In terms of literature, “elevated horror” might have all of these as well as flowery language. Often, there’s a powerful social commentary being presented through the narrative, such as Get Out‘s commentary on race. In movies, films referred to as elevated horror include The Witch, Babadook, It Follows and Get Out, among others: they’re horror stories that focus more on probing psychological drama, characters and metaphor than blood and gore or supernatural horrors. It seems like a subgenre of horror at first glance when you look at works referred to elevated horror. I’ve consulted with dozens of writers on this (thank you, Twitter and the Horror Writers Association Facebook group) and it’s not a subgenre. Elevated horror isn’t an actual subgenre of horror. Like slasher and its killers and gore, or Gothic with its ancient, diseased settings and corrupting influence. “Elevated horror.” And the speakers, whether in in the Scream movie or in the YouTube video, made it sound like it’s a recognized subgenre of horror with its own staple of tropes and trappings. I’ve heard this term thrown about a few times since January, first in the new Scream movie and most recently in an analysis of a horror film on YouTube.
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