Real scary/scary real: Consuming simulated and authentic horrors in the digital era

Abstract

Snuff, like porn, has been challenged by feminist and other political debates around representations focused on the body, exaggerated performance, claims of ‘realness’ and concerns about representing and/or encouraging violence against women. Thus, it is not surprising that simulated snuff horror, as a subgenre, is heavily influenced by the same technological changes that have also affected the porn industry: the content of the videos, how the videos are produced and how they are consumed. I argue that the decontextualized digital context of media production and consumption has especially lent itself to the subgenre of horror I refer to as ‘simulated snuff films’ and aids in the longevity of snuff mythology. I use the terminology simulated snuff films to differentiate these fictional, from authentic snuff. Building on Steve Jones’ work, I explore the consumption of simulated snuff films that are scary real ‐ fictional content that purposefully attempts to approximate the imagined look of a real snuff film ‐ and films that are real scary ‐ authentic depictions of extreme sexual violence and death ‐ which may not give the appearance of being real or may be read by audiences as being faked. Further, using Jean Baudrillard’s theories of Simulation and Simulacra (1981), I argue that the case of Luka Magnotta, and his now infamous internet videos, exemplifies the hyperreality of snuff films in the post-9/11 context. To put it another way, simulated snuff films now appear more real than authentic recordings of murder in the digital sphere.