Psychological horror

Short description: Narrative subgenre

This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages)

This article may lack focus or may be about more than one topic. Please help improve this article, possibly by splitting the article and/or by introducing a disambiguation page, or discuss this issue on the talk page. (July 2024)

|

This article includes a list of general references, but it remains largely unverified because it lacks sufficient corresponding inline citations. Please help to improve this article by introducing more precise citations. (July 2024) (Learn how and when to remove this template message)

|

(Learn how and when to remove this template message)

Poster for the American psychological horror film The Black Cat (1934)

Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, horror, drama, tension, and paranoia of the setting and plot and to provide an overall creepy, unpleasant, unsettling, or distressing atmosphere.

## Contents

* 1 Characteristics
* 2 Psychological fascination of psychological horror
* 3 Tools of psychological horror
* 3.1 Lighting and shadows
* 3.2 Sound and music
* 4 Novels
* 5 Films
* 6 Video games
* 7 See also
* 8 References
* 9 Bibliography

## Characteristics

A book cover of Misery, the 1987 psychological horror novel by Stephen King

Traditionally, psychological horror was defined by its portrayal of characters experiencing psychological instability or extreme emotional distress, where the eerie atmosphere was a direct reflection of the character's internal state. Today, however, the genre is no longer confined to a character’s psyche; for instance, Ju-On: The Grudge is frequently cited as a hallmark of psychological horror within the J-horror tradition.

In classical point of view, psychological horror usually aims to create discomfort or dread by exposing common or universal psychological and emotional vulnerabilities/fears and revealing the darker parts of the human psyche that most people may repress or deny.[1] This idea is referred to in analytical psychology as the archetypal shadow characteristics: suspicion, distrust, self-doubt, and paranoia of others, themselves, and the world.

The genre sometimes seeks to challenge or confuse the audience's grasp of the narrative or plot by focusing on characters who are themselves unsure of or doubting their own perceptions of reality or questioning their own sanity. Characters' perceptions of their surroundings or situations may indeed be distorted or subject to delusions, outside manipulation or gaslighting by other characters; emotional disturbances or trauma; and even hallucinations or mental disorders. Additionally, restricting the characters' and audience's view of potential danger through strategic lighting and visual obstructions—like in Bird Box—can heighten suspense and engage the imagination, leaving much of the threat unseen.

In many cases, and in a similar way as the overlapping genre of psychological thriller, psychological horror may deploy an unreliable narrator or imply that aspects of the story are being perceived inaccurately by a protagonist, thus confusing or unsettling the audience and setting up an ominous or disturbing overarching tone. In other cases, the narrator or protagonist may be reliable or ostensibly mentally stable but is placed in a situation involving another character or characters who are psychologically, mentally, or emotionally disturbed. Thus, elements of psychological horror focus on mental conflicts. These become important as the characters face perverse situations, sometimes involving the supernatural, immorality, murder, and conspiracies. While other horror media emphasize fantastical situations such as attacks by monsters, psychological horror tends to keep the monsters hidden and to involve situations more grounded on artistic realism.

Plot twists are an often-used device. Characters commonly face internal battles with subconscious desires such as romantic lust and the desire for petty revenge. In contrast, splatter fiction and monster movies often focuses on a bizarre, alien evil to which the average viewer cannot easily relate. However, at times, the psychological horror and splatter subgenres overlap, such as in the French horror film High Tension.[2]

In the modern era, however, psychological horror is no longer synonymous with the absence of monsters. The source of terror can be either endogenous (internal) or exogenous (external), as seen in the Cthulhu Mythos, the SCP Foundation, and various supernatural works. Influenced by global cultural exchange and a surge in creative experimentation, the contemporary definition has shifted toward the psychological impact on the audience or player. It generally excludes subgenres that prioritize physical threats or bodily harm from tangible monsters, such as traditional creature features or slashers. Consequently, the level of dread one experiences is often deeply subjective and shaped by their own cultural background.

