Survey on HORROR genre

FORMAL SURVEY

The survey, conducted among a predominantly teen audience (87.5%) with a smaller group of young adults (12.5%), and skewed male (75%), offers a glimpse into current horror movie preferences and viewing habits. When asked to choose a favorite director from a list, 71.14% selected Christopher Nolan, likely due to his visually intense, concept-driven films that resonate with younger viewers. Steven Spielberg and Martin Scorsese each received 14.3%, and Alfonso Cuarón 28.6%, reflecting limited but notable recognition. Quentin Tarantino received no votes, possibly due to his more adult themes or a lack of familiarity among younger audiences, who may watch films passively without noting directors—suggesting some choices may have been random or uninformed.

 

Studio preferences also reflect current trends, with Warner Bros. Pictures leading at 75%, followed by Sony Pictures (50%), and Universal and Disney both at 37.5%. These results highlight a preference for dark, franchise-heavy, and stylized films typically associated with Warner Bros. and Sony.

 

To gauge overall interest in the horror genre, participants were asked to rate their enjoyment on a scale from 1 to 5. The results were divided: 37.5% rated their enjoyment as a 4, suggesting they find horror quite engaging, while another 37.5% rated it at 2, showing moderate disinterest. Interestingly, 0% chose 1 (no interest), while 12.5% gave it a full 5 (high enthusiasm), and another 12.5% selected 3. This distribution reveals a polarized but curious relationship with horror—many enjoy it but with varying intensity.l

 

In terms of horror subgenres, 50% preferred supernatural horror, 37.5% each favored psychological horror and horror comedy, and only 12.5% enjoyed gore-heavy films. This points to a clear favoring of suspenseful and story-driven horror over purely graphic content.

 

When presented with four horror films from different generations—*Evil Dead Rise* (2023), *The Conjuring* (2013), *Saw* (2004), and *The Exorcist* (1973)—50% of respondents chose *Evil Dead Rise*, followed by *The Conjuring* at 37.5%, and *The Exorcist* at 12.5%. *Evil Dead Rise*, being the most recent release, likely benefited from current visibility and marketing, making it more familiar to a younger audience. *The Conjuring*'s popularity is likely boosted by its ongoing franchise, which keeps earlier installments relevant. Surprisingly, *Saw* received no votes, possibly due to its older release date and diminished modern relevance. Meanwhile, *The Exorcist*, despite being the oldest film on the list, remains recognized—likely because of its lasting reputation as one of the scariest films ever made.

 

Participants were also asked which entity from The Conjuring universe scared them the most. Annabelle and Valak (The Nun) were nearly tied—37.5% feared Annabelle, likely due to her creepy, iconic design and the widely believed notion that her story is based on real events. Valak followed with 25%, with respondents noting that the terrifying contrast of a religious figure being unholy and demonic made her particularly unsettling. Interestingly, 37.5% said none of the listed entities scared them, suggesting either bravery or emotional detachment. Bathsheba Sherman from The Conjuring (2013) received no votes—likely not due to lack of fear, but because many respondents may not remember her name, as she wasn’t featured in a title role like the others. This points to the importance of branding in creating lasting horror icons.

 

To explore current media consumption, respondents were asked: If you were reincarnated into the last movie or show you watched, where would you be? The answers included: Green Snake, “I’d be in Baghdad, living the life of a corpse washer.”, At Paradise Land, Alice in Borderland, Shin-chan, and Five Nights at Freddy’s. These varied responses indicate a wide range of genres and content being consumed, from animated comedy and fantasy action to horror gaming adaptations and philosophical dramas—further showing that today’s young audience engages with diverse, often unconventional narratives across multiple cultures and formats.

Informal survey

The survey began by asking participants whether they liked horror movies. A strong 71% responded "Yes", while 29% said "No". This high percentage in favor of horror can be attributed to the thrill, suspense, and adrenaline rush that many viewers—especially younger ones—enjoy. Since the survey was conducted via Instagram stories, a platform largely used by teenagers and young adults, it’s likely that the results reflect the preferences of that demographic, who tend to be more open to exploring intense and exciting genres like horror.

To understand how much people enjoy the genre, a slider bar was used. The results showed that most participants slid the bar well beyond the halfway point, reflecting a strong positive sentiment toward horror movies. This suggests that not only do people like horror, but many of them are passionate about it. The interactive nature of the slider also makes it appealing for younger audiences, allowing them to express enthusiasm quickly and visually.

When asked about preferred sub-genres, psychological horror and gore were the most popular, each receiving 33% of responses. These genres often offer either a mental challenge or intense visuals, which seem to resonate well with thrill-seeking viewers. Horror comedy and supernatural horror each received 17%, indicating a smaller, but still significant, interest in more entertaining or paranormal elements. The lower percentage for horror comedy may reflect that some viewers don't find humor and horror to mix well, while the supernatural genre might feel repetitive or less believable to some.

