Correlated Contents

1.
I think my sentiment toward the horror genre was expressed with clarity in the last post. So consider this a corollary to the prior review.

2.
As much as I dislike Zizek, I can agree with him here: the Macguffin is...the mere appearance of some secret to be explained, interpreted, etc." The gist is that the monster is the foundation of an audience's fear and fear is meaning, as feeling is forever our theme. Oftentimes the characters contain so little depth the audience identifies with the film's Other. The locus for their varied angry or repressed desires, goals or aversions to social constraints.

3.
The Shining -- our reactions to our history and violent tendencies crafting and destroying our means of socioeconomic production.
The Changeling -- psychic wounds seeming permanent and the compensatory need for reciprocity, justice or closure.
A Nightmare on Elm St. -- the imaginary-real dialectic, how our social constructs influence and arrest reality, and reality's response to those social imaginaries, whether in revision or reversal.
Wes Craven's New Nightmare -- film's role in social mediation, in subject-object relations and in the tangle noted above.
Scream -- film's responsibility to sustain our sociomythological worldviews, while averting active self-consciousness and critical introspection.
Friday the 13th -- the banality and anonymity of violence and desire.
Alien -- a predator both more efficient and adept than us, and how we envy that. The destruction of civilization on impulse.
Texas Chainsaw Massacre -- the same as above: obscured impulses, repressed grotesques sublated into civil creation.
Halloween: unconscious nothingness' inability to meet reason if confronted.
The Exorcist -- the annihilation and affirmation our imaginaries.
Hellraiser -- guilt desiring itself.
Thirst -- new needs altering and conflicting with pre-established inner norms.
Ringu -- spreading the consciousness of suffering.
Ju-on -- the random or diverse effects of isolated violence.
It -- another depiction of feardefined reality.
Martyrs -- suffering's effects on consciousness and activity.
The Crazies -- the authoritarian definition of our community dynamics.
Haute Tension -- the dominance of the id.
Wolf Creek -- apprehension about new experiences and altruism.
Shutter -- our creativity tarnished by guilt and violent memory.
The Omen -- the correlation between politics and religion -- they balance and sustain one another for the same function.
Rosemary's Baby -- the motherhood role as a misogynistic social construct, as roles are decided by previous generations.
Session 9 -- destruction of the self as a form of defense.
The Evil Dead -- seclusion and obscured evil destroying relationships.
28 Days Later -- the fragility of civilization.
Nosferatu -- the romantic fetishizing of the id.
The Mist -- the dichotomous connection between unknown externals and human connection.
Christine -- objectification as a means of reflection, creation and the rejection of freedom during maturation.
An American Werewolf in London -- learning and knowing the boundaries/restraints in the self.
The Thing -- scientific impotence against mental insecurity and new unknowns.
The Fog -- civilization taken over by its innate criminal tendencies.
Let The Right One In -- the worth of one's maturation a matter of defining relationships.
Audition -- misogynist objectification subverting male patriarchy.
The Sixth Sense -- a fear of empathy.
American Psycho -- violence, an unacknowledged but accepted aspect of success.

4.
All the above explanations are really a reflection of myself, seated in the role of audience member, and are therefore invalidated by a subjective presence. Not to assume all interpretations rely on objectivity but as these as casual, they are also suspect.