## Psychological fascination of psychological horror

Fascination with horror films lies in the unreasonable, irrational, and impossible. Jung and Nietzsche's theories exemplify humans need to escape the real world and live in a sublime space where anything is possible. Horror allows the watcher to escape mundane conventional life and express the inner workings of their irrational thoughts. H.P. Lovecraft's explanation for the fascination of horror stems more from the lack of understanding of a human's true place and our deep inner instinct we are out of touch with, and the basic insignificance of one's life and the universe at large. Horror forces us to remember. Psychological horror further forces the manifestation of each individual's own personal horror. Our unseen humanity and our most basic human impulses forces us to seek out stimuli to remind us of our true nature and potential.[3]

Psychological horror not only elicits fear, anxiety, and disgust but it also has the capacity to foster empathy in audiences. The genre allows audiences to navigate the complexities of human experiences that prompt viewers to connect with characters confronting conflict.[4] Modern research reveals the relationship between empathy and fear or the lack thereof with interest in horror. Research shows that the effects of psychological horror affects females more than males.[4] A current hypothesis for this difference between the genders is that it relates to social expectations and the gender roles we are exposed to during childhood.[5] As a result of the lack of cross-cultural research on the psychological effects of horror, one hypothesis is that individual cultures develop their own unique sense of horror, based in their cultural experiences.

Discourse on more of the positive effects of psychological horror also point to it being a vessel for catharsis. Much in the same way that a sad song might help a listener through a difficult time by helping them purge their emotions to uncover psychological relief, horror can provide a similar route to cathartic experiences. According to Geraci et al., "Strange things—the monstrous or weird —fascinate us because they evoke quasi-religious dread and desire, but we also pursue that which disturbs us because we desire to control it. Through deliberate exposure to the things we fear, we acclimate ourselves to them."[6] Humans have a tendency to exhibit a cognitive bias called the negativity bias that points to why we are more likely to identify and dwell on negative aspects of our environments than positive ones, even if they both occur in the same magnitude. Evolutionarily, this helps explain why we might be quicker to notice certain stimuli or changes in our environments as threats to our safety rather than beneficial. This negativity bias also helps account for morbid curiosity and why we consume and enjoy horror media. Freud also points to his observations that children seem to repeatedly engage in the same unpleasurable experience in order to overcome it. It is only through and after these adverse experiences that psychological comfort arises.[7]

## Tools of psychological horror

### Lighting and shadows

Hitchcock's Rear Window used light and deliberate shadows to incite suspense in the viewer. Suspense is a fundamental part of Hitchcockian horror. The use of shadows through light to cover up information results in a subtle escalation of suspense and horror of what can not be seen. Hitchcock's Rear Window places the main character as the primary information source for the viewer; their confusion is pervasive. The viewer lacks an omniscient understanding of events, resulting in an suspenseful and slow then explosive revelation. Shadows hide events or truths yet to be revealed, sometimes foreshadow events, and notify the viewer to hidden truths, resulting in suspense and the self reflection of known truths by the viewer. Light is used as a metaphor for what we know and can be seen, in the light, and what we do not know and are trying to figure out, what is in the shadows. Half illumination can be used to express a duality of emotions and uncertainty. The use of a burning cigarette or cigar, a tiny light in a sea of darkness is enough to inform the viewer that something or someone is there, but reveals nothing else, manipulating the viewers fears of what could be.[8]

### Sound and music

Studies by Thayer and Ellison in the 1980 studied the effects of different types of music layered on top of stressful visual stimuli, they used dermal electromagnetic to capture information about physiological stimulation while watching and listening. They found that with stressful music and composition laid over top stressful images the psychological response was greater than when watching the same visual stimuli with non stressful sound.[9] Music with a positive tone results in viewers perceiving simultaneous visual stimuli as positive, and when negative tones are used viewers perceive visual stimuli as negative or more threatening.

