A splatter film or gore film is a subgenre of Dawn of the Dead, though Dawn of the Dead is generally considered by critics to have higher aspirations, such as social commentary, than to be simply exploitative for its own sake.
The combination of graphic violence and sexually suggestive imagery in some films has been labeled "torture porn" or "gorno" (a portmanteau of "gore" and "porno"). By contrast, films such as Braindead, and to some extent Dawn of the Dead, both of which feature over-the-top gore, can be construed as comedic, and fall into the category of splatstick.
- Characteristics 1
- Origins 2.1
- Modern era 2.2
- Resurgence 2.3
- References 3
Splatter films, according to film critic Michael Arnzen, "self-consciously revel in the special effects of gore as an artform." Where typical horror films deal with such fears as that of the unknown, the supernatural and the dark, the impetus for fear in a splatter film comes from physical destruction of the body and the pain accompanying it. There is also an emphasis on visuals, style and technique, including hyperactive camerawork. Where most horror films have a tendency to re-establish the social and moral order with good triumphing over evil, splatter films thrive on a lack of plot and order. Arnzen argues that "the spectacle of violence replaces any pretentions to narrative structure, because gore is the only part of the film that is reliably consistent." These films also feature fragmented narratives and direction, including "manic montages full of subject camera movement...cross-cuttings from hunted to hunter, and ominous juxtapositions and contrasts."
The splatter film has its aesthetic roots in French Grand Guignol theatre, which endeavored to stage realistic scenes of blood and carnage for its patrons. In 1908, Grand Guignol made its first appearance in England, although the gore was downplayed in favor of a more Gothic tone, owing to the greater censorship of the arts in Great Britain.
The first appearance of gore—the realistic mutilation of the human body—in cinema can be traced to D. W. Griffith's Intolerance (1916), which features numerous Guignol-esque touches, including two onscreen decapitations, and a scene in which a spear is slowly driven through a soldier's naked abdomen as blood wells from the wound. Several of Griffith's subsequent films, and those of his contemporary Cecil B. DeMille, featured similarly realistic carnage.
In the late 1950s and early 1960s, the public was reintroduced to splatter themes and motifs by groundbreaking films such as Alfred Hitchcock's Psycho (1960) and the output of Hammer Film Productions (an artistic outgrowth of the English Grand Guignol style) such as The Curse of Frankenstein (1957) and The Horror of Dracula (1958). Perhaps the most explicitly violent film of this era was Nobuo Nakagawa's Jigoku (1960), which included numerous scenes of flaying and dismemberment in its depiction of the Buddhist underworld Naraka.
Splatter came into its own as a distinct subgenre of horror in the early 1960s with the films of Herschell Gordon Lewis in the United States. Eager to maintain a profitable niche, Lewis turned to something that mainstream cinema still rarely featured: scenes of visceral, explicit gore. In 1963, he directed Blood Feast, widely considered the first splatter film. In the 15 years following its release, Blood Feast took in an estimated $7 million. It was made for an estimated $24,500. Blood Feast was followed by two more gore films by Herschell Gordon Lewis, Two Thousand Maniacs! (1964) and Color Me Blood Red (1965).
The popularity of the splatter film in the 1970s was met with strong reactions in the US and the U.K.; Roger Ebert in the U.S. and Member of Parliament Graham Bright in the U.K. led the charge to censor splatter films on home video with the film critic going after I Spit on Your Grave while the politician sponsored the Video Recordings Act, a system of censorship and certification for home video in the U.K. This resulted in the outright banning of many splatter films, which were deemed "video nasties" in the British press.
Some splatter directors have gone on to produce mainstream hits. Peter Jackson started his career in New Zealand by directing the splatter movies Bad Taste (1987) and Braindead (1992). These films featured such over-the-top gore that it became a comedic device. These comedic gore films have been dubbed "splatstick", defined as physical comedy that involves evisceration. Splatstick seems to be more common in Japan, with the examples of "Robogeisha", "Tokyo Gore Police" and "Machine Girl" 
Splatter films have influenced cinema in certain ways. For example, the popular 1999 film The Blair Witch Project is similar to the 1980 film Cannibal Holocaust. The story in Cannibal Holocaust is told through footage from a group of people making a documentary about a portion of the Amazon which is said to be populated by cannibals. This "mockumentary" format was later used in Blair Witch.
In the 2000s – particularly between 2003-2009 – a body of films were produced that combined elements of the splatter genre and the slasher film.