In terms of studio preference, Warner Bros. Pictures stood out with a dominant 60%, while Sony Pictures and Universal Studios each got 20%, and Walt Disney Studios received 0%. Warner Bros.’ strong performance is likely due to their popular horror franchises like The Conjuring Universe and It, which have a large fan base. Disney’s absence is not surprising, as it rarely produces horror content. This result further emphasizes how studio reputation and past horror hits can heavily influence viewer choices.

When asked about the last horror movie they watched, participants listed well-known titles like The Conjuring, Insidious 2, Annabelle: Creation, and Lights Out. These films are all part of well-established horror franchises, again highlighting that mainstream and franchise-based horror films dominate the preferences of the younger audience.

These results may differ slightly from those of the formal survey, possibly due to the inclusion of an additional age group. These days, even children under 12 use Instagram.

Demographic Analysis

The combined findings from both the informal and formal surveys reveal that the audience engaging with horror cinema is predominantly composed of teenagers and young adults, with the vast majority falling between the ages of twelve and twenty-two. The formal survey identified that 87.5% of participants were teenagers and only 12.5% young adults, while the informal Instagram-based survey—given the platform’s popularity among younger users—likely included respondents even below the age of twelve. This distribution highlights horror’s enduring appeal among adolescents, a developmental stage characterized by heightened emotional responsiveness, curiosity, and the pursuit of thrilling, boundary-pushing experiences. The genre offers a form of controlled risk-taking, allowing young viewers to confront fear in a safe, mediated environment, which aligns closely with the psychological patterns of adolescence.

Gender distribution further refines the demographic portrait. The formal survey indicated a strong male skew of 75%, with females comprising the remaining 25%. Although gender data was not collected in the informal survey, the disparity observed in the formal one likely reflects genuine genre tendencies rather than sampling error. Historically, male audiences have shown greater attraction to visually intense, adrenaline-driven narratives—qualities found in psychological and gore-oriented horror—while female viewers tend to gravitate toward supernatural or narrative-based subgenres. This gender difference supports the notion that horror consumption patterns are partially shaped by the type of emotional engagement each audience seeks: men often pursue excitement and shock, whereas women may prefer atmospheric tension and story complexity.

The platforms through which the surveys were conducted also illuminate important demographic dimensions. The informal survey, disseminated via Instagram Stories, primarily reached a digitally native, highly interactive audience accustomed to quick visual engagement and expressive participation through polls and sliders. This suggests a user base composed largely of urban or semi-urban youth who are comfortable navigating digital media and are responsive to trend-based, short-form content. By contrast, the formal survey, distributed in a more structured academic or peer-group setting, captured a more reflective segment of the same age bracket—students capable of providing more considered responses regarding directors, subgenres, and film analysis. Together, the two methods reveal a duality within the youth demographic: one side impulsive and emotionally expressive, the other analytically inclined and maturing in its cinematic understanding.

While no explicit data on education or geography was collected, the responses strongly suggest that participants are secondary or early tertiary students from middle to upper-middle-class backgrounds. Their familiarity with internationally recognized directors such as Christopher Nolan and Alfonso Cuarón, as well as major studios like Warner Bros. and Sony Pictures, indicates access to global media through streaming services and social platforms. The prevalence of answers referencing both Western and Eastern titles—ranging from The Conjuring and Five Nights at Freddy’s to Alice in Borderland and Shin-chan—demonstrates a culturally hybrid media diet, typical of globally connected, bilingual youth. This cross-cultural media exposure reflects the influence of digital globalization, where genre boundaries and national identities in film consumption are increasingly fluid.

Socioeconomically, the audience appears to belong to households with sufficient access to entertainment technology and streaming infrastructure, implying a digitally literate and media-saturated environment. Their reliance on social platforms like Instagram for engagement also underscores their preference for immediate, participatory interaction rather than passive viewing. Urban access further supports this digital orientation, as such environments tend to foster technologically fluent, globally aware consumers. Within this context, horror serves not only as a form of entertainment but as a shared social experience—one that is easily integrated into online discourse, memes, and collective fandom.

Patterns of media awareness also provide insight into the demographic’s level of film literacy. While the majority recognized popular directors like Nolan—whose work, though not primarily horror, embodies psychological tension and visual intensity—fewer were aware of genre-specific auteurs. This suggests a surface-level engagement typical of casual but enthusiastic teenage audiences who focus more on spectacle, recognizable studios, and recurring characters than on directorial authorship. The dominance of Warner Bros. (preferred by 60–75% of respondents) reinforces this conclusion, revealing that studio branding plays a stronger role in shaping horror preferences than individual creative identity. The visibility of franchises such as The Conjuring Universe, It, and Annabelle solidifies Warner Bros. as the archetype of contemporary horror within this demographic imagination.

In summary, the demographic profile that emerges is that of a young, male-leaning, urban, and globally connected audience. They are technologically adept, socially active, and deeply immersed in visual media culture. Their engagement with horror reflects both their developmental stage and their media environment: a blend of emotional experimentation, social sharing, and aesthetic curiosity. This demographic consumes horror not only for fear but also for belonging, excitement, and identity expression. They are drawn to cinematic experiences that are familiar yet intense, visually rich yet narratively accessible, and ultimately reflective of a generation that seeks connection through shared moments of fear and thrill.