They made three hypotheses and were able to prove two with their research:

1. The use of equally stressful sounds and music over stressful imagery increased the psychological response in viewers in comparison to the same imagery without sound.
2. Where sound and music are placed in relation to a stressful visual stimuli affects the psychological response in viewers. This could not be totally proven, as when sound and music are incongruent with visual stimuli the electromagnetic response was heightened without alleviation in moments of non stress.
3. Sound and music placement can manipulate the viewer into believing a stressful moment is about to happen or has ended, when music is used in opposition to human expectation it can increase stress in the viewer when the expectation the music created doesn't happen visually.[9]

When following a character in a movie or show, the music exemplifies the emotion of the character, the viewer feels what the character feels, creating a synergy between character and viewer.[10] The addition of music breathes more depth into emotional response that visual stimuli can not accomplish on its own. Music can subconsciously influence the viewer, further intertwining them emotionally with what they are watching forcing them to feel more deeply whatever emotion they are feeling from watching making it an important piece of psychological horror and its success in inciting emotions in the viewer.

While sound design is deliberately crafted in the horror genre to evoke an emotional response, the absence of sound can be equally effective in evoking an emotional response.[11] Soundtracks are utilized to build tension or accent a startling event, like a jump scare. However, in the film A Quiet Place, much of what builds suspense is the sparse, muted sound design. Films with minimalistic, limited soundtracks leave audiences unable to predict coming scenes and often lead to more pronounced emotional responses when a sound is added.

## Novels

The novels The Golem written by Gustav Meyrink, The Silence of the Lambs written by Thomas Harris,[12] Robert Bloch novels such as Psycho and American Gothic,[13] Stephen King novels such as Carrie, Misery, The Girl Who Loved Tom Gordon, The Shining, and Koji Suzuki's novel Ring[14] are some examples of psychological horror. Shirley Jackson's We Have Always Lived in the Castle is often viewed as one of the best examples of psychological horror in fiction.[15][16]

## Films

Bill Gibron of PopMatters declared a mixed definition of the psychological horror film, ranging from definitions of anything that created a sense of disquiet or apprehension to a film where an audience's mind makes up what was not directly displayed visually. Gibron concluded it as a "clouded gray area between all out splatter and a trip through a cinematic dark ride."[17]

Academics and historians have stated different origin periods to the psychological horror film. Historian David J. Skal described The Black Cat (1934) as "being called the first psychological horror movie in America."[18] Academic Susan Hayward described them as a post-World War II phenomenon and giving examples of psychological horror films as Psycho (1960) and Peeping Tom (1960).[19] Hayward continued that the psychological horror films and slasher films are both interchangeable terms with "horror-thrillers".[20]

Hayward said the genre resembled the slasher film with both being "vicious normalizing of misogyny".[19] She wrote that in both film genres, the male had a dependence on the female for a sense of identity derived from his difference from her, and often killed them with items like knives or chainsaws.[21]

## Video games

Psychological horror video games are a subgenre of horror video games. While such games may be based on any style of gameplay, they are generally more exploratory and "seek to instigate a sense of doubt about what might really be happening" in the player.[22][23] Phantasmagoria (1995),[22] D (1995),[24] Corpse Party (1996)[25][26] and Silent Hill (1999)[27] are considered some of the first psychological horror games. Sometimes, psychological horror games will simulate crashes, file corruptions, and various other errors, such as the 2017 visual novel Doki Doki Literature Club![28].Some games will deceive the player into thinking it is a normal, harmless game, to surprise them once it fleshes out its psychological elements, like OMORI.

Aligning with Freud's observations of children's repeated engagement with unpleasurable experiences, researchers have found that many people derive similar emotions and experiences when engaging in horror video games.[29] Scary, disturbing, and unsettling characters in horror media tend to be heightened and exaggerated personifications of our actual anxieties and fears. It is human nature to be attracted to things that elicit fear and to seek to overcome those fears as it allows individuals to gain "temporary victory over ourselves." Horror video games elicit a consistent level of anxiety in players and allow them to act on it. To deal with the threat of horror in the game, players are driven to strengthen and protect their characters, and their success translates to both achievement and a cathartic experience having overcome their fears and anxieties. Research also indicates that some players even noted diminished fear in their real lives after playing horror video games.[30]

## See also

* Art horror
* Body horror
* Conte cruel
* Gothic fiction
* Hitchcockian
* Horror and terror
* Horror-of-personality
* Lovecraftian horror
* Paranoid fiction
* Psycho-biddy
* Social thriller

