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File: 1608526069455.jpg (519.96 KB, 1552x873, scary movies poster.jpg)


Before anyone says it
Obviously most horror films from the 80s were shit, as with most movies in any decade

However, I do have to say that the 80s seem like the horror decade, the decade that set most of the new trends for horror and introduced the most classics, while, IMO the 2010s were the second best decade for horror, they're still far-outstripped by the 80s, why?


Texas Chainsaw Massacre, Jaws, Halloween, Shivers, Rabid, and Alien are from the 70s. The 80s didn't set trends in horror, they followed them. Modern Body Horror, Modern Slashers, Blockbuster Horror and Modern US-type Monster Horror all started in the 70s.
This is not to say that Friday the 13th, Nightmare on Elm Street, Scanners, Predator, etc are not good, but they represent a sort of maturation of themes that were already there. I am not going to get involved in an argument about when Cronenberg or Carpenter were good, but they became players in the 70s and did a lot of famous work in the 80s.

As for why, well part of it was Vietnam vets. Texas Chainsaw Massacre was largely done by Vietnam draftees. You had a whole lot of people who knew what it looked like when a dude gets disemboweled, understood what it feels like to feel hunted and be a hunter, and a nihilistic philosophy where you just sort of sit back and watch someone blow their brains out because its a good show.
Another part was that film creation and distribution started becoming cheap. A lot of people in film get their start in horror because corn syrup, red food coloring and condoms cost pennies. The introduction of enthusiastic, cheaply equipped amateurs to film in the late 60s to early 80s was like the introduction of enthusiastic, cheaply equipped amateurs to politics, that is to say, a lot of very interesting terrorism happened to the public. Most of it was misguided, but ideas that would otherwise have never been welcomed into the mainstream are forced there on a wave of cheap bloodshed and cheerful violence.


they were just made so people could get used to reaganism.


So Jason was Reagan?


It's been said numerous times before that the advent of the slasher flick was more or less a reflection of white American suburban anxieties. This is best illustrated by the snuff film scene in Henry: Portrait of a Serial Killer (1986). Also, what >>6502 said. Not only were the 1980s on the tail end of a decade of serial killers in the news, but it was also utterly dominated by Reagan's attempts to "get tough on crime" by rapidly militarizing the police and escalating Nixon's drug war. Combine that with his poor handling of the AIDS crisis and its no wonder I kept hearing phrases like "stranger danger" into the 2000s.


File: 1608526072078.png (97.48 KB, 903x197, ZizekSlasherFilms.png)


The first slasher was the short story The Most Dangerous Game about a bougie cunt who hunts and kills proles for sport, you can't change my mind so fuck off.


This, but unironically


>Forced Entry is a 1973 adult horror film written and directed by Shaun Costello under the pseudonym Helmuth Richler. It stars Harry Reems (credited as Tim Long) as an unnamed and psychotic Vietnam War veteran who sexually assaults and kills women who stop at the filling station where he works as an attendant. Called "one of the most disturbing and unpleasant porn features ever made," the film utilizes actual footage of the war, predominantly in the rape and murder sequences.[1]
>Noting the film is "the first film to show a disturbed war vet coming home from Vietnam," Ed Demko calls the film "one of the more important and relevant films to ever come out of that age of pornography. It’s a film that really transcends the time that it was made and might even be more important now than the age it was made. Sure there’s a ton of nasty sexual activity in the film but the subject matter and what the movie is actually saying goes way beyond that."[4]
>In "Forced Entry: Serial Killer Pornography as Patriarchical Paradox", scholar Robert Cettl assesses the film's role as pivotal in the history of American serial killer films and discusses its subversion of American patriarchy "by highlighting a paradox in relation to hegemonic masculinity" and how the director turns pornography "into self-conscious political discourse", arguing the film critiques patriarchical reaction to second-wave feminism (represented by the independently-living female victims) as grounded in war-mongering (rape-murder scenes interspersed with footage from the Vietnam War) and ultimately doomed to self-implosion (the killer's suicide).[5]


having sex without government certification, drinking fermented grains, dancing with friends are considered "degen" by the mentally ill only and should be thrown in the prison for free labor

Point in case


I never thought about this but it's kind of true. it's kind of fun to watch bourgeois middle class try to fight for the lives and die trying.
like I had this mentality watching horror before I even gave a fuck about socialism.

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