The Academy Awards’ Genre Bias: Why Horror Films Have Been Overlooked

Introduction

Since its inception in 1929, the Academy Awards (Oscars) have served as the most prestigious recognition of cinematic excellence. However, while genres such as drama, historical epics, and biopics have frequently dominated major categories, horror has consistently been underrepresented. Despite horror’s cultural impact, artistic innovations, and box-office success, the genre has rarely been acknowledged in categories like Best Picture, Best Director, or acting awards.

However, recent developments suggest that this trend may be shifting. The upcoming film *The Substance*, directed by Coralie Fargeat and starring Demi Moore, is generating significant awards buzz, signaling a possible breakthrough for horror at the Oscars. This article explores the historical and industrial reasons behind the Academy’s bias against horror, highlights notable exceptions, and discusses how *The Substance* and similar films could pave the way for greater recognition of the genre.

The Historical Bias Against Horror at the Oscars

1. The Prestige Hierarchy of Film Genres

One of the key reasons horror has been historically overlooked at the Oscars is the perceived hierarchy of film genres. Scholars such as Rick Altman (1999) and Steve Neale (2000) have noted that Hollywood has traditionally viewed certain genres as more “prestigious” than others.

Oscar-winning films often belong to genres that emphasize serious storytelling, political or historical themes, and character-driven drama. *Schindler’s List* (1993), *The King’s Speech* (2010), and *12 Years a Slave* (2013) are examples of films that fit into this prestige mold.

Horror, in contrast, has long been dismissed as an entertainment-driven genre, associated with exploitation, sensationalism, and commercial appeal rather than artistic merit. Even critically acclaimed horror films often struggle to be taken seriously by the Academy unless they are rebranded as psychological thrillers or social commentaries.

2. The Academy’s Membership and Voting Preferences

Another factor contributing to horror’s marginalization is the makeup of the Academy’s voting body. The Academy of Motion Picture Arts and Sciences (AMPAS) has historically been composed of older, industry-established professionals who favor traditional, character-driven narratives over experimental, subversive storytelling.

A *Los Angeles Times* study in 2014 found that 94% of Oscar voters were white, 77% were male, and the median age was 63. This demographic composition has contributed to conservative voting patterns that favor dramas, biopics, and historical films while sidelining genre cinema, including horror.

Even as the Academy has made efforts to diversify its membership in recent years, the lingering effects of this historical bias remain evident. Horror films must often align with Oscar-friendly storytelling tropes to have a chance at recognition, as seen with *Get Out* (2017), which was marketed as a “social thriller” rather than a horror film.

Notable Horror Films That Broke Through

While rare, some horror films have managed to achieve Oscar recognition. These examples highlight the conditions under which horror films can break through—often by incorporating elements of drama, psychological depth, or social commentary.

- The Silence of the Lambs (1991) – The only horror film to win Best Picture, along with Best Director (Jonathan Demme), Best Actor (Anthony Hopkins), and Best Actress (Jodie Foster). Its success can be attributed to its psychological thriller elements and strong performances.

- The Exorcist (1973) – The first horror film nominated for Best Picture. While it won Best Adapted Screenplay and Best Sound, it lost Best Picture to *The Sting*.

- Jaws (1975)– Often considered a horror-thriller hybrid, *Jaws* was nominated for Best Picture but won only technical awards.

- Black Swan (2010) – Though primarily recognized as a psychological drama, *Black Swan* incorporates strong horror elements. Natalie Portman won Best Actress, but the film was not considered a pure horror film.

- Get Out (2017) – Jordan Peele’s directorial debut won Best Original Screenplay and was nominated for Best Picture. However, much of its recognition came from its social commentary rather than its horror elements.

- The Shape of Water (2017) – Though more of a fantasy romance, *The Shape of Water* includes horror elements, particularly in its creature design and themes. Its Best Picture win demonstrated that genre films could break through when framed as prestige cinema.

Despite these exceptions, many of the most influential horror films have been completely ignored by the Academy, including *Psycho* (1960), *The Shining* (1980), *Hereditary* (2018), and *The Babadook* (2014).

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The Impact of *The Substance* on Horror’s Oscar Prospects

One of the most exciting developments in recent Oscar discussions is the awards buzz surrounding Coralie Fargeat’s *The Substance*. This film, starring Demi Moore, is poised to challenge the Academy’s biases against horror and redefine the genre’s potential for awards recognition.

1. The Prestige Elements of *The Substance

What makes *The Substance* a strong Oscar contender is its combination of horror and high-art aesthetics. Fargeat, who previously directed the critically acclaimed *Revenge* (2017), is known for her visually striking and thematically rich storytelling.

Additionally, the film stars Demi Moore, a Hollywood veteran making a major career comeback. Oscar voters have a history of rewarding actors who undergo physical and emotional transformations (*The Whale* (2022), *Black Swan* (2010)), and if Moore delivers a powerful performance, it could attract serious awards consideration.

2. Thematic Depth and Cultural Relevance

Like *Get Out* and *The Silence of the Lambs*, *The Substance* reportedly explores deeper themes beyond traditional horror tropes. If it incorporates psychological, feminist, or body-horror elements in a way that resonates with contemporary social issues, it could appeal to Academy voters looking for films with thematic substance.

3. The Growing Acceptance of Genre Films at the Oscars

The Academy has gradually shown greater openness to genre films, particularly following the Best Picture wins of *Parasite* (2019) and *Everything Everywhere All at Once* (2022). If *The Substance* follows a similar trajectory, it could open the door for other horror films to receive serious awards consideration.

The Future of Horror at the Oscars

If *The Substance* succeeds at the Oscars, it could pave the way for future horror films to be recognized. Several upcoming horror films have the potential to follow in its footsteps, including:

- Ari Aster’s Next Film – Known for *Hereditary* (2018) and *Midsommar* (2019), Aster’s psychological horror films have received critical acclaim but have been snubbed by the Academy. A shift in Oscar attitudes could finally grant Aster the recognition he deserves.

- Robert Eggers’ *Nosferatu* (2024)** – A reimagining of the 1922 classic, *Nosferatu* has the potential to be both a critical and commercial success, possibly breaking through at the Oscars.

- Jennifer Kent’s Next Horror Project– Following *The Babadook* (2014), Kent is a filmmaker whose work has been praised but overlooked by the Academy. A shift in Oscar culture could bring her work into the awards conversation.

Conclusion

The Academy Awards’ historical neglect of horror films is rooted in longstanding biases regarding genre hierarchies, voting body demographics, and the perception of horror as a commercially driven, low-culture genre. While a few horror films have broken through, they often do so by aligning with prestige cinema’s traditional values.

With *The Substance* generating Oscar buzz, there is hope that horror will continue to gain recognition as a legitimate and artistically significant genre. If this trend continues, future horror films may finally receive the critical and awards recognition they deserve.

References

- Altman, Rick. *Film/Genre*. London: BFI Publishing, 1999.

- Carroll, Noël. *The Philosophy of Horror: Or, Paradoxes of the Heart*. New York: Routledge, 1990.

- Neale, Steve. *Genre and Hollywood*. London: Routledge, 2000.

- *Los Angeles Times* (2014). “Oscar Voter Demographics Study.”

- Schatz, Thomas. *Hollywood Genres: Formulas, Filmmaking, and the Studio System*. McGraw-Hill, 1981.