## References

1. ↑ Lofberg, Ivy (2016-11-16). "Beginner's Guide: Psychological Horror" (in en-us). https://www.filminquiry.com/beginners-guide-psychological-horror/.
2. ↑ "Psychoanalytic theory in times of terror". Journal of Analytical Psychology 4 (48): 407. September 2003.
3. ↑ Hauke, Christopher (2015-10-26). "Horror films and the attack on rationality". Journal of Analytical Psychology 60 (5): 736–740. doi:10.1111/1468-5922.12181. ISSN 0021-8774. PMID 26499301. http://dx.doi.org/10.1111/1468-5922.12181.
4. ↑ 4.0 4.1 Martin, G. Neil (2019-10-18). "(Why) Do You Like Scary Movies? A Review of the Empirical Research on Psychological Responses to Horror Films". Frontiers in Psychology 10: 2298. doi:10.3389/fpsyg.2019.02298. ISSN 1664-1078. PMID 31681095.
5. ↑ Lin, Carolyn A.; Xu, Zhan (2017-10-02). "Watching TV Series with Horror Content: Audience Attributes, Motivations, Involvement and Enjoyment". Journal of Broadcasting & Electronic Media 61 (4): 638–657. doi:10.1080/08838151.2017.1375503. ISSN 0883-8151. http://dx.doi.org/10.1080/08838151.2017.1375503.
6. ↑ Geraci, Robert M.; Recine, Nat; Fox, Samantha (2016). "Grotesque Gaming: The Monstrous in Online Worlds". Preternature: Critical and Historical Studies on the Preternatural 5 (2): 213–236. doi:10.5325/preternature.5.2.0213. ISSN 2161-2196. https://www.jstor.org/stable/10.5325/preternature.5.2.0213.
7. ↑ Read, C. Stanford (1955). "Beyond the Pleasure Principle. By Sigm. Freud. Authorised translation from the second German edition by C. J. M. Hubback. London, Vienna: The International Psycho-Analytical Press, 1922. Medium 8vo. Pp. 90. Price 6s. net.". Journal of Mental Science 69 (286): 367–369. doi:10.1192/bjp.69.286.367. ISSN 0368-315X. http://dx.doi.org/10.1192/bjp.69.286.367.
8. ↑ Bradley, Devon (2022). "The Best Things Happen in the Dark" (in en). Mise-en-scène: The Journal of Film & Visual Narration 7 (2): 26–29. ISSN 2369-5056. https://journals.kpu.ca/index.php/msq/article/view/1781. Retrieved 2023-04-26.
9. ↑ 9.0 9.1 Meinel, Larina Sue; Bullerjahn, Claudia (2022-02-14). "More horror due to specific music placement? Effects of film music on psychophysiological responses to a horror film". Psychology of Music 50 (6): 1837–1852. doi:10.1177/03057356211073478. ISSN 0305-7356.
10. ↑ Deutsch, Stephen (2010-07-01). "<I>Psycho</I> and the orchestration of anxiety". The Soundtrack 3 (1): 53–66. doi:10.1386/st.3.1.53_1. ISSN 1751-4193. http://dx.doi.org/10.1386/st.3.1.53_1.
11. ↑ Smith, Eleanor Katie. Music, madness & memory : Victorian constructions of madness & musical horror tropes in contemporary film & television.. OCLC 1255875757.
12. ↑ pinkbookworm (2013-12-30). "The Silence of the Lambs by Thomas Harris - review" (in en-GB). The Guardian. ISSN 0261-3077. https://www.theguardian.com/childrens-books-site/2013/dec/30/review-silence-of-the-lambs-thomas-harris.
13. ↑ Roysdon, Keith (2025-05-29). "The Evolution of Robert Bloch" (in en-US). https://crimereads.com/robert-bloch-evolution/.
