Each week at Florida Gulf Coast University, students in the “The Horror Cinema” class gather to analyze some of the most iconic and unsettling films in history. Led by Farshad Aminian, an associate professor in Integrated Studies within the College of Arts & Sciences, the course examines how horror movies reflect and manipulate viewers’ deepest fears.
Aminian, who has made nearly two dozen films over 25 years and contributed to “The Historical Dictionary of Middle Eastern Cinema,” uses his experience as both a filmmaker and academic to encourage critical analysis. Students are asked not only to watch these films but also to evaluate technical elements such as camera work, sound design, pacing, psychological manipulation, atmosphere, allegory, and the broader anxieties that make horror effective.
“I want to broaden students’ understanding and appreciation of thoughtful horror movies as a powerful cinematic language to decode important social, political, economic and cultural issues,” Aminian said.
During one session early in the semester, Aminian screened James Whale’s “The Bride of Frankenstein” (1935), which he described as “a gothic masterpiece.” The class discussed how themes from Mary Shelley’s original novel were adapted for film and how audience expectations shape emotional responses. They also explored interpretations of the film as an allegory for poverty and isolation during the Great Depression.
Logan Izzo, a senior history major from Kodiak, Alaska commented on this approach: “He wants us to understand what’s going on in society to get us to understand the context. It almost reminds me of a history class focused on the years around when the films were made.”
In another session featuring George A. Romero’s 1968 film “Night of the Living Dead,” Aminian led students through an analysis focused on racial tensions and societal anxieties during that era. The movie was released amid significant historical events such as Dr. Martin Luther King Jr.’s assassination and ongoing conflict in Vietnam. Discussion centered on how horror can serve as a critique of racism, distrust among people, and breakdowns in social order.
“While I definitely enjoyed horror films before, this class has given me a much greater appreciation of horror media and the multitude of factors — such as sex, race, religion, psychology — that goes into their production,” said Ryder Bees, a senior theatre major from Coral Springs. “Every film that we’ve watched has some connection to a social or political issue not only in its time but even today.”
Aminian encouraged students to examine character flaws within these stories: “Romero’s point may be that we all have shortcomings but we have to come together to fight a common enemy.” He added that directors often use fear not just for entertainment but also for provoking thought about human behavior and responsibility.
By semester’s end students will have studied classics like “Psycho” (1960), “The Exorcist” (1973), “The Texas Chain Saw Massacre” (1974) alongside newer titles including “The Conjuring” (2013), “Get Out” (2017), and “A Quiet Place” (2018).
Despite dealing with dark material weekly Aminian notes there is still room for comfort: “My film classes always smell good because students can bring popcorn,” he said.
