The horror genre is vast, expanding into so many sub-genres and decades, it is hard sometimes to keep track. Lost in the Dark: A World History of Horror Film takes you on a tour through the sprawling history of horror, with author Brad Weismann as your very knowledgeable guide. Expansive yet very accessible, it touches on both the highs and lows, the controversial and more, with great insights and observations, making it a thoroughly enjoyable read.
Weismann intrigues right away by starting off not with film, but with horror that existed before film. Fear, of course, is universal and is a theme that was rampant in literature and theater long before film. The author cleverly explores the ideas behind horror itself, tracing its roots and how it struggled to make its way onto the big screen. The deep dive into the idea of horror itself paves the way for the rest of the book, giving the reader an appreciation of the ideas of darkness and how they eventually made their way onto film.
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From here, Weismann launches into the world history of horror in film, and it is quite the journey. We are exposed to all the different influences, from Britain to Japan, to Spain, to, of course, North America. The author takes time to pick out significant events, moments, and actors, while at the same time, offering some very interesting insights on why certain things are important, be it positive or negative. That was very refreshing to these seasoned eyes.
While digging through all the subgenres of horror, Weismann wonderfully illustrates how important both personal opinion and the actual art of horror really are. Let’s face it, horror isn’t much different from other fandoms in that everyone has an opinion on what is good and what is not. Horror fans are very passionate, almost rabid, but that should not diminish that actual art in horror, and what is involved to make said art.
There are moments in the book where the sheer volume of statistics in some subgenres makes the read a little dry. However, more often than not, there is a method to the statistical madness that pays off for the reader. The author is keenly aware of the direction he wishes to go, to take the reader, making most chapters a curious, if not fascinating, read. It is part reference library, part love affair, and horror fans will enjoy this merging of the two in all its expansive glory.
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Lost in the Dark is also a very inclusive book, one that can be read by someone who is just discovering horror or seasoned veterans of the genre, and enjoyed by both equally. Weismann’s detailed discussions in each chapter are well planned out, making it flow well for the reader. I found myself curious about many things, looking them up myself later, as I didn’t want to interrupt the flow of information that was coming my way.
The biggest takeaway I had when I finished Lost in the Dark is just how huge horror has now become, and how it fires both the imagination and spirit of its fans. A global phenomenon, the horror genre has deep roots in many, many places, allowing it to survive cycles of censorship, financial chaos, and at times, apathy. Lost in the Dark is a great read in terms of a world history of horror in film, but also a reminder that the horror genre is going to be around for a long time.
Lost in the Dark: A World History of Horror Film is now available in paperback, hardcover, and for the Kindle.
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