14. ↑ "Ring with Introduction by Author Koji Suzuki" (in en-US). https://japansociety.org/events/ring-with-introduction-by-author-koji-suzuki/.
15. ↑ Diner, Heritage Restaurant (2023-02-06). "We Have Always Lived in the Castle: A Dark and Compelling Tale of Isolation and Madness" (in en-US). https://heritagedinerli.com/we-have-always-lived-in-the-castle-a-dark-and-compelling-tale-of-isolation-and-madness/.
16. ↑ "Read a 1962 review of Shirley Jackson's We Have Always Lived in the Castle." (in en). 2023-09-21. https://lithub.com/read-a-1962-review-of-shirley-jacksons-we-have-always-lived-in-the-castle/.
17. ↑ Gibron 2013.
18. ↑ Skal 2001, p. 180.
19. ↑ 19.0 19.1 Hayward 2001, pp. 188–189.
20. ↑ Hayward 2001, p. 188.
21. ↑ Hayward 2001, p. 189.
22. ↑ 22.0 22.1 Perron, Bernard (2009). "Games of Fear: A Multi-Faceted Historical Account of the Horror Genre in Video Games". in Perron, Bernard. Horror Video Games: Essays on the Fusion of Fear and Play. McFarland & Company. pp. 26–45. ISBN 978-0786441976.
23. ↑ Krzywinska, Tanya (2009). "Reanimating H.P. Lovecraft: The Ludic Paradox of Call of Cthulhu: Dark Corners of the Earth". in Perron, Bernard. Horror Video Games: Essays on the Fusion of Fear and Play. McFarland & Company. pp. 267–288. ISBN 978-0786441976.
24. ↑ Kurl, Daniel (11 April 2019). "The "D Trilogy" Was Weird, Wild, and Truly One-of-a-Kind". https://bloody-disgusting.com/editorials/3555000/d-trilogy-weird-wild-truly-one-kind/.
25. ↑ Fahey, Mike (October 31, 2011). "Paranoia, Madness, Suicide and Cannibalism; Who Says 16-Bit Can't Be Scary?". Kotaku. https://kotaku.com/paranoia-madness-suicide-and-cannibalism-who-says-16-5854847.
26. ↑ Mortensen, Torill Elvira; Linderoth, Jonas; Brown, Ashley ML (June 5, 2015). "14: Sonic Descents – Musical Dark Play in Survival and Psychological Horror" (in en). The Dark Side of Game Play: Controversial Issues in Playful Environments. Routledge. p. 226. ISBN 9781317574460. https://books.google.com/books?id=rlDLCQAAQBAJ. Retrieved 4 May 2017.
27. ↑ Fahs, Travis (30 October 2009). "IGN Presents the History of Survival Horror". IGN. IGN Entertainment, Inc. p. 5. http://retro.ign.com/articles/104/1040759p5.html.
28. ↑ Rose, Victoria (October 22, 2017). "Doki Doki Literature Club is an uncontrollably horrific visual novel". Polygon. https://www.polygon.com/2017/10/22/16512204/doki-doki-literature-club-pc-explained.
29. ↑ Mohammed, Farah (2020-06-15). "The Therapeutic Value of Horror Video Games" (in en-US). https://daily.jstor.org/the-therapeutic-value-of-horror-video-games/.
30. ↑ Geraci, Robert M.; Recine, Nat; Fox, Samantha (2016-10-01). "Grotesque Gaming: The Monstrous in Online Worlds" (in en). Preternature: Critical and Historical Studies on the Preternatural 5 (2): 213–236. doi:10.5325/preternature.5.2.0213. ISSN 2161-2196. https://scholarlypublishingcollective.org/preternature/article/5/2/213/290404/Grotesque-Gaming-The-Monstrous-in-Online-Worlds.