These films were dubbed “torture porn” by critics and detractors, most notably by David Edelstein who is thought to have coined the term. Like their splatter forerunners, “torture porn” films reputedly place emphasis on depictions of violence, nudity, torture, mutilation and sadism. Also like splatter films, the extent to which torture porn lived up to its sensational reputation has been disputed.
Filmmaker Eli Roth's Hostel (2005), released in January 2006, was the first to be called "torture porn" by critic Edelstein, but the classification has since been applied to Saw and its sequels (though its creators disagree with the classification), The Devil's Rejects (2005), Wolf Creek (2005), and the earlier films Baise-moi (2000) and Ichi the Killer (2001). A difference between this group of films and earlier splatter films is that they are often mainstream Hollywood films that receive a wide release and have comparatively high production values.
The torture porn subgenre has proven to be very profitable: Saw, made for $1.2 million, grossed over $100 million worldwide, while Hostel, which cost less than $5 million to produce, grossed over $80 million. Lionsgate, the studio behind the films, made considerable gains in its stock price from the box office showing. The financial success led the way for the release of similar films: Turistas in 2006, Hostel: Part II, Borderland, and Captivity, starring Elisha Cuthbert and Pruitt Taylor Vince, in 2007. Indeed, in 2009 the Saw series became the most profitable horror film franchise of all time.
Despite these financial successes, “torture porn” is perceived as a pejorative label by many press critics, filmmakers, and fans. “Torture porn’s” pejorative connotations were anchored by high-profile salacious advertising campaigns; billboards and posters used in the marketing of 
The success of torture porn, and its boom during the mid to late 2000s, led to a cross over into genres other than horror. This became evident with the release of many crime thrillers, particularly the 2007 film I Know Who Killed Me starring Lindsay Lohan, and the 2008 film Untraceable, starring Diane Lane and Billy Burke. The British film WΔZ, starring Stellan Skarsgård and Selma Blair, and its US counterpart Scar, starring Angela Bettis and Ben Cotton continued to facilitate this hybrid form of torture porn, which was also to a lesser degree, evident in films such as Rendition (2007) starring Jake Gyllenhaal, and Unthinkable (2010) starring Samuel L. Jackson.
In the mid-2000s, torture porn was given a major boost within the horror industry by a new wave of French films—commonly referred to as the New French Extremity—which became internationally known for their extremely brutal nature: Martyrs (2008), directed by Pascal Laugier, Frontier(s) (2007), directed by Xavier Gens, and Inside (2007), directed by Alexandre Bustillo and Julien Maury. Rapper Eminem explored the genre in his music video for the single "3 a.m." that year. Danish filmmaker Lars von Trier's Antichrist, starring Willem Dafoe and Charlotte Gainsbourg, was labeled torture porn by critics when it premiered at the 2009 Cannes Film Festival due to scenes of extreme violence, graphic sex, and genital self-mutilation.
By 2009, the box office draw of torture porn films had mostly been replaced in the U.S. by the profitable trend of remaking or rebooting earlier horror films from decades past with the modernization of films such as Dawn of the Dead (2004), The Amityville Horror (2005), House of Wax (2005), Black Christmas (2006), Halloween (2007), My Bloody Valentine 3D (2009), Friday the 13th (2009), The Wolfman (2010), The Crazies (2010), and A Nightmare on Elm Street (2010). A number of these remakes, such as The Texas Chainsaw Massacre (2003), The Hills Have Eyes (2006), Funny Games (2008), The Last House on the Left (2009), and I Spit on Your Grave (2010) were referred to as “torture porn” in press reviews.
At the close of the decade, The Human Centipede (First Sequence) (2010) and A Serbian Film (2010) were among the most notable torture porn releases; although not as financially successful as Saw or Hostel, A Serbian Film and The Human Centipede II (Full Sequence) (2011) gained attention in the press for their graphic depictions of forced fecal consumption and necrophilia, and both films were censored in order to attain release in the U.K. Other torture porn films such as Grotesque and The Bunny Game were banned outright by the BBFC.
Subsequently, torture porn has increasingly become a DVD-oriented subgenre. For example, Hostel: Part III (2011) was released direct-to-DVD, unlike the previous films in the series. The film received less negative attention in the press as a result of its lower-profile release. Other recent torture porn films include Would You Rather (2012), Shiver (2012), and The Collection (2012). As fewer and fewer high-profile cinematic torture porn films are being released, the subgenre is slowly dying out as many journalists have proposed.
Some scholars have published analyses of torture porn films. For example, a book chronicling the torture porn phenomenon and the surrounding controversy - Steve Jones' Torture Porn: Popular Horror after Saw - was published in 2013.
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