The subset of films commonly known as anthology horror is comprised of many lesser-acknowledged films within the genre, judging by their absence in most academic works that address the horror canon. Yet anthology horror films have maintained a steady, if understated, presence within the genre: in recent years, films such as Three…Extremes (2004), Trick ‘r Treat (2007), VHS (2012), The ABCs of Death (2012), and even the forthcoming Free Fall (2014) incorporate the segmented structure of anthology horror. Fitting somewhere in between shorts and features, these films remain a covert, but potent, counterpart to the generic tendencies of horror film. My current investment in anthology horror film is not to expound on the reasons for its diminished and overlooked status within the horror genre, but to highlight its idiosyncrasies and situate elements of its unique vocabulary alongside standard (or non-anthology) horror. Since this is an ongoing topic of interest for me, I intend to pursue this study in more detail along several different paths.
Anthology films, also known as portmanteau or omnibus films, can be described as films that consist of short, autonomous segments running anywhere from a handful of minutes to nearly an hour. In his book Hammer and Beyond: The British Horror Film, Peter Hutchings describes two general categories of anthology horror films. He writes, “In the first group are those films in which the separate stories are not related directly to each other” (135). Films such as Three Extremes… (2004) and Spirits of the Dead (1968), which contain segments connected only by a common theme, fall into this category. The second type “connects its story segments via a link-narrative” (135) – that is, a narrative that unites and simultaneously exists apart from the segments that comprise the bulk of each film. Link-narrative anthology horror films enjoyed brief proliferation in the 1960s-1970s and were primarily associated with the England-based Amicus Productions. The most striking aspect of link-narrative anthology horror is its tendency to downplay horrific or frightening elements in favor of humor, irony, or “fun,” a term borrowed from Linda Williams. While standard horror strives to push the boundaries of shock and fear, anthology horror (unless specified otherwise, any mention of anthology horror from now on will refer to link-narrative) eschews these horrific and frightening elements to prioritize humor and silliness. As a result, it shies away from the extremities of standard horror, still incorporating many stylistic features of most genre films but producing a vastly different effect. In this way, anthology horror films offer a rich tonal contrast to standard horror. Read more