The history of horror cinema is a complicated web of socio-political narratives combined with the limitations and innovations of filmmaking itself. What Julian Hoeber’s Where’s the Money (playing now on MOCAtv) suggests is that there is a direct correlation with money (i.e. the budget) with the representation and association of the real (in low budget horror films). And that’s an interesting idea. But because Hoeber’s piece is an frenetic and cursory analysis of horror film, it doesn’t really take us where we need to go by diving deeply or succinctly enough into the very important commentary that can associate horror cinema with the real (whatever that really means).
Where’s the Money skips decades quickly, omitting many films in-between that are certainly part of the evolution of the genre; from Freaks to Scream back to Last House on the Left with a curious inclusion of Fulci’s Zombi. Here horror comes off as second-rate, like a bad video-taped porno flick, rather than embodying its position as a vital component to cinema that allows uncomfortable subject matter to be approached and eviscerated right before our very eyes. I find the idea of associating horror with low culture problematic; it’s not merely about economics but the outbursts of social issues that stem from money, and, subsequently, labor and power that makes horror such a potent genre.
What I’m saying is that horror film is infinitely more complex that what’s presented here and that the notion of economy plays out in horror more fluidly than merely in the way in which it’s created. The provocation of money and the real presented in Where’s the Money would have been better served by a narrower focus. For instance, many thinkers associate Eli Roth’s Hostel (2005) as a manifestation of 9/11 Gitmo torture scenarios back upon unwitting American tourists in Eastern Europe. However what’s really at play is the idea of economy and power. There are only two Americans in the whole film, the rest of the people being killed or doing the killing are from all over the world. That film isn’t about “torture and America” but about a globalized system of exchange and an examination of values. Exploring this faction of Hostel (which was not a low-budget film) or in recent films like Land of the Dead or We Are What We Are or even Hitchcock’s Psycho, Where’s the Money could have taken a more measurable stance about how money influences the decisions we make and how horror evaluates those choices.