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"Supernatural horror" redirects here. For the film genre, see Supernatural horror film
The Countess Yolande commissioned a werewolf story titled "Guillaume 🏧 de Palerme". Anonymous writers penned two werewolf stories, "Biclarel" and "Melion".
A proliferation of cheap periodicals around the turn of the 🏧 century led to a boom in horror writing. For example, Gaston Leroux serialized his Le Fantôme de l'Opéra before it 🏧 became a novel in 1910. One writer who specialized in horror fiction for mainstream pulps, such as All-Story Magazine, was 🏧 Tod Robbins, whose fiction deals with themes of madness and cruelty.[18][19] In Russia, the writer Alexander Belyaev popularized these themes 🏧 in his story Professor Dowell's Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies 🏧 stolen from the morgue, and which was first published as a magazine serial before being turned into a novel. Later, 🏧 specialist publications emerged to give horror writers an outlet, prominent among them was Weird Tales[20] and Unknown Worlds.[21]
Early cinema was 🏧 inspired by many aspects of horror literature, and started a strong tradition of horror films and subgenres that continues to 🏧 this day. Up until the graphic depictions of violence and gore on the screen commonly associated with 1960s and 1970s 🏧 slasher films and splatter films, comic books such as those published by EC Comics (most notably Tales From The Crypt) 🏧 in the 1950s satisfied readers' quests for horror imagery that the silver screen could not provide.[23] This imagery made these 🏧 comics controversial, and as a consequence, they were frequently censored.[24][25]
Best-selling book series of contemporary times exist in genres related to 🏧 horror fiction, such as the werewolf fiction urban fantasy Kitty Norville books by Carrie Vaughn (2005 onward). Horror elements continue 🏧 to expand outside the genre. The alternate history of more traditional historical horror in Dan Simmons's 2007 novel The Terror 🏧 sits on bookstore shelves next to genre mash ups such as Pride and Prejudice and Zombies (2009), and historical fantasy 🏧 and horror comics such as Hellblazer (1993 onward) and Mike Mignola's Hellboy (1993 onward). Horror also serves as one of 🏧 the central genres in more complex modern works such as Mark Z. Danielewski's House of Leaves (2000), a finalist for 🏧 the National Book Award. There are many horror novels for children and teens, such as R. L. Stine's Goosebumps series 🏧 or The Monstrumologist by Rick Yancey. Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions 🏧 (for example, ParaNorman). These are what can be collectively referred to as "children's horror".[34] Although it is unknown for sure 🏧 why children enjoy these movies (as it seems counter-intuitive), it is theorized that it is, in part, grotesque monsters that 🏧 fascinate kids.[34] Tangential to this, the internalized impact of horror television programs and films on children is rather under-researched, especially 🏧 when compared to the research done on the similar subject of violence in TV and film's impact on the young 🏧 mind. What little research there is tends to be inconclusive on the impact that viewing such media has.[35]
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