The Paradox of Horror: Sinister Edition

      Sinister- defined as having an evil appearance: looking likely to cause something bad, harmful or dangerous to happen- is a perfect name for a terrifying thriller movie. With all of the foreshadowing, hints, and speculation to the potential content of the resolution, this film completely embodies the ideology of the paradox of horror.  It relates to the paradox of horror to “elements of the religious account”(167), in a sense that this movies pulls your in with attraction with the ancient deity/”daemon” of Bagul. Bagul is an ancient being that thrives off the murders families by children who are persuaded to film the tragic, heinous, gruesome murders performed on their families.  It is fascinating how this one being, with the help of his little other possessed children who have already killed off their families on camera, constantly gets children of ages 8-10 to turn against the ones that love them most.  That is where the paradox of horror continues to be proven, how we are so attracted to Bagul with his power to “induce awe”(167) in the children and viewers.

     Bagul and his minions have the qualities that fill the admiration clause of the paradox of horror.  Bagul is like Dracula’s example, both have seductive nature and “part of that seductiveness has to do with its force”(168).  The way he seduces even the viewers to almost believe he just loves the children is nearly mentally clouding.  Because his love for the children only exists when they go out and perform the deadly acts.  His love is not freely given, it has to be earned, by betraying your blood love; a love that is considered unconditional.  Lost, all in the seduction of this Bagul figure. Personally, if anything with that terrifying face came up to me and told me to murder my family, I would not trust him or find comfort in him.  He is one terrifying daemon. And yet there is the attraction aspect again. 

     I related the next line following the Dracula example on page 168 to instead of zombies, but instead to the children.  They are vast in numbers, at least five to ten children, yet they have the “admiration for the devil”(168).  These children cannot actually possess the ill-fated next murderous child but they can be there almost as a shoulder to lean on and as “friends”.  These zombie like children, undoubtedly devoted to Bagul, consist a power that is not seductive like Bagul, but supportive.  Children, who have killed their own families, basically train new ones to do the same to appease the daemon.  This aspect induces awe as well, and we “admire the power monsters have that the disgust they engender is outweighed”(168).  Sinister embodies the disproving of the phrase  “blood is thicker than water” so brilliantly that it seduces me every time I engage in watching.