{"id":494171,"date":"2026-10-13T01:54:14","date_gmt":"2026-10-13T01:54:14","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/494171\/"},"modified":"2026-10-13T01:54:14","modified_gmt":"2026-10-13T01:54:14","slug":"the-academy-museum-of-motion-pictures-opens-the-horror-show-exhibit-annenberg-media","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/494171\/","title":{"rendered":"The Academy Museum of Motion Pictures opens \u2018The Horror Show\u2019 exhibit \u2013 Annenberg Media"},"content":{"rendered":"

A dark room is utterly filled with unsettling and disturbing sounds. Beyond its obscurity is a long corridor. Behind each door is a collection of curiosities and worse, terrifying characters. Even the final room is covered wall to wall with blood and gore. <\/p>\n

This is not a description of a haunted house or horror film. It is the Academy Museum of Motion Pictures\u2019 \u201cThe Horror Show.\u201d The installation is a blend of informative museum exhibition and eerie immersive experience. This new exhibit opened on September 26, just in time for the Halloween season, and will be on view through July 25, 2027.<\/p>\n

\"costume\"Costume worn by Gary Oldman as Dracula in Bram Stoker\u2019s Dracula (1992) and concept design drawings. (Photo by Olivia Malloy) <\/p>\n

It is curated to answer the question: why do horror films matter so deeply to so many? Not only is it a look into the behind-the-scenes of many horror classics, ranging in time period and popularity, the exhibit also thematically unpacks horror\u2019s cultural significance and enduring influence. <\/p>\n

The Horror Sounds Installation showcases the important role of audio in horror cinema. The Hallway features a brief introduction to the exhibit at large, alongside dozens of vintage posters for iconic horror films and even a poster for The Horror Show itself. <\/p>\n

Throughout the passageway is a series of six themed chambers, each of which explores important subgenres of horror: gothic, psychological, science, slasher, religion and ghosts. Each chamber is intricately immersive and completely individual. The exhibit\u2019s demonstration of horror\u2019s multifaceted nature is one of its most enlightening elements as to why such a wide variety of people feel drawn to the genre. <\/p>\n

The first chamber is gothic, particularly focused on vampiric cinema, described as \u201crooted in an atmosphere of decay and the tension between desire and dread, Gothic horror explores the darker edges of the human experience.\u201d This room was filled with ornate and spectacular costumes from \u201cBlade\u201d (1998), \u201cBram Stoker\u2019s Dracula\u201d (1992) and \u201cInterview with the Vampire\u201d (1990), to name a few. <\/p>\n

\"costume\"Costumes worn in Interview with the Vampire (1994), A Girl Walks Home Alone at Night (2014), and Sinners (2025). (Photo by Olivia Malloy) <\/p>\n

The next chamber, psychological, was a sharp contrast to the last, relying on minimalism and a stark white color scheme to convey its thesis that \u201cpsychological horror turns inward, exploring the mind in all its complexity.\u201d Under fluorescent lighting and between medically sterile curtains were a handful of stalls featuring memorabilia from \u201cThe Shining\u201d (1980), \u201cAmerican Psycho\u201d (2000) and \u201cThe Silence of the Lambs\u201d (1991). <\/p>\n

\"costume\"Costume worn by Jack Nicholson in The Shining (1980) and prop axe. (Photo by Olivia Malloy) <\/p>\n

The exhibit explains that scientific horror \u201cconfronts the dangers of unchecked ambition, technological overreach, and humanity\u2019s unsettling urge to engineer and manipulate life.\u201d This chamber combined a variety of visual elements, from sterile steel to slimy aliens to macabre 19th-century aesthetics. Notable pieces include the Xenomorph from \u201cAlien\u201d (1979), the activator and Monstro Elisasue from \u201cThe Substance\u201d (2024) and props and set pieces from \u201cFrankenstein\u201d (2025). <\/p>\n

