Be it resolved: John Carpenter, not David Cronenberg is the true master of modern horror

Traditional religious holidays are losing ground in a rapidly secularizing world. Halloween, on the other hand, keeps gaining steam.  Decorative pumpkins, elaborate costumes, and a cornucopia of sweet confections all signal that Halloween is upon us.  But for the hardcore Halloween reveler, Halloween means one thing: horror movies.  Horror films allow us to experience our fears from the comfort of our couch, confront them, and work through them.  But all horror movies are not created equal. Since the earliest days of the genre, few directors have reached the heights of John Carpenter. Horror aficionados, fellow directors, and film scholars hold Carpenter in the highest esteem for his ability to create fear from the mundane and believable, and his use of music to create an unparalleled sense of tension and atmosphere of impending doom. They argue Carpenter is the true master of modern horror, and all others are swimming in his wake. But another camp of horror fans disagree, and point to another director as the true master of modern horror. David Cronenberg’s intricate weave of psychological and physical horrors create dynamic, challenging and thought provoking films that have expanded the definition of the genre.  They argue that no other director has done more to push horror into the future, permanently redefining what we need fear.

Arguing for the motion is Paul Tremblay, horror superfan and award-winning author of Survivor Song, The Cabin at the End of the World, Disappearance at Devil’s Rock, A Head Full of Ghosts. 

Arguing against the motion is Noel Carroll, professor of philosophy at the CUNY graduate Center, specializing in the contemporary philosophy of art and film and the author of The Philosophy of Horror.

Paul Tremblay: “I like to think of a horror film as the reveal of a terrible truth”.

Noel Carroll: “The genre has always been about violations of the familiar”.

Sources: Halloween (1978) [Compass International Pictures], Shivers (1975) [Cinépix Film Properties (CFP)], The Thing (1982) [Universal], The Fog (1980) [AVCO Embassy Pictures], Videodrome (1983) [Filmplan International], The Fly (1986) [Twentieth Century Fox], eXistenZ (1999) [Dimension Films], The Dead Zone (1983) [Paramount]

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