2026 年奥斯卡提名呈现恐怖类型的“结构性上升”：Sinners 以 16 项领跑，Frankenstein 获 9 项，Weapons 获 1 项，且多集中在编剧、导演、表演等传统“声望”类目，而非化妆、视效、服装等技术类目。这被描写为对长期“奖项冷落”模式的偏离。作为对照，历史上恐怖片偶有突围但多为例外：The Exorcist（1973）、The Fly（1986）、Aliens（1986）、Bram Stoker’s Dracula（1992）、The Sixth Sense（1999）、Black Swan（2010）、Get Out（2017）。近年趋势加速：上一年 The Substance 获 5 项、Nosferatu 获 4 项、Alien: Romulus 获 1 项；而 2026 年合计提名“更大”，延续并放大该轨迹。另有“恐怖边缘”Bugonia 获 2026 年 4 项提名。
文本用时间与数量说明叙事密度与类型混融：Sinners 直到约 45 分钟后才真正转入吸血鬼恐怖，并以 Jim Crow 时代为背景叠加种族压迫、音乐产业剥削与文化挪用等议题；Weapons 以非常规叙事讲“广泛的超自然绑架”；Frankenstein 被描述为更情感化的改编；Bugonia 的第三幕“更黑暗更血腥”，并以“现实真伪难辨”映射社交媒体撕裂。类型批评的历史背景被归因于 1980–1990 年代的砍杀浪潮与 2000 年代“torture porn”泛滥，导致更细腻作品被市场噪音淹没，且系列化（例如 SAW 的“无尽续集”）稀释了早期的道德惩戒巧思。
奖项层面的里程碑被点名为 Get Out 于 2018 年获最佳原创剧本，以及 The Shape of Water 在 2017 年拿下最佳影片、最佳导演等“共 4 项”胜利（其中 2 项以外未细列）。同时列举多部被认为“值得却被冷落”的作品：The Ring（2002）、The Orphanage（2007）、The Awakening（2011）、The Babadook（2014）、The Witch（2015）、Hereditary（2018）、Saint Maud（2019）。文章结论是：提名作为“响亮但有缺陷”的信号，会重新定义主流对“严肃艺术”的边界，从而为更高密度、更具主题对应的恐怖叙事创造更多机会。
The 2026 Oscar nominations show a structural upswing for horror: Sinners leads with 16 nods, Frankenstein has 9, and Weapons has 1, with many landing in prestige categories like writing, directing, and acting rather than being confined to makeup, VFX, or costume. This is framed as a break from long-running snub patterns. Historically, horror’s breakthroughs have been exceptions—The Exorcist (1973), The Fly (1986), Aliens (1986), Bram Stoker’s Dracula (1992), The Sixth Sense (1999), Black Swan (2010), and Get Out (2017). The trend accelerated recently: last year The Substance earned 5 nominations, Nosferatu 4, and Alien: Romulus 1, while 2026 totals are “much greater”; the horror-adjacent Bugonia adds 4 nominations in 2026.
The piece quantifies how this year’s contenders broaden the genre’s narrative density. Sinners waits nearly 45 minutes before veering into vampires, embedding Jim Crow-era oppression and music-industry exploitation alongside supernatural elements. Weapons uses an unconventional structure to depict a widespread supernatural abduction; Frankenstein is positioned as a more emotional retelling; Bugonia’s darker, gruesome third act earns it 4 nominations and mirrors social-media unreality. The article links past critical resistance to the dominant slasher wave of the 1980s–1990s and the 2000s “torture porn” glut, plus franchise dilution (e.g., endless SAW sequels) that blurred “product” versus “art.”
Milestones cited include Get Out’s 2018 Best Original Screenplay win and The Shape of Water’s 2017 haul of Best Picture, Best Director, and two others (4 total). It also lists notable snubs—The Ring (2002), The Orphanage (2007), The Awakening (2011), The Babadook (2014), The Witch (2015), Hereditary (2018), and Saint Maud (2019). The claim is that nominations, while imperfect, function as a loud signal that can shift what the mainstream treats as serious art, expanding opportunities for horror that reflects subject matter rather than relying solely on shock.