Friday, October 5, 2012

The Decade in Horror: The 1960s

"We have a lot of reason to be fearful in the world," Frank Farley, Temple University

One of the common theories used to explain the horror paradox is that people watch horror movies as a way of coping with actual fears or violence.  Since one source of our fears in undoubtedly the world in which we live, I thought it would be interesting to look at the popular horror movies of different decades to see how they reflect the general fears and uncertainties of the times.

The 1960s

The horror boom of the late 50s continued into the 60s, where it reached new heights.  However, the teenagers who made horror so big at the drive-in were now adults whose fears were more deeply rooted in reality.  In a rapidly changing world, the monsters of the 50s seemed silly.  And since there had not been a nuclear holocaust in the years following World War II and aliens had never landed (that we know of), society looked inward, focusing on its own psyche rather than any external threats.

With all the changes happening in the 1960s, social stability was gone.  The Vietnam War and the anti-war movement.  The Sexual Revolution and the feminism movement.  The Cuban Missile Crisis.  The civil and gay rights movements.  Collectively, the turmoil produced an underlying counterculture movement that would provide ample opportunity for horror movies to explore new ways of exploring sex and violence.

The decade in horror began with the B-movies of William Castle and Roger Corman, but one movie soon changed the entire landscape forever.  Alfred Hitchcock's Psycho not only ushered in an era of intense psychological horror, but was also the first horror movie in the "slasher" sub-genre.  Other movies also took a minimalist approach compared to those of the past.  They featured characters, usually women, who don't believe what is happening to them until the end, at which point the forces of evil usually win.

Among my favorite all-time horror movies are these four American films from the 60s:  House of Usher, The Innocents, The Pit & the Pendulum and Hush Hush Sweet Charlotte.

Hammer Films from England continued to go strong through most of the 60s until late in the decade when it took the same route as Universal in the 40s and began trotting out multiple sequels for its signature monsters, each with diminishing quality.  But in this decade, the United States was also exposed to unique genre movies and directors from other foreign countries: Mario Bava from Italy and Jess Franco from Spain, to name two.

Among my favorite all-time horror movies are these six from foreign lands: The Brides of Dracula, Dracula Has Risen from the Grave, Frankenstein Must be Destroyed, Mothra vs. Godzilla and Repulsion.

The turmoil and social upheaval of the decade may best be demonstrated by the fact that there were four assassinations of important public figures: President John F. Kennedy in 1963, Malcolm X in 1965 and Martin Luther King, Jr. and Robert F. Kennedy in 1968.  And the state of the horror movie in the decade may best be demonstrated by the release of three landmark films: Night of the Living Dead, Rosemary's Baby and Targets, each excellent in their own rights, but also terrifying reflections of the 60s.

Four landmark horror movies of the 60s:  Psycho, Night of the Living Dead, Rosemary's Baby and Targets.

At the end of the decade, two events occurred that couldn't have been any more different.  In August of 1969, "3 days of peace & music" was celebrated at Woodstock, while only a week earlier the Manson Family murders had occurred on the other side of the country.  Calling the 1960s "turbulent" would be an understatement.  What in the world was going to happen in the 1970s?  Check back tomorrow and find out...

Other 1960s milestones:

1960.  The contraceptive "Pill" was released after FDA approval.
1961.  The Peace Corps was established.
1963.  Martin Luther King, Jr. gave his "I Have a Dream" speech.
1964.  The first trans-Pacific satellite broadcast ocurred.
1964.  The Civil Rights Act of 1964 was enacted.
1965.  The National Voting Rights Act of 1965 was enacted.
1967.  The MPAA removed its Production Code.

Sources:

Horror Film History: Horror Films in the 1960s

Thursday, October 4, 2012

The Decade in Horror: The 1950s

"We have a lot of reason to be fearful in the world," Frank Farley, Temple University

One of the common theories used to explain the horror paradox is that people watch horror movies as a way of coping with actual fears or violence.  Since one source of our fears in undoubtedly the world in which we live, I thought it would be interesting to look at the popular horror movies of different decades to see how they reflect the general fears and uncertainties of the times.

The 1950s

Horror output remained low during the first part of the 1950s; however, beginning mid-decade, the number grew each year resulting in the most horror movies yet in 1959.  It seems there were two main reasons for the horror explosion: a major shift in the popular consciousness of American movie goers and a lifting of the horror ban in Britain.

