More often the horror movie points even further inward, looking for those deep-seated personal feers--those pressure points--we all must cope with. This adds an element of universality to the proceedings, and may produce an even truer sort of art. It also explains, I think, why The Exorcist (a social horror film if there ever was one) did only so-so business when it was released in West Germany, a country which had an entirely different set of social fears at the time (they were a lot more worried about bomb-throwing radicals than about foul-talking young people), and why Dawn of the Dead wen through the roof there.
--Danse Macabre, Berkely ed., 1983, p. 131
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