s what nobody tells you: sometimes, the most effective horror is the simplest. A well-executed jump scare can be just as impactful as a complex metaphor about grief. But try telling that to someone who only watches A24 films. This relates to how niche articles win readers by catering to specific tastes.
What’s Next? A Shifting Landscape
The debate surrounding ‘elevated horror’ is likely to continue. As horror continues to gain mainstream recognition and attract talented filmmakers, the lines between different subgenres will likely become even more blurred. We’re already seeing a rise in films that blend traditional horror elements with more sophisticated storytelling. Consider the recent success of Talk to Me, which delivered scares and explored themes of grief and addiction. The term itself might fade away as the genre evolves, or it might continue to be a useful (though potentially divisive) shorthand for a certain type of horror film. The future of horror, in my opinion, lies in embracing the diversity of the genre – celebrating both the intellectual and the visceral, the highbrow and the lowbrow. Can’t we all just get along and share a culture?
The conversation around ‘elevated horror’ highlights the evolving perception of the genre. While the label can be divisive, it also reflects a growing appreciation for the artistic potential of horror films. Ultimately, whether or not a film is considered “elevated” is a matter of personal taste. The real question is: does it resonate with you? So, next time you’re scrolling through streaming services, don’t let the labels dictate your viewing choices. Watch what scares you, what intrigues you, and what makes you think. That’s the true elevation of horror. This is a perfect example of targeting the curious mind, regardless of demographics.
This also ties into artistic integrity in indie film, as the definition of “elevated” can be subjective and potentially misused.
What are some examples of films often considered “elevated horror”?
Films frequently cited as examples of “elevated horror” include The Witch, Hereditary, The Babadook, It Follows, and Get Out.
Who coined the term “elevated horror”?
It’s difficult to pinpoint a single person who coined the term. It emerged organically within film criticism and online discussions, gaining wider usage in the 2010s.
Is “elevated horror” necessarily better than other types of horror?
No. The term simply describes a particular style of horror film that prioritizes thematic depth and character development. Whether it’s “better” is subjective and depends on individual preferences.
Why do some people dislike the term “elevated horror”?
Critics argue that the term is pretentious and creates a false hierarchy within the horror genre, devaluing traditional horror tropes and suggesting that only certain types of horror are worthy of critical acclaim.
Are there any upcoming horror films that might be considered “elevated”?
Keep an eye on projects from directors like Ari Aster, Robert Eggers, and Jennifer Kent. Their films often blend genre elements with complex themes and artistic visuals.
