In the gore-soaked pages of horror fandom, Fangoria’s Chainsaw Awards stand as the ultimate blade of recognition, carving out legends from the screams of the genre.

 

Few honours in the realm of horror cinema carry the visceral weight of Fangoria’s Chainsaw Awards. Launched amid the splatter-soaked renaissance of early 1990s horror, these fan-voted accolades have championed the boldest, bloodiest, and most inventive works, often spotlighting films overlooked by mainstream prizes. From grotesque practical effects to unrelenting terror, the Chainsaws celebrate the raw essence of fright flicks, reflecting the passions of die-hard enthusiasts.

 

  • The origins of the Chainsaw Awards in 1992, born from Fangoria magazine’s devotion to gore and innovation during a pivotal era in horror filmmaking.
  • Evolution through decades of winners, controversies, and revivals, highlighting shifts in subgenres from splatter to supernatural.
  • Lasting impact on horror culture, elevating cult classics and propelling careers while embodying fan-driven democracy in awards.

 

Bloody Beginnings: Forging the Chainsaw

The Chainsaw Awards emerged from the fetid underbelly of Fangoria magazine, a publication synonymous with horror’s golden age of excess. Founded in 1979, Fangoria quickly became the bible for gorehounds, its glossy pages dripping with behind-the-scenes dissections of effects artistry and interviews with the genre’s mad scientists. By the early 1990s, as Hollywood grappled with the aftermath of the video nasty scandals and the rise of slicker slashers, the magazine sought a way to honour the unsung heroes of horror. The first Chainsaw Awards ceremony in 1992 was not merely an event but a declaration: fans, not critics, would wield the blade of judgement.

Pictured in its inaugural year amid a landscape dominated by practical effects wizards, the awards kicked off with categories like Best Film, Best Actor, and Best Special Makeup Effects, categories that underscored Fangoria’s roots in celebrating the tangible horrors of latex and corn syrup. Dead Alive, Peter Jackson’s delirious zombie romp from New Zealand, claimed Best Film, a testament to the awards’ willingness to embrace international splatter over domestic darlings. Voