Torture porn

A splatter film or gore film is a subgenre of horror film that deliberately focuses on graphic portrayals of gore and graphic violence. These films, through the use of special effects, display a fascination with the vulnerability of the human body and the theatricality of its mutilation. The term "splatter cinema" was coined by George A. Romero to describe his film Dawn of the Dead, though Dawn of the Dead is generally considered by critics to have higher aspirations, such as social commentary, than to be simply exploitative for its own sake.

In recent years, the use of graphic violence in cinema has been labeled "torture porn" or "gorno" (a portmanteau of "gore" and "porno"). By contrast, films such as Braindead, Evil Dead II and to some extent Dawn of the Dead, both of which feature over-the-top gore, can be construed as comedic, and fall into the category of splatstick.

Splatter films, according to film critic Michael Arnzen, "self-consciously revel in the special effects of gore as an artform." Where typical horror films deal with such fears as that of the unknown, the supernatural and the dark, the impetus for fear in a splatter film comes from physical destruction of the body and the pain accompanying it. There is also an emphasis on visuals, style and technique, including hyperactive camerawork. Where most horror films have a tendency to re-establish the social and moral order with good triumphing over evil, splatter films thrive on a lack of order. Arnzen argues that "the spectacle of violence replaces any pretentions to narrative structure, because gore is the only part of the film that is reliably consistent." These films also often feature fragmented narratives and direction, including "manic montages full of subject camera movement...cross-cuttings from hunted to hunter, and ominous juxtapositions and contrasts."

The splatter film has its aesthetic roots in French Grand Guignol theatre, which endeavored to stage realistic scenes of blood and carnage for its patrons. In 1908, Grand Guignol made its first appearance in England, although the gore was downplayed in favor of a more Gothic tone, owing to the greater censorship of the arts in Great Britain.

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