## Bibliography

* Gibron, Bill (July 31, 2013). "What Exactly is a "Psychological" Horror Film?". PopMatters. Archived from the original on August 17, 2018. https://web.archive.org/web/20180817231014/https://www.popmatters.com/173980-what-exactly-is-psychological-horror-2495736567.html.
* Hayward, Susan (2001). Cinema Studies: The Key Concepts (2nd ed.). Routledge. ISBN 0-415-22739-9.
* Reid, Robin Anne (2009). Women in Science Fiction and Fantasy: Overviews. ABC-CLIO. ISBN 978-0313335914.
* Skal, David J. (2001). The Monster Show: A Cultural History of Horror. Farrar, Straus and Giroux. ISBN 0571199968.

Template:Horror fiction

* v
* t
* e

Film genres

By style|

* Action
* Arthouse
* Heroic bloodshed
* Hong Kong action
* Adventure
* Survival
* Art
* Biographical
* Christian
* Comedy
* Black
* Commedia all'italiana
* Commedia sexy all'italiana
* Bromantic
* Dramedy
* Gross out
* Horror
* Parody
* Mo lei tau
* Thriller
* Remarriage
* Romantic
* Sex
* Screwball
* Silent
* Slapstick
* Documentary
* Animated
* Docudrama
* Mockumentary
* Mondo
* Pseudo
* Semi
* Travel
* Drama
* Dramedy
* Historical
* Legal
* Melodrama
* Korean
* Erotic
* Commedia sexy all'italiana
* Pink
* Sexploitation
* Thriller
* Educational
* Social guidance
* Epic
* Sword-and-sandal
* Experimental
* Exploitation
* see Exploitation film template
* Fantasy
* Comedy
* Contemporary
* Fairy tale
* Fantastique
* High
* Historical
* Magic realism
* Science
* Film noir
* Bad girl
* Neo-noir
* Occult detective
* Pulp noir
* Tech noir
* Gothic
* Romance
* Southern
* Space
* Suburban
* Urban
* Horror
* Body
* Cannibal
* Chinese horror
* Comedy
* Eco
* Fantastique
* Found footage
* German underground
* Ghost
* Giallo
* Holiday
* Japanese horror
* Korean horror
* Lovecraftian
* Mumblegore
* Natural
* New French Extremity
* Occult detective
* Psycho-biddy
* Psychological
* Religious
* Science fiction
* Slasher
* Splatter
* Satanic
* Mumblecore
* Mumblegore
* Musical
* Backstage
* Jukebox
* Musicarello
* Operetta
* Sceneggiata
* Mystery
* Giallo
* Occult detective
* Pornographic
* Hardcore pornography
* Softcore pornography
* Propaganda
* Reality
* Romantic
* Comedy
* Bromantic
* Fantasy
* Gothic
* Paranormal
* Thriller
* Science fiction
* Comedy
* Cyberpunk
* Fantastique
* Fantasy
* Gothic
* Horror
* Japanese cyberpunk
* Military
* Mundane
* New Wave
* Parallel universe
* Planetary romance
* Space opera
* Steampunk
* Tokusatsu
* Western
* Thriller
* Comedy
* Conspiracy
* Erotic
* Financial
* Giallo
* Legal
* New French Extremity
* Political
* Psychological
* Romantic
* Techno
* Transgressive
* Cinema of Transgression
* Extreme cinema
* New French Extremity
* Trick

By theme|

* Animals
* Beach party
* Blaxploitation
* Body swap
* Bourekas
* Buddy
* Buddy cop
* Female
* Cannibal
* Chicano
* Colonial
* Coming-of-age
* Concert
* Crime
* Gangster
* Gentleman thief
* Gokudō
* Gong'an
* Heist
* Heroic bloodshed
* Hood
* Mafia
* Mafia comedy
* Mumbai underworld
* Poliziotteschi
* Yakuza
* Dance
* Disaster
* Apocalyptic
* Drug
* Psychedelic
* Stoner
* Dystopian
* Economic
* Ethnographic
* Extraterrestrial
* Food and drink
* Funny animal
* Gendai-geki
* Ghost
* Goona-goona epic
* Gothic
* Romance
* Southern
* Space
* Suburban
* Urban
* Ecchi
* Girls with guns
* Harem
* Hentai
* Tentacle erotica
* Lolicon
* Kaitō
* Magical girl
* Mecha
* Shotacon
* Yaoi
* Yuri
* Homeland
* Jidaigeki
* LGBT
* Luchador
* Martial arts
* Bruceploitation
* Chopsocky
* Gun fu
* Kung fu
* Wuxia
* Mecha
* Mexploitation
* Monster
* Giant monster
* Jiangshi
* Kaiju
* Vampire
* Werewolf
* Zombie
* Mountain
* Mouth of Garbage
* Muslim social
* Nature
* Environmental issues
* Opera
* Outlaw biker
* Ozploitation
* Partisan film
* Pirate
* Prison
* Women
* Race
* Rape and revenge
* Road
* Rubble
* Rumberas
* Samurai
* Sexploitation
* Bavarian porn
* Commedia sexy all'italiana
* Mexican sex comedy
* Nazi exploitation
* Pornochanchada
* Nunsploitation
* Sex report
* Shomin-geki
* Slavery
* Slice of life
* Snuff
* Crush
* South Seas
* Sports
* Spy
* Eurospy
* Superhero
* Surfing
* Swashbuckler
* Sword-and-sandal
* Sword and sorcery
* Travel
* Trial
* Vigilante
* War
* Anti-war
* Euro War
* Submarine
* Western
* Acid
* Florida
* Meat pie
* Northern
* Ostern
* revisionist
* Space
* Spaghetti
* Weird
* Zombie
* Zombie comedy