While the actual horrors of World War II had ended, there soon rose something more unnerving: the threat of another war.  While the United States had to deal with the trauma of dropping the bomb, it also lived under the fear of a future apocalypse. As the Cold War began, a new monster was spawned and it was more human than ever before.  These monsters were mad scientists, the extreme representations of the men who created the atom bomb and facilitated the Holocaust.

The horror movies of the 1950s reflected society's mistrust of science and technology.  During this era, the iconic monsters of previous decades had all but vanished.  The new monsters were not only the mad scientists, but the mutations resulting from their experiments and from science run amok.  There were giant beasts from beneath the sea, giant ants, giant tarantulas, giant crabs, giant preying mantises and more.  The pinnacle of this era came from Japan in a movie we called Godzilla, King of the Monsters.

In 1947, the first flying saucer had been spotted in the skies, soon followed by the incident at Roswell.  So, in the 50s, many of our monsters also came from outer space.  Most of the horror/sci-fi movies were pessimistic, but even when the aliens were friendly, they were misunderstood and the stories ended on a dark note.  In the pinnacle of this era, Invasion of the Body Snatchers, the aliens became us and we could not distinguish them from humans.

Two of my favorite all-time horror movies were 50s sci-fi: The Day the Earth Stood Still and
The Thing from Another World.

Meanwhile across the pond, Hammer Films was enjoying the success of an alien movie of their own, The Quatermass Xperiment.  In 1957, Hammer produced The Curse of Frankenstein, which would kickstart a series of movies that revisited the iconic monsters of the past and presented them for the first time in gory and glorious color.  Interestingly enough, the original Universal Monsters experienced a resurgence as their movies were broadcast on television for a new generation.  In my opinion, this would have been one of the greatest times to be a horror fan.  You could have watched the classics on TV and seen the new breed at the drive-in.

Two of my favorite all-time horror movies were from Hammer Films in the 50s: The Curse of Frankenstein and
(The Horror of) Dracula.

Speaking of drive-ins, they must also be credited for the proliferation of horror movies in the late 50s.  At this time, the primary audience for horror was teenagers.  With quantity doesn't necessarily come quality, and it's quite evident in these "B movies" (of which American International Pictures was king) as story and production values were sacrificed purely for action and thrills. 

Along with the times, the landscape of horror was changing quickly throughout the 50s.  While the 30s and 40s represented distinct evolutions, the 50s represented three and didn't follow the cycle of the two previous decades.  Horror seemed to be snowballing.  Would this phenomenon continue into the 1960s?  Check back tomorrow and find out...

Other 1950s milestones:

1951.  Transcontinental television service inaugurated on September 4.
1952.  The first passenger jets entered service in Britain.
1952.  The United States conducts its first hydrogen bomb explosion test.
1954.  The world's first nuclear power plant opened near Moscow.
1957.  The Soviet Union launched Sputnik 1, the first satellite to orbit the earth.

Sources:

Horror Film History: Horror Films in the 1950s

Wednesday, October 3, 2012

The Decade in Horror: The 1940s

"We have a lot of reason to be fearful in the world," Frank Farley, Temple University

One of the common theories used to explain the horror paradox is that people watch horror movies as a way of coping with actual fears or violence.  Since one source of our fears in undoubtedly the world in which we live, I thought it would be interesting to look at the popular horror movies of different decades to see how they reflect the general fears and uncertainties of the times.

The 1940s

If the horror movies of the 1930s looked back to the 19th century for inspiration from its fictional monsters, those from the 1940s looked within.  With the horror ban continuing in Britain, horror movies were made primarily for audiences on this side of the pond.  Early in the decade, Americans may have felt safe and removed from the war in Europe; however, when the United States joined Word War II after the bombing of Pearl Harbor, they needed an escape from reality more than ever.

With the popularity of Son of Frankenstein in 1939, Universal Pictures discovered a formula for success and began trotting out sequels based on the iconic representations it had created a decade before.  The Invisible Man returned.  The Mummy had a hand, a tomb, a curse and a ghost.  Frankenstein had a ghost.  Dracula had a son.  Frankenstein and Dracula had a house.  And Frankenstein met The Wolfman.

