[...] the thought that a certain line of horror films form a shadow genre of remarriage comedies, it will be necessary to distinguish the specifically pertinent films of horror from the sets of films merely meant to terrorize us. I am speaking of horror here as I do in The Claim of Reason, as a perception of the instability of the fact of human existence, its neighboring of the inhuman, the monstrous. Accordingly The Night of the Living Dead would fit here while, for example. Dead of Night would not. The comedy of remarriage is as much about separation from society, call it privacy, as the horror movie is; and as much about the establishing of civilization as the Western is.