Back in October, in the spirit of the season, I attended a local lecture by a ghost hunter at a nearby public library. This sincere young man struck me as perfectly normal, but haunted by his ghostly encounters. During the question session someone asked about TAPS (The Atlantic Paranormal Society, of “Ghost Hunters” fame). The lecturer indicated that TAPS is not above fabricating evidence for ratings, a disappointing but not unexpected factor when it comes to television. He even gave some evidence to back his assertions. Nevertheless, my wife’s whimsical six-month subscription to the TAPS Paramagazine has continued on well past its expiration date, and when the November/December issue arrived, I was interested to see a piece entitled “Sacramental Horror: What scary stories can tell us about what is real.” Well, this was too good to pass up.
The article, written by Presbyterian minister Jonathan Weyer, discusses the value of horror films. The juxtaposition of a clergyman and horror films is a little unexpected, but believable. After all, many horror films feature religious ideals clothed in monstrous form. Dividing horror films into Uncanny/Unsettling horror, gross-out horror, and torture porn, Weyer goes on to explain how uncanny or unsettling horror underscores the moral order of the universe and is therefore appropriate for Christian contemplation. He even draws the Nicene Creed into it. Gross-out horror serves the function of making the viewer contemplate death and perhaps even helps to make fun of it. This is a less noble, but still acceptable Christian enterprise. Torture porn, on the other hand, simply has no redeeming value. Sacramental horror really didn’t enter the discussion. Douglas Cowan’s Sacred Terror takes this issue on more directly.
I really don’t expect much insight from a fanzine that treats the reality of fairies and the prognostications of tarot cards next to the genuinely mysterious, such as ghosts. Finding morality in horror films is often a matter of eisegesis. The fear in such films often emerges from the sacred, either in pure or distorted form. Even if “the pure of heart or, often the virgin” survives while “Wrongdoers get put to the axe,” as Weyer states, seldom is that the intended point of the movie. John Carpenter denies that there was a moralizing message in his Halloween, often cited as the movie that established the “good girl survives” motif. The fact is that horror relates to the sacred in the element of fear. If people were not afraid, there would be little for religion or horror movies to accomplish.