By the time Abbott and Costello met Frankenstein in 1948, the once frightening monsters had taken supporting roles in slapstick comedies.  While this period signalled the decline of horror at Universal, it also introduced its most sympathetic character.  Lon Chaney, Jr. played Larry Talbot, who, when the wolfbane blooms and the autumn moon is bright, transforms into The Wolfman.

The Wolfman was significant because, while the other Universal Monsters had their origins in fiction or mythology, Larry Talbot and his furry alter ego were largely original creations, cobbled together from several different legends as well as new story elements.  It would nevertheless become an archetype for lycanthropy in all media that remains with us today.

Two of my all-time favorite horror films came from the 1940s:  Cat People and The Picture of Dorian Gray. 

While innovation in horror lacking at Universal, it was evolving at RKO.  Beginning with Cat People in 1942, producer Val Lewton and director Jacques Tourneur led the way with movies focusing less on visible monsters and more on shadows and atmosphere.  In these movies, the fear came not from what audiences saw, but from what they didn't see.  And they provided a new template for the horror movies that followed.

Just as it did in the 1930s, the number of horror films decreased at the end of the decade, suggesting a 10-year cycle of popularity for the genre.  With World War II over, perhaps the collective mood had lifted and audiences no longer wanted to be scared.  Would this cycle repeat in the 1950s?  Check back tomorrow and we'll find out...

Other 1940s milestones:

1941.  Velcro was invented.
1945.  Atomic bombs were dropped on Hiroshima and Nagasake.
1945.  First Slinky was demonstrated at Gimbles department store in Philadelphia.
1946.  Tupperware was developed.
1947.  The first microwave oven became commercially available.
1948.  The first Frisbees were produced.

Sources:

Horror Film History: Horror Films in the 1940s

Tuesday, October 2, 2012

The Decade in Horror: The 1930s


"We have a lot of reason to be fearful in the world," Frank Farley, Temple University


One of the common theories used to explain the horror paradox is that people watch horror movies as a way of coping with actual fears or violence.  Since one source of our fears is undoubtedly the world in which we live, I thought it would be interesting to look at the popular horror movies of different decades to see how they reflect the general fears and uncertainties of the times.


The 1930s


As if the stock market crash of 1929, which helped trigger the Great Depression, was not bad enough for the United States, the Dust Bowl also occurred in the first half of the decade, resulting in severe draught, food shortages and a reduction in wages.   Even though radio was the dominant form of media, audiences flocked to movies that were far removed from their everyday realities.  It was in this decade that the movie going public accepted horror as a genre.


Not only were the stories of 1930s horror movies an escape, but also the locations.  Movies like Dracula, Frankenstein, The Mummy and Werewolf of London contained fantastic characters and situations, but they also took place far from the troubled United States.  Most of these movies had a gothic influence and dealt more with science and adventure than the supernatural.

Take the four movies mentioned above and add Freaks, Island of Lost Souls, The Most Dangerous Game, The Old Dark House, White Zombie, King Kong, The Invisible Man and Bride of Frankenstein, and it's undeniable that the 1930s was the golden age of the horror movie.  This was also the decade in which Boris Karloff and Bela Lugosi became stars and horror legends as they created iconic representations of literary and mythological monsters.


Four of my favorite horror movies of all time were released in the 1930s: Frankenstein, The Most Dangerous Game, King Kong and Bride of Frankenstein.


It should be noted that most of these movies were made during the first half of the decade.  In 1935, the British Board of Film Censors introduced the "H" (Horrific) rating and was attached to "any films likely to frighten or horrify children under the age of 16 years.  Subsequently, in 1936, Hollywood embraced a strict production code limiting the violence and sexuality that could be portrayed in films.  These policies resulted in virtually no horror films being produced in 1937 and 1938.


Horror movies experienced a resurgence in 1939, the same year that gave us two of the most beloved movies of any genre, Gone with the Wind and The Wizard of Oz.  It seemed that with the classic lines from those movies, "Tomorrow is another day" and "There's no place like home", the Great Depression was winding down and the public was becoming more hopeful.  What would that mean for horror?  Check back tomorrow and we'll find out…


Other 1930s milestones:


1930.  Warner Brothers released the first all-talking, all-color movie, Song of the Flame.

 

1931.  RCA Victor introduced the first long-playing phonograph record; the Empire State Building opened.

 

1932.  Franklin D. Roosevelt elected President of the United States.

 

1933.  Prohibition ended in the United States; in Europe, Hitler rose to power.

 

1937.  The German dirigible Hindenburg exploded in New Jersey; Disney's Snow White & the Seven Dwarfs was released; the Golden Gate Bridge opened.

