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Comedy horror

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Title: Comedy horror  
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Subject: Teahouse/Questions/Archive 407, List of American films of 2009, Comedy horror, Groovie Goolies, Sabrina the Teenage Witch (1970 TV series)
Collection: Comedy Horror, Film Genres
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Comedy horror

Models promoting the film Zombieland at the 2009 San Diego Comic-Con International

Comedy horror, also referred to as horror comedy, is a literary and film genre that combines elements of comedy and horror fiction. Horror comedy has been described as able to be categorized under three types: "black comedy, parody and spoof."[1] The genre almost inevitably crosses over with the black comedy genre; and in some respects could be considered a subset of it.[2] Comedy horror will often use satire on horror cliches as its main source of humour or take a story in a different perspective, such as The Cabin in the Woods and Tucker & Dale vs. Evil.

Author Bruce G. Hallenbeck cites the short story "The Legend of Sleepy Hollow" by Washington Irving as "the first great comedy-horror story".[3] The story made readers "laugh one moment and scream the next", and its premise was based on mischief typically found during the holiday Halloween.[3]


  • In literature 1
  • In film 2
  • See also 3
  • References 4
  • Bibliography 5
  • Further reading 6

In literature

Horror and comedy have been associated with each other since the early days of horror novels. Shortly after the publication of Frankenstein, comedic parodies appeared. Edgar Allan Poe put humor and horror on the same continuum, and many nineteenth century authors used black humor in their horror stories. Contemporary author Robert Bloch called them "opposite sides of the same coin".[4]

In film

In comedy horror film, gallows humor is a common element. While comedy horror films provide scares for audiences, they also provide something that dramatic horror films do not: "the permission to laugh at your fears, to whistle past the cinematic graveyard and feel secure in the knowledge that the monsters can't get you".[3]

In the era of silent film, the source material for early comedy horror films came from stage performances instead of literature. One example, The Ghost Breaker (1914), was based on a 1909 play, though the film's horror elements were more interesting to the audience than the comedy elements. In the United States following the trauma of World War I, film audiences sought to see horror on screen but tempered with humor. The "pioneering" comedy horror film was One Exciting Night (1922), written, directed, and produced by D. W. Griffith, who noticed the stage success of the genre and foresaw a cinematic translation. While the film included blackface performances, Griffith also included footage of a hurricane for a climactic storm. As an early experiment, the various genres were not well-balanced with horror and comedy, and later films improved the balance and took more sophisticated approaches.[5] Charles Bramesco of identifies Abbott and Costello Meet Frankenstein as the first commercially successful comedy horror film. Its success legitimized the genre and established it as commercially viable.[6]

See also


  1. ^ Miller, J.S. (2004). The Horror Spoofs of Abbott and Costello: A Critical Assessment of the Comedy Team's Monster Films. Jefferson, NC:  
  2. ^ Valero-Garcés, Carmen, ed. (2010). Dimensions of Humor: Explorations in Linguistics, Literature, Cultural Studies and Translation.  
  3. ^ a b c Hallenbeck 2009, p. 3
  4. ^ Carroll, Noel (Spring 1999). "Horror and Humor".  
  5. ^ Hallenbeck 2009, pp. 5–7
  6. ^ Bramesco, Charles (22 October 2015). "The History of Horror-Comedy in 11 Crucial Films".  


  • Hallenbeck, Bruce G. (2009). Comedy-Horror Films: A Chronological History, 1914–2008. Jefferson, NC:  

Further reading

  • Och, Dana; Strayer, Kirsten, eds. (2013). Transnational Horror Across Visual Media: Fragmented Bodies. Routledge Research in Cultural and Media Studies. Taylor & Francis. pp. 201–208.  
  • Carroll, Noël (2001). "Horror and Humor". Beyond Aesthetics: Philosophical Essays. Cambridge University Press. pp. 235–253. 
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