Horror has always resonated deeply with the LGBT community, offering both a mirror to personal fears and a canvas for broader societal critique. There are two primary types of horror: internalized and externalized. Internalized horror, such as in “The Babadook,” delves into personal traumas and fears, which can be particularly poignant for LGBT individuals dealing with internalized homophobia.

On the other hand, externalized horror features monsters and societal threats, reflecting the oppression faced by LGBT people. Classic horror has long embraced queer themes, from the misunderstood creatures in “Frankenstein” and “Bride of Frankenstein” to the sexual repression in “Dracula” and “Dr. Jekyll and Mr. Hyde.”

Classic horror has long embraced queer themes, from the misunderstood creatures in “Frankenstein” and “Bride of Frankenstein” to the sexual repression in “Dracula” and “Dr. Jekyll and Mr. Hyde.”

The 1970s and 80s brought more explicit queer representation in horror, with Anne Rice’s “The Vampire Chronicles” and films like “Fright Night.” These works featured vampires with homoerotic undertones, providing a subversive commentary on societal norms.

The Hays Code era used monsters to subtly comment on issues like persecution, as seen in “Creature from the Black Lagoon.” “Psycho” introduced the concept of the human monster, reflecting inner turmoil and external judgment faced by LGBT individuals.

Directors like Clive Barker pushed boundaries with films like “Hellraiser,” integrating bold queer narratives. Today, independent horror continues to be a rich ground for queer cinema, with movies like “Knife + Heart” and “They/Them” bringing unapologetic LGBT stories to the forefront. Horror’s enduring appeal to the LGBT community lies in its ability to transform fears into stories of resilience and empowerment, making it a vital space for queer storytelling.

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