 

1938.  Radar was invented.


Sources:

From Halloween to Horror Movies, Why We Loveto Be Afraid, Susan Donaldson James, 10-25-11

Hollywood Movie Memories: Horror Films in the1930s

Horror Film History: Horror Films in the1930s



Monday, October 1, 2012

Countdown to Halloween


Not too long ago, I watched a particularly awful horror movie and, for the first time in my life, I had to ask myself, “Why do I watch this garbage?”  The plot was predictable, the acting was bad and the violence was excessive.  When I realized those are the characteristics of many horror movies, I began to seriously question why I love them so much.   I always have and, at this point, I suppose I always will.
I’m not the only one who loves horror movies or they probably wouldn’t continue to get made.  On the WebMD website, Richard Sine states, “…you may be puzzled about why people put themselves through the ordeal of watching such movies.”  As he points out, and as I realized while doing research, “Many behavioral researchers share your puzzlement”. 

Assuming that horror movies are fundamentally about fear, there are a multitude of psychological and physiological explanations for why we enjoy being scared.  Norman N. Holland, Ph.D asks, “Why would we enjoy having the most negative of negative emotions, fear?”  It’s a phenomenon of which I read mention in several places and it’s called the “horror paradox”.
The horror paradox might best be described by Science Daily, "A bedrock assumption in theories that explain and predict human behavior if people's motiviation to pursue pleasure and avoid pain.  How can this be reconciled with the decision to engage in experiences known to elicit negative feelings, such as horror movies?  It certainly seems counterintuitive that so many people would voluntarily immerse themselves in almost two hours of fear, disgust and terror.  Why do people pay for this?  How is this enjoyable?"
These are the questions I want to examine in my countdown to Halloween.   I’m going to look at historical cycles of horror films as well as at least ten different theories about why we love horror movies.  And when I say, “we”, or course I mean, “I”.  After all, the blog is called “It Came from Beneath My Mind”.

I’ll also post some other fun stuff along the way.  I’ve got a comics-to-movie comparison of 30 Days of Night and a feature about the archetype for the lesbian vampire, Carmilla.  I’m sure there will be some other reviews and surprises, as well.  Please join me and check back frequently.  I can’t promise something new every day between now and October 31, but I can promise you mostly treats and very few tricks.
Sources:
WhyWe Love Scary Movies, Richard Sine, WebMD, 10-25-2007
WhyAre There Horror Movies?, Norman N. Holland, PhD, This Is Your Brain on Culture, 1-4-2010
Why Do People Love Horror Movies? They EnjoyBeing Scared,  Science Daily, 7-31-2007

Monday, September 3, 2012

Coming Soon: Countdown to Halloween 2012

There's nothing like forcing me to write (not that I need forcing) than committing to participate in something like Countdown to Halloween.  I can't promise I'll post EVERY day in October, but MOST days, beginning October 1, I'll offer those who ring my blog doorbell a scary little treat.

And be sure to visit all the other blogs who sport a Countdown to Halloween logo like this one:

Saturday, August 4, 2012

How to Thrive at Comic-Con...

...or, Lessons Learned in 2012

This year was my second trip to San Diego for Comic-Con after a five-year absence.  I thought I knew exactly what I needed to do to accomplish exactly what I wanted to accomplish.  But, guess what?  I didn't.  The reason is not that anything major had changed.  And it wasn't because the convention had significantly grown; attendance was 125,000 in 2007 and 130,000 in 2012.  I think it was because many people had been before and were more savvy about how to navigate the ins and outs.

Taking both years into account, as well as some valuable lessons learned this time around, I'd like to share with you not only how to survive at Comic-Con, but also how to thrive.  Continue reading and you will be able to begin planning a successful trip for next year.  Follow these ten steps and you'll be a pro, whether you've attended in the past or not.

1.  Condition yourself.

Comic-con is physically exhausting.  You'll fare better if you build your stamina ahead of time.  I'm not kidding; it's the perfect opportunity to lose a few pounds while you train for the experience.  If you can't be on your feet for at least four hours without aching, you're going to suffer in San Diego.

Start early and take baby steps.  I'd even recommend going to a smaller, local convention and walking the floor to get the feel of it.  Keep in mind that the biggest crowd you face at one of these is a drop in the bucket compared to what you'll face at Comic-Con.


