How can The Tingler—a post-atomic horror film about a lobster-like creature that manifests on your spine whenever you are afraid—possibly be compared to something as life-affirming and fancy-free as a musical? If we set aside genre and look at the form and content of both The Tingler and another self-reflexive picture from the same decade, Singin' in the Rain, the correspondences between the different genres are fascinating.

Arran Crawley discusses writing the horror screenplay and protagonist: There’s more than one way to structure a story—particularly horror with its detailed sub-genres.

Screenwriter Arran Crawley examines the differences between two common types of stories in horror film and how you can use them to create engaging plots in your own writing.

Writing a scene analysis can be a great step toward forming a broader thesis when discussing a film. Using Creep (2014) as an example, this article analyzes the opening scene and shows how it can be used to guide a deeper look into the film.

The visual language of Sidney Furie's The Entity (1982) hints that the psychiatrists treating Carla Moran may not have been so off target, after all.

“The ghost story is a form of horror loved by those who don’t love horror.” Guest author Arran Crawley explores six themes in the making of the traditional British Ghost Story.

Suspiria engages with color and atmosphere, and in this examination of Dario Argento’s use of the color yellow, we see Suspiria mirrored with the work of Vincent Van Gogh.

There is a perpetual and cyclical bleeding out of color and emotion in the Rothko paintings, such that the viewer is easily overwhelmed. In Suspiria, it is unabashedly intentional. This is the first of a 3-part series on the colors of the original Suspiria.