\"scene\"Reconstructed promotional wig worn for The Bride of Frankenstein (1935). Various props and set pieces from Frankenstein (2025). (Photo by Olivia Malloy) <\/p>\n

The walls of the slasher chamber were covered with water-stained yellow wallpaper and rotted wooden details, transporting the audience straight into a Southern gothic environment, similar to \u201cThe Texas Chainsaw Massacre\u201d (1974). It was also one of the most densely populated, with the masks and costumes of the most legendary killers, most notably \u201cNightmare on Elm Street\u201d (1984), \u201cHalloween\u201d (1978) and \u201cScream\u201d (1996). <\/p>\n

\"costume\"Various props featured in films such as \u201cPhantom of the Paradise\u201d (1974) and \u201cUs\u201d (2019). Alongside others from franchises such as \u201cScream,\u201d \u201cHalloween,\u201d \u201cSaw,\u201d \u201cFriday the 13th\u201d and \u201cA Nightmare on Elm Street.\u201d (Photo by Olivia Malloy) <\/p>\n

The religion chamber focused on witches, which created a natural and folksy aesthetic. Inside, there were costumes for some of the most famous modern on-screen witches like Madame Blanc of \u201cSuspiria\u201d (2018), Aunt Gladys of \u201cWeapons\u201d (2025), and Dani of \u201cMidsommar\u201d (2019). The exhibit highlighted that heretical women, \u201cwere demonized, their bodies made vessels for anxieties about autonomy, desire, and ancient wisdom.\u201d<\/p>\n

\"tree\"Costume worn by Florence Pugh as Dani in \u201cMidsommar\u201d (2019). (Photo by Olivia Malloy). <\/p>\n

The exhibition did a fantastic job in exploring horror\u2019s ties to representation of prejudices, especially concerning misogyny. This is seen in the female focus of both the slasher room, with the \u201cfinal girl\u201d projection series, and in the religion chamber with the witch slant. <\/p>\n

The ghost chamber begins with a disturbing optical illusion, a dark wall with claw-like hands pressing through. As the signage notes, \u201cGhost stories have existed for as long as people have confronted the fear of death.\u201d The room features the Annabelle Doll and Crooked Man music box from \u201cThe Conjuring\u201d universe, the phone from \u201cThe Black Phone\u201d series, and the stick figure from \u201cThe Blair Witch Project\u201d (1999). <\/p>\n

The exit, or Blood Room, contains projections of various horror films, and walls covered in gory and hyper-realistic resin blood and plastic curtains. <\/p>\n

Horror is frequently misunderstood and dismissed. In reality, it is a powerful tool to unearth what society fears most. For instance, the exhibition explains how gothic horror has deep roots in Gothic Literature. This literary movement was a response to shifting Victorian morals and immigration, informing the genre\u2019s themes of dangerous desire and marginality. <\/p>\n

As explained by The Hollywood Reporter<\/a> and History<\/a>, almost two centuries later, the golden age of slashers in the 1970s and 80s addressed new societal apprehensions. The sub-genre was heavily informed by the aftermath of the Vietnam War, youth counterculture, and rising conservatism. This is seen in the fear of ethically contaminated and deteriorating ordinary America, from the rural countryside to the suburbs. The final girl is often spared for her propriety, reflecting society\u2019s fear of teenage corruption. <\/p>\n

\u201cDepending on when it came out\u2026 [horror] normally shows a lot of what society or people are dealing with or struggling with. It highlights broader issues\u2026 Life can be horrifying. And also how do we deal with that? [Horror] does it through film,\u201d museum attendee Marissa Gsoell said. <\/p>\n

Beginning in the mid-2010s, a genre coined by mainstream media as \u201celevated horror\u201d emerged with films like \u201cIt Follows\u201d (2015), \u201cGet Out\u201d (2017), \u201cThe Witch\u201d (2015), and \u201cHereditary\u201d (2018). This genre is closely associated with the company A24 due to its championing of experimental directors such as Robert Eggers and Ari Aster. This movement is defined by their art-house filmmaking, thematic depth, psychological focus, and social commentary. These filmmakers redefined how horror was perceived, from gory entertainment to prestigious cinema. <\/p>\n

