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I will close this series with two brief explanations of how genre itself involves reflections on American society. I have recently been working on horror movies, so that is one of my examples. American horror comes down to two versions of an attack on progress. One is Christian — Hitchcock did it, his many imitators since John Carpenter do it, and endless others. These stories try to put together the universal and the particular in this way. They start with a social setting that is very broad and designed to show what’s happening with American freedom. They then move on to an individual story of the emergence of evil. How crazily implausible evil has become, and how maddening, therefore, is supposed to teach the audience that they didn’t see evil in the setting. The unwillingness of good respectable middle-class Americans to see the evil in their hearts, and therefore in their society, leads them to countenance or even provoke monstrous things.
The tragic poet in this case resorts to these shocking things rightly called horror on the assumption that nothing else will even get a hearing. This is also what David Lynch wants to teach Americans; or Neil LaBute. These are very sophisticated movie-makers, but they are basically Christian moralists. They mean to remind Americans that you can stop believing in God, but you can’t stop believing in evil. Instead of providence, you get God’s wrath.
The alternative to Christian horror is scientific horror. America has great examples in Edgar Allan Poe and H.P. Lovecraft, more or less to correspond to the great British insights offered by Mary Shelley in Frankenstein and Robert Louis Stevenson in The Strange Case of Dr. Jekyll and Mr. Hyde. I note in passing that these two British books, answering to the Victorian century of progress, deal with science taking control over life and then over good and evil respectively. Those, you will recall, are the two trees the fruit whereof was forbidden to man in Genesis.