By movement
or period|

* Absolute
* New Objectivity
* Australian New Wave
* Auteur films
* Berlin School
* Bourekas
* Brighton School
* British New Wave
* Kitchen sink realism
* Budapest school
* Cannibal boom
* Cinéma du look
* Cinema Novo
* Cinema of Transgression
* Cinéma pur
* Commedia all'italiana
* Documentary Film Movement
* Dogme 95
* Erra Cinema
* European art cinema
* Film gris
* Free Cinema
* French New Wave
* German Expressionist
* German underground horror
* Nigerian Golden Age
* Grupo Cine Liberación
* Heimatfilm
* Hollywood on the Tiber
* Hong Kong New Wave
* Iranian New Wave
* Italian futurist
* Italian neorealist
* Japanese New Wave
* Kammerspielfilm
* L.A. Rebellion
* Lettrist
* Mumblecore
* Neorealist
* New French Extremity
* New German
* New Generation
* New Hollywood
* New Nollywood
* New Queer
* No wave
* Nuevo Cine Mexicano
* Parallel cinema
* Persian Film
* Poetic realist
* Polish Film School
* Poliziotteschi
* Praška filmska škola
* Prussian film
* Pure Film Movement
* Remodernist
* Romanian New Wave
* Spaghetti Western
* Socialist realist
* Social realist
* Kitchen sink realism
* Soviet Parallel
* Structural
* Surrealist
* Sword-and-sandal
* Telefoni Bianchi
* Third Cinema
* Toronto New Wave
* Yugoslav Black Wave

By demographics|

* Adult
* Black film
* Children and Family
* Teen
* Men
* Stag
* Women
* Chick flick

By format,
technique,
approach,
or production|

* 3D
* Actuality
* Animation
* anime
* cartoon
* computer
* stop-motion
* traditional
* Anthology
* Art
* B movie
* Black-and-white
* Blockbuster
* Bollywood
* Masala
* Cinéma vérité
* Classical Hollywood cinema
* Collage
* Color
* Compilation
* Composite
* Computer screen
* Cult
* midnight movie
* Database cinema
* Docufiction
* Ethnofiction
* Experimental
* Abstract
* Feature
* Featurette
* Film à clef
* Film noir
* Film-poem
* Found footage
* Grindhouse
* Hyperlink cinema
* Independent
* Guerrilla filmmaking
* Interstitial art
* Live action
* animation
* Low-budget
* Major studio
* Making-of
* Message picture
* Meta-film
* Mockbuster
* Musical short
* Lollywood
* Mythopoeia
* Neorealist
* No-budget
* Paracinema
* Participatory
* Poetry
* Postmodernist
* Reverse motion
* Sceneggiata
* Semidocumentary
* Serial
* Shinpa
* Short
* Silent
* Socialist realist
* Sound
* Underground
* Video nasty
* Z movie

0.00

(0 votes)

Original source: https://en.wikipedia.org/wiki/Psychological horror. Read more

|

Retrieved from "https://handwiki.org/wiki/index.php?title=Software:Psychological_horror&oldid=4345071"
*[v]: View this template
*[t]: Discuss this template
*[e]: Edit this template