Recently, films such as \u201cWeapons\u201d (2025) and \u201cSinners\u201d (2025), the latter directed by USC alum Ryan Coogler, are gaining more and more critical recognition, as seen in their award show success. \u201cObsession\u201d (2025) and \u201cBackrooms\u201d (2026) have gained massive online popularity for their individuality and shattered box office records with relatively small budgets. As tracked by Box Office Mojo and reported on by The Guardian<\/a> and Collider<\/a>, \u201cObsession\u201d earned $500 million worldwide<\/a> on a budget of under $1 million and \u201cBackrooms\u201d earned $400 million worldwide<\/a> on a budget of $10 million. Much of the online discourse centers around hope that these two films are the beginning of a new trend in Hollywood. <\/p>\n

Learning about the genre\u2019s history provides important context to their influences and deepens appreciation for modern horror. Not only do audiences get the chance to view the very items used in some of these modern elevated horror films, but they also get to see a comprehensive and educational archive of horror. <\/p>\n

Because horror has frequently been made with smaller budgets with less commercial supervision, therefore it has often had the ability to both be extremely weird and raw, while often performing well financially and therefore reaching a large audience. This includes the ability to address challenging political topics and include diverse perspectives. <\/p>\n

This sentiment was echoed by other horror fans in attendance. <\/p>\n

\u201cHorror has always been\u2026 one of the few media representations \u2026 where they\u2019re trying to explore queerness in really interesting ways, not just in derogatory ways \u2026 [The exhibit] did a really good job of showing a lot of different movies that are seminal in what they are talking about for society,\u201d horror fan Danice Gsoell said.<\/p>\n

Another visitor Mickey Martins reinforces this idea with his statement that, \u201cHorror allows us to tackle concepts that you may not be able to tackle in any other instance. Like the concepts of evil or intangibles\u2026 Horror allows you to capture that on film, and see it, because otherwise you wouldn\u2019t be able to.\u201d <\/p>\n

\u201cYou can tackle some things to a degree in other genres, but if you want to shout about something, you do it best in horror\u2026 It means so much because it\u2019s always people taking a chance, talking about something uncomfortable,\u201d Adea Biederwolf said.<\/p>\n

However, while many agreed that horror\u2019s future is bright, multiple visitors also pointed out a rising fear within the horror genre and film industry at large: the use of Artificial Intelligence. Audiences are cautious of AI\u2019s role as a procedural shortcut, and its propensity to limit originality and creativity. <\/p>\n

Denice Gsoell and Marissa Gsoell clarified that AI has the ability to alienate core audiences. Generative AI seems to be the exact opposite of horror\u2019s traditional values of practical ingenuity and human craft. Most importantly, AI appears antithetical to horror\u2019s mainstay themes of antiexploitation and inclusivity. <\/p>\n

In a time when horror seems like the \u201cfinal girl\u201d of individualized genre cinema, it is more important than ever to appreciate the genre\u2019s history of profound artistic and cultural impact. <\/p>\n

Edited by Camille Culbertson, Sammie Yen and Andriana Yatsyshyn<\/p>\n","protected":false},"excerpt":{"rendered":"A dark room is utterly filled with unsettling and disturbing sounds. Beyond its obscurity is a long corridor.…\n","protected":false},"author":2,"featured_media":494172,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[11494,585,48,52,51,47,50,49,192229],"class_list":["post-494171","post","type-post","status-publish","format-standard","has-post-thumbnail","category-los-angeles","tag-academy-museum","tag-halloween","tag-la","tag-la-headlines","tag-la-news","tag-los-angeles","tag-los-angeles-headlines","tag-los-angeles-news","tag-the-horror-show"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/494171","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/comments?post=494171"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/494171\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media\/494172"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media?parent=494171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/categories?post=494171"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/tags?post=494171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}