2.  Be prepared.

You've got to think of your physical survival.  Although there are food stands in the convention center, count on not having easy access to food or drink during the times you're there.  Take snacks and a large bottle of water with you.  Warning:  the more you drink, the more you're going to have to go to the bathroom, and that may also be inconvenient.

Bring a small folding chair or stool to use when you're standing in line.  Unless you're actually in the exhibit hall, there's room to spread out and make yourself comfortable while waiting to gain access to a panel or screening.  Chances are you'll be outside some of the time.  Bring a hat and sunscreen.

What kind of bag do you need to carry all of your survival tools?  I thought this year I'd use a messenger bag so that I could gain easy access on very short notice.  But at the end of each day, my shoulder was killing me.  A backpack would have been better.  There are plenty of bags given away at booths to use for quick storage of things you collect on the floor.

Cameras are a must.  Unless you have a tested and true phone, I wouldn't rely on it for the best pictures.  Be sure to pack chargers and extra batteries.  You'll definitely want to recharge everything overnight, but you may also need a quick jolt during the day and outlets are not that hard to find.

3.  Set priorities.
It is physically impossible to do everything you want to do at Comic-Con.  You may not believe me, but what are you going to do when panels for two of your favorite TV shows happen at the exact same time in two different rooms?  You can't be in two places at once, so you have to decide what is more important to you.

And what would you rather take from your Comic-Con experiences: pictures, autographs or just bragging rights that you were in the same room with your favorite movie star?

If it's pictures, you have to be really close to the stage in the panels, which means standing in line incredibly early, if not overnight.  Otherwise, you'll be taking pictures of the screens broadcasting the panels to the back rows.  Try circling the booths on the exhibit floor during autograph signings.  They're usually an hour long and swarming with people at the beginning.  While security will keep you moving, you can usually snap some good ones later in the hour.

If it's autographs, you'll probably need a ticket ahead of time. Very few studios host signings for walk-ups. I wrote an entire article on Downright Creepy about obtaining autographs, but the tip here is to find out ahead of time what is required. Then, check and double-check to see if the qualifications change. Allow at least an hour standing in line, even if you have a ticket. And remember that's an hour you will have to sacrifice attending a panel or doing something else.

If you want only the thrill of being able to say you were in the same room with Robert Downey, Jr., even if it's the 6,500-seat Hall H, you're going to have to stand in line anywhere from one to four hours… at least.  If you don't care where you're sitting, you won't have to wait as long.  But any time you wait will be time sacrificed elsewhere.  I hope you understand now how it's impossible to do everything you want to do.  You must set priorities.

4.  Don't let the lines scare you.
A line that wraps upon itself through several tents, then crosses the street, then snakes down the sidewalk before doubling back upon itself along the bay can be rather daunting. But consider the time of day. If it's before 9:30, the convention hasn't even opened yet and you're probably going to get in to Hall H that morning. 6,500 people is a lot. If everyone is spread out with their chairs like I recommended, they're going to take up more space than you'd think.

On the other hand, if the convention is in full swing, you may not gain access to Hall H until people filter out of early panels.  That is why if there's a specific panel you absolutely must see, you should get in line one or two panels ahead of it.  People are not required to clear the room between panels and while some camp out all day, others really do leave after they've seen the one they want to see.

Ballroom C is also problematic.  It's not as big and the lines aren't quite as long.  But I stood in line two and a half hours to get into the 3:30 Vampire Diaries panel.  Study the schedule and try to anticipate interest.  Before Vampire Diaries were panels for Fox's Animation Domination block of shows.  I had a feeling there was a different audience for it and Vampires.  I was right.  I entered at the end of American Dad and was able to move closer to the stage when it ended and people cleared.

Other rooms are not nearly as crowded.  And, sad to say, if it's a smaller panel actually dealing with comic books, magazines or books, you can probably walk right in.

5.  Consider your entertainment options.
So, what are you going to do while standing or sitting in line for three hours?  I'd recommend bringing an iPad or Kindle.  They're less bulky and heavy than books and magazines, plus they give you more options than just reading.  Warning:  with electronic devices, you run into issues of batteries and charging.  Refer to Step #2.

