Not for the faint of heart: Inside FGCU’s most chilling classroom
- Laurie Dionne Babcock
- College of Arts and Sciences
- Contributors: James Greco, Photos | Chris Noonan, Video
6 – minute read
Each week in one Florida Gulf Coast University classroom, the lights dim, a soundtrack swells and students willingly subject themselves to sheer terror. In “The Horror Cinema” class, they gasp as zombies munch on entrails, flinch at a mummified corpse in a fruit cellar or recoil at on-screen projectile vomiting. They might also chuckle at campy dialogue or smile empathetically as a blind hermit befriends a monster.
Farshad Aminian, an associate professor in Integrated Studies in the College of Arts & Sciences, guides this macabre marathon to dissect how horror films throughout history prey on and reflect primal fears. The goal is to turn a critical eye on the medium, he said, not just to be entertained. In weekly reflections, a midterm test and two research papers, students dissect camera work, use of sound and silence, pacing, psychological manipulation, atmosphere, allegory, millennial fears and other anxieties that keep audiences sleeping with the lights on.
A filmmaker and academic, Aminian has made almost two dozen films in 25 years and contributed to “The Historical Dictionary of Middle Eastern Cinema,” a reference book. He teaches introductory film courses as well as “American Western Cinema” and “The Horror Cinema.”
Just in time for Halloween, FGCU360 dares to crack open the vault of Aminian’s horror film class. (Don’t say we didn’t warn you.)
Cognitive and philosophical approaches to horror
In the second week of this fall’s course, Aminian screened “The Bride of Frankenstein” (1935) — “a gothic masterpiece,” according to American Cinematographer magazine. Director James Whale’s film — a sequel to one of the most famous monster movies of all time, “Frankenstein” (1931) — builds on the foundation of Mary Wollstonecraft Shelley’s 1818 novel, drawing out previously understated themes while introducing fresh perspectives.
In the black-and-white production, Dr. Frankenstein’s female monster rebuffs her intended manmade mate — after the violent yet pitiable creature has endured repeated attacks by villagers. Within minutes of the gruesome twosome’s painful introduction — spoiler alert — he blows up the laboratory where they were created.
Students discussed how the bride’s brief appearance — and heartbreaking rejection — cause viewer disappointment and underscore the larger statement the filmmaker may have been making. Through this lens, the class examined cognitive and philosophical approaches to horror, considering how audience expectations and emotional responses shape the impact of fear on the screen.
They also discussed the film as an allegory for poverty and isolation. Aminian drew connections to the Great Depression of 1929-41.
“I want to broaden students’ understanding and appreciation of thoughtful horror movies as a powerful cinematic language to decode important social, political, economic and cultural issues,” Aminian said.
Logan Izzo, a senior history major from Kodiak, Alaska, thought the movie was a little dated, but “I felt bad for the monster more than anything else.”
He appreciates Aminian’s teaching approach. “He wants us to understand what’s going on in society to get us to understand the context. It almost reminds me of a history class focused on the years around when the films were made.”
The horror film as social allegory
In week five, Aminian screened “Night of the Living Dead,” George A. Romero’s 1968 low-budget zombie flick. The film’s gore — tame by today’s standards — shocked audiences at the time.
Romero also has a Southwest Florida connection: Parts of his 1985 sequel, “Day of the Dead,” were filmed in downtown Fort Myers and on Sanibel Island.
Aminian guided students through an analysis of the film as a powerful social allegory, particularly in its depiction of racial tensions and societal anxieties during the late 1960s. The cult classic’s depiction of a world overrun by monstrous forces in the form of reanimated corpses reflected the anxieties and uncertainties of a society grappling with social upheaval and cultural change.
“While I definitely enjoyed horror films before, this class has given me a much greater appreciation of horror media and the multitude of factors — such as sex, race, religion, psychology — that goes into their production,” said Ryder Bees, a senior theatre major from Coral Springs. “Every film that we’ve watched has some connection to a social or political issue not only in its time but even today.”
“Night of the Living Dead” was released the same year Dr. Martin Luther King Jr. was assassinated and while the Vietnam War (1955-75) was still being fought. Class discussion revolved around how movies weaponize horror to critique aspects of society, including racism, distrust and the breakdown of social order.
“Who are the monsters in the film?” Aminian asked. Class members discussed the “monstrous” traits of the main characters — a small group of people holed up in a house trying to avoid “the ghouls” outside — as well as those of the zombies, government scientists, the military and a posse that indiscriminately shoots the walking dead and at least one survivor — who is Black.
When conversation turned to the likeability of the main characters, Aminian encouraged students to dig deeper, to explore why so many of them were flawed.
“Romero’s point may be that we all have shortcomings, but we have to come together to fight a common enemy,” Aminian said. Students then discussed how the director transforms horror into a mirror of society, using fear not just to frighten but to provoke thought about human behavior, morality and social responsibility.
By semester’s end, students will have also studied “Psycho” (1960), “The Exorcist” (1973) and “The Texas Chain Saw Massacre” (1974) along with newer thrillers such as “The Conjuring” (2013), “Get Out” (2017) and “A Quiet Place” (2018).
But it’s not all jump scares and gore.
“My film classes always smell good because students can bring popcorn,” Aminian said.