Psychographic Analysis

The psychographic profile emerging from both the informal and formal surveys suggests that audiences drawn to horror films are primarily emotionally driven, sensation-seeking, and socially expressive individuals. Their engagement with the genre extends far beyond simple entertainment; it represents an intricate interplay of thrill, identity formation, and emotional regulation. Across both surveys, a majority expressed enthusiasm for horror, with many participants rating their enjoyment well above the midpoint. This points to a collective attraction to the genre’s capacity to evoke intense emotional experiences such as fear, excitement, and suspense within a controlled and safe environment. Such tendencies align with Zuckerman’s Sensation Seeking Theory, which posits that individuals with high sensation-seeking traits are drawn toward experiences that offer novelty, complexity, and emotional intensity. Horror cinema, therefore, functions as a space for emotional experimentation, allowing young viewers to experience fear and adrenaline without real-world consequences.

A key finding lies in the participants’ psychological and cognitive engagement with horror. The preference for psychological and supernatural subgenres in both surveys indicates a desire not only for visceral thrills but also for narrative and intellectual stimulation. This audience appears to appreciate films that provoke thought, challenge perception, and create sustained tension through psychological complexity rather than relying solely on visual shocks. Their appreciation for directors known for conceptual storytelling—such as Christopher Nolan and Alfonso Cuarón—further supports the interpretation that many viewers value the mental challenge and layered storytelling embedded within well-constructed horror narratives. This pattern reflects a maturing audience whose engagement with the genre is evolving from pure fear response to cognitive curiosity, seeking meaning and interpretation within the experience of fright.

The emotional motivations underpinning this interest reveal a multifaceted relationship with fear. For many respondents, horror provides a paradoxical form of pleasure—fear becomes excitement, and tension transforms into satisfaction once resolved. This process aligns with Excitation Transfer Theory, which explains how arousal generated by fear can amplify subsequent feelings of relief and enjoyment. Moreover, horror viewing appears to serve as a social ritual among younger audiences. Many participants consume horror as part of group experiences—watching, reacting, or discussing together—transforming fear into a shared form of entertainment and bonding. This social dimension highlights horror’s ability to reinforce group identity and collective resilience; audiences symbolically “survive” the film together, reaffirming emotional strength and mutual trust.

Brand and iconography also play significant roles in shaping psychographic tendencies. The dominance of Warner Bros. in both surveys underscores the importance of brand familiarity and franchise loyalty in media preferences. The repeated mention of titles like The Conjuring, Annabelle: Creation, and Insidious 2 reflects a tendency to favor recognizable narratives and recurring characters that carry emotional and cultural weight. In this sense, horror operates as a shared symbolic language—a cultural shorthand that binds fans through common references. The preference for well-established franchises suggests that audiences associate familiarity with reliability and emotional payoff, seeking reassurance even in a genre designed to unsettle.

The responses also reveal a blend of emotional detachment and ironic enjoyment that characterizes much of contemporary youth media consumption. In the formal survey, over one-third of participants stated that none of the entities from The Conjuring universe frightened them. Rather than implying insensitivity, this reaction may reflect a postmodern mode of engagement in which fear is experienced playfully, as a performative thrill rather than a genuine emotional threat. This form of controlled detachment—laughing at what is supposed to be terrifying—illustrates how younger audiences negotiate their relationship with fear in the digital age, where horror has become both an emotional and aesthetic experience, often shared through memes, clips, and online discourse.

Lifestyle patterns emerging from both surveys further contextualize this psychographic profile. The audience is digitally immersed, culturally hybrid, and visually literate. Their consumption habits extend across streaming platforms, social media, and online fandoms, demonstrating an ability to move fluidly between genres and cultures. References to diverse media such as Alice in Borderland, Five Nights at Freddy’s, and Shin-chan reveal a generation that blends Eastern and Western storytelling traditions, engaging with narratives that balance fantasy, fear, and humor. This globalized media diet reflects a cohort that constructs its identity through intertextual experiences—borrowing from multiple cultural sources to form a personalized aesthetic of fear and fascination.

Ultimately, the psychographic analysis reveals a young audience that is adventurous, emotionally curious, and socially connected. They engage with horror as a mirror for their inner anxieties and as a platform for social expression. Their values emphasize intensity, novelty, and emotional authenticity, while their behaviors reflect a desire to belong to communities that share these passions. Horror thus becomes both an emotional outlet and a means of identity construction—an experience through which fear is transformed into empowerment and community. This audience’s attraction to both psychological and supernatural narratives demonstrates a balance between introspection and spectacle, while their loyalty to established studios reflects the comfort of familiarity amidst chaos. Together, these psychographic traits define the contemporary horror viewer as a digitally savvy thrill-seeker—someone who embraces fear as entertainment, meaning, and shared culture all at once.

Interview