You may not need as much entertainment as you think, though.  The Comic-Con crowd is very friendly, so you'll have conversations and discussions.  Plus, there's a constant parade of colorful characters walking by.  Don't be shy!  Take advantage of the opportunity to meet new people, many of whom probably share some of your interests.

Do not count on consistent internet access.  Wireless is supposedly available in certain areas (and hotels), but it's so overloaded, it's virtually nonexistent.  Depending on your mobile device vendor, you may or may not have availability of texts (or even phone calls).  I had better luck in the mornings, but almost none later in the day.

6.  Plan ahead.
It's not silly to suggest you map a plan of attack for the 460,000 sq. ft. exhibit hall.  If you think you'll just start at one end and leisurely stroll to the other, enjoying all the sights, you will be disappointed and simply not have enough time to do it.  I tried it, and at as quick a pace as the crowd allowed, it took me nearly six hours over the course of two days.

Visit the Comic-Con website ahead of time and study the exhibit floor, list of vendors and list of exclusives.  Decide what you want to see and what you want to purchase or collect.  I'd literally print a map and mark the booths you want to visit.  If there's an exclusive that you absolutely must buy, head there first and be prepared to stand in line at least an hour.  Do not wait; they will sell out.

Preview night on Wednesday is not quite as crowded and, surprisingly this year, Friday afternoon wasn't either.  But Saturday?  Forget it!  Be patient.  If you're claustrophobic, stick to the perimeter of the floor; it's not quite as crowded.  There are no fast lanes anywhere, but the fastest way to get from point A to point B is via the outer edges.

7.  Be alert.
At all times, be alert of what's going on around you.  On preview night, I passed Atticus Shaffer (Brick from The Middle) on the exhibit floor.  In line for Comic-Con souvenir t-shirts (there's a line for everything), I watched John Landis visit a booth across the aisle.  Brent Spiner (Data from Star Trek: The Next Generation) complimented me on the Peter Cushing bust I bought and was carrying with me.  And, Stephen R. McQueen (Jeremy from The Vampire Diaries) stopped for a picture when we passed in the aisle.

Also be sure of the scheduled times for various events.  It doesn't hurt to double check.  An update to the schedule is published each morning and is available before entering the exhibit floor.  More importantly, know how long it is going to take you to get around; then, allow just a little more time to get there.


8.  Keep an open mind.
You may discover something new at Comic-Con that you never thought you'd like. Before a screening I really wanted to see, I sat through the Teenage Mutant Ninja Turtles panel. I've never been a TMNT fan, but the new animated series looked amazing! I became quite interested in what the panel had to say about it. And, although I never expected it, I got to see Sean Astin and snap a pretty good picture.

If there's any down time (ha, ha), seek out at least one of the smaller panels that you can walk right into.  Expand your horizons and learn something new.

9.  Consider your departure.
How are you going to get everything home?  Hopefully, you didn't pick up everything that was shoved in your face; you have no obligation to do so.  But it's likely your booty will take more space than your suitcase allows.

Unless you brought a second suitcase, there is a Fed Ex store inside the convention center, right outside the exhibit hall doors.  Plan ahead, though; lines on Sunday are discouraging.  Pick up a box and a roll of tape the day before, then pack it and check it as one of your bags when you fly home.  You'll likely pick up a poster tube at one of the booths, so you can carry-on your posters.

10.  Enjoy yourself.
Most importantly, just have a good time!  Don't complain; you've been warned about what you're getting into.  If it sounds like you're not going to like it, don't go. 

Enjoy the enthusiasm of those participating in cosplay.  Have a laugh with the overweight superheroes and male slave Leia's, but truly admire the craftsmanship of most everyone else.  Ask to take pictures.  Most people will love to pose for you.  Be careful, though, it's sometimes hard to tell who's in costume and who's not, especially when uniforms are involved.

Be vigilant.  At some point you will lose track of day and time.  By the end, you may not care about much of anything.  But remember why you came.  Remember that not everyone who wanted to go could get tickets.  You are lucky and you may not ever do it again.  Dig deep, find that energy and plow through to the end.

With all the warnings I've issued, is it possible to enjoy Comic-Con?  Absolutely!  It never ceases to amaze me that with all these people together in one place, there is something for everyone, regardless of the subject matter.  There is bound to be someone in the crowd who will recognize the most obscure reference to your favorite comic book, movie or TV show.  You can truly be yourself; no one will look down on you.  Celebrate and let your geek flag fly!