The jump scares, the haunting and the adrenaline rush. During the spooky season, horror movies are popular for their frightful elements that keep audiences on their toes. Colorado State University faculty have delved deeper into how individuals seek out those frights in a fantastical context and the deeper meaning behind the genre for people to truly feel a sense of vulnerability.

A wide scope of research and classes connected to the horror genre is present at CSU, displaying the positive aspects of these films. There is a hidden emotional element in horror that researchers are beginning to unveil in their developing work.

Riana Slyter is a graduate teaching assistant and instructor of record in communication studies with an emphasis on film and media studies at CSU. Her dissertation revolves around the wide spectrum of haunts in attractions and different fabricated spaces brought to life during Halloween.

In movies, Slyter sees how horror piques one’s fascination to feel those emotions of suffering, pain and fear. The horror genre provides a complex perspective of reality, highlighting ways society is drawn to the grotesque even if they are horrified to watch.

“We are fascinated by the human existence, ourselves and the oddness and weirdness of the world, but we’re also really fascinated by death,” Slyter said. “I think Halloween is a beautiful time; it’s about that bridging of worlds (in which) the paranormal, the dead and the living walk amongst each other.”

“It’s not (only) about the horror. It’s about who’s creating the story and emphasizes morals, stigma and feel. Horror allows people the limitless space to explore pertinent plot devices while also navigating social constructions of race, gender, etc.” -Aaunterria Bollinger-Deters, CSU Race, Gender and Ethnic Studies instructor

Joshua Gaylord is the lead clinician at the CSU Trauma and Resilience Assessment Center. Most of Gaylord’s work consists of learning about how children and families have responded to and endured trauma; they have noticed how many of the children they work with have a deep curiosity for those films rooted in horror.

“That experience of building up distress physically and neurologically, and then releasing it, could help our body complete the stress response cycle, centering us back into a place of rest and emotional release,” Gaylord said. “So to feel (fear) and be OK afterward may give us more confidence in being able to accomplish that process in our daily lives.”

Aaunterria Bollinger-Deters is an instructor in the race, gender and ethnic studies department; she studies exploitation film genres such as horror movies and has taught a class on gynaehorror that critiques the representation of women and their gendered bodies in films.

“There’s nothing like truly being terrified — we want to know about those unhinged spaces,” Bollinger-Deters said. “It allows you to put yourself out there, and unpacking it can be psychological and cathartic. Bearing witness to gruesome stories help them make sense of their social world.”

In Gaylord’s research, they have seen the aspect of dysregulation seeking; children who grew up around chaotic surroundings can develop a more personal connection to the adrenaline and chaos frequently present in horror films. For some individuals, they may feel a draw to the fearful darkness of horror to process potential moments of grief, loss or trauma.

“Experiencing a degree of distress may feel like home to (children),” Gaylord said. “Sometimes, kids can create or seek out distress as a means to self-soothe.”

Both Bollinger-Deters and Slyter enjoy vintage horror movies from the 1920s to 1960s that hold a variety of impactful viewing experiences that a diverse range of communities can resonate with.

Slyter commented on how the 1932 film “Freaks” places a focused lens on marginalized communities and the discrimination they deal with. She said horror is about “fear of the other,” and marginalized groups can reflect on their own experiences. Horror films not only are a form of entertainment, but they also communicate a powerful and critical message of the realities of the world.

Bollinger-Deters said horror can be an avenue of healing and an opportunity for people to tell stories through a fearful context. In the past, she encouraged students to immerse themselves in the intense experience and understand the “intricate facets” so they can think differently about how these concepts impact their own lives.

“It’s not (only) about the horror,” Bollinger-Deters said. “It’s about who’s creating the story and emphasizes morals, stigma and feel. Horror allows people the limitless space to explore pertinent plot devices while also navigating social constructions of race, gender, etc.”

Slyter noticed that horror can be an empathetic genre for it is a deeper exertion of human emotion and energy. Horror embraces the reality of death and tragedy, allowing individuals to truly be human and experience life openly and effectively.

“By having an outlet to feel that fear, that sadness, and to be in that visceral space, can help me cope with the everyday,” Slyter said. “I think it’s powerful, and I think more people should be invested in it. You have to be empathetic to be able to really embrace and care about the genre.”

Reach Sananda Chandy at entertainment@collegian.com or on Twitter @CSUCollegian.