Every year I witness an uproar of sexual desire during Halloween. From sexy halloween costumes of the present day to the sexy prose woven into classic literature such as Dracula or Frankenstein, it becomes evident that there is a flame of desire fanned during the season of the witch.
It’s an interesting feeling, being both scared, disgusted, and a little turned on. The thrashers and horror movies that we often indulge in during this time of the year, incorporate a surplus of erotic imagery, blood-sucking vampires, a killer who talks dirty over the phone, and a monster made of the most beautiful parts of man. It seems like it would be a biological disadvantage to be both afraid and intrigued by the things that scare us, but Halloween gives us a safe environment to experience adrenaline from terror, and sexual desire.
Fear and sex are often used synonymously in the genre of horror, often utilizing themes of sex as much as themes of fear. This phenomena relies heavily on adrenaline and the biological factors of the human brain and body. Fear and sexual desire generate a shared physiological and chemical reaction. Adrenaline, accelerated heart rate, and dopamine release are all examples found within the human “fight or flight” reaction, and the desire phase of one’s libido. This overlap of adrenaline and sexual desire is the foundation of the genre of horror.
The symbols of both sex and danger often utilized in tandem by authors, directors and creators of the horror genre create a very unique approach to storytelling. Sex often being a sign of vulnerability, and when symbols of danger come into play, they are much more effective to the reader, viewer, or audience member. The empathy that is evident with sexual desire or human connection becomes much more important when we as audience members know there is a very large chance it can be stripped away at any moment.
Scream is a wonderful example of this. This classic thrasher film from 1996, directed by Wes Craven, utilizes both sex and fear in almost parallel amounts. The iconic opening scene with Drew Barrymore on the phone with the masked killer starts out in an almost sensual fashion. An element of want is evident in how the killer talks over the phone, so much so that Drew Barrymore’s character becomes an active participant in their conversation, making herself vulnerable and opening up to this element of human connection; which is then torn down a few minutes later when the killer states “I want to know who I’m looking at.” So, not only is the audience pulled closer to the scene at hand by the conversation that borders inappropriate between Drew Berrymore and the sensual voice over the phone, the audience feels vulnerable alongside Barrymore when the fear of being watched, or even hunted, sets in when we realize that Drew Barrymore is about to be killed.
This Halloween season I encourage you to recognize these patterns in the media you ingest. I find that being aware of how these patterns work alongside each other, allows for festivities full of both fear and desire, and a much more enjoyable Halloween.
Have fun and be safe!