The Spectator-in-Crisis

Abstract

This paper examines the spectatorial engagement with on-screen violence in horror cinema for its potential to evoke both affective and political reactions. By analyzing the works of Sergei Eisenstein, Jane Gaines, and Linda Williams, the study delves into the concept of "political mimesis" through its manifestation in various film genres, particularly in horror. Drawing from Eisenstein's theory of movement and the figure-in-crisis, I argue that the spectator-in-crisis experiences emotional and physical reactions when witnessing grotesque violence in horror films. Focusing on the affective-corporeal dimensions of horror, as proposed by Xavier Aldana-Reyes, this paper explores the relationship between the viewer and the on-screen bodies. It investigates how horror cinema impacts viewers' bodily responses, emotions, and embodiment. This phenomenon is linked to somatic empathy and sensation mimicry, which enable the viewer to vicariously experience pain and corporeal damage, thus mobilizing affect to facilitate embodiment. This investigation also discusses the role of film techniques, such as montage and framing, in shaping the viewer's reception and emotional affect to highlight how horror aesthetics, audience reception, and affect are relational proxies for analyzing the genre's influence on the viewer's perception of power dynamics, societal issues, and cultural influences. To illustrate the points made, the paper examines Eisenstein's October: Ten Days That Shook the World (1928) and the horror film Daybreakers (2009), demonstrating how on-screen violence moves the actors and the audience. The paper concludes that cinematic depictions of violence in horror and other genres compel viewers to react, leading to a "full-bodied engagement" to further illustrate the importance of the spectator-in-crisis experiencing turmoil. This investigation into the affective allure of horror in spectatorial engagement broadens the understanding of how on-screen violence influences audience reactions and raises questions about applying these techniques and theories to other film genres.