Originally Posted by
Semo '75
Others would decry the state of popular culture.
Regarding popular culture, I think in many ways it is a valid indicator.
I've commented before (though I think it's been a year or two) about the role of horror movies as indicators. Horror movies are not unique to any one Turning, of course, but they (like their sibling SF genre) do seem to change themes with the Turnings. I think science fiction is revealing of what a culture thinks of its present more than its future, and horror reveals something of the particular fears of a time.
In the 1930s, Universal Studios produced a cluster of horror movies that remain the
defining cultural images of certain mythical creatures, at least in America. Boris Karloff, Lon Cheney Jr., and of course Bela Lugosi are still familiar names today, a lifetime later.
At Halloween, go into any costume store, and those images remain
the images of the Frankenstein Creature, Dracula, or the Wolfman. There have been many other treatments, many other movies, but none of them have come close to displacing those images in the popular mind.
Partly that was because movies were still a relatively new and potent genre at the time, partly is was because Universal did such an impressive job, but also, IMO, I think it was because of the time and the circumstances. It was 4T, the Depression was gripping the country (and the world), everything seemed to be in flux, and another monster war was brewing in Europe, visible to those who were willing to see it.
They were
Fourth Turning horror movies, addressing themselves to the questions of what made a human, what was and wasn't allowable, what the limits on ambition could be. Yet at the same time the horror was individual, the potential for vast global horror lurking in the distance but not on stage (i.e. Dracula could start a plague of vampires, if the Frankenstein Creature had a mate they coul breed a super-race, etc, but things never got that far). Their audience was not restricted to teenagers and 20somethings, either.
In the First Turning, horror movies in America theme, and the audience got younger, as young Silents and Boomers watched the Blob, giant ants, flying saucers, etc destroy small-town America. The enemy was huge, impersonal, irresistable, and cold. It looked more like G.I. bigthink run mad than the individualized, personal horror of the previous Turning.
Notice, too, another thematic difference between 1T and 2T horror: in 1T horror,
you can become the enemy against your will. Dracula can transform you into a vampire, compelled to serve his whims. The Wolfman curse can come on you by any number of ways...
"Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolf bane blooms and the autumn moon is bright."
Even though the Frankenstein Creature can not itself do worse than kill you, the twisted science underlying its creation can be used to bring you back to pseudo-life as it is, or your very body can end up as part of such a golem. Again, the fear is
personal.
In 1T horror movies, OTOH, the danger is more impersonal, albeit at the same time omnipresent. The Blob may devour you, but you won't be turned into a Blob (at least not if you don't get carried away with that movie popcorn and the Junior Mints while you're watching :P I know I have a hard time resisting that popcorn!).
Nobody has to worry about being transformed into a giant ant, only avoiding them. The flying saucer people don't care about converting you, they just want to incinerate you with their heat rays. Even their mind control machines are just a temporary expedient.
Meanwhile, the same Universal Studios monsters who had sent shivers down the spines of young G.I.s and middle-aged Silents a Turning before were still in the theatres...
playing supporting roles to Abbot and Costello.
In my opinion this too is indicative of something basic about the psychology of the Turnings.
Abbot and Costello were also making popular movies in the Fourth Turning. Their glory days, however, where in the war years of the 40s, while the Universal Monsters were in the 30s. In the 30s, the Fourth was still building up toward its ghastly peak, and people were, IMHO,
dreading what they sensed, maybe half-consciously, was coming. It was the anticipation of the horror in real life, the tension, that provided the fuel for those most legendary of horror movies' popularity.
(It also, IMO, provided the necessary background tension to convert Orson Welles' reckless little Halloween prank at Grover's Mills into a public panic.)
After Pearl Harbor, the anticipation was over, the horror was upon them, and the mood changed from 'what's coming?' to 'we shall overcome'. Humor went from comic relief in the horror movie to the whole point of the movie, since the horror part was now all around them. Dracula and Frankenstein gave way to
Buck Privates and
In The Navy, which many people maintain are the same movie in different uniforms.
In the 1T, the nervous tension and dread of the 30s had been conquered by the memory of triumph in the 40s. The monsters who had embodied that nervous dread were now on the big screen again with the comedians who had embodied the determination of the 40s, and guess who had star billing?
In light of what I'm saying there, consider this:
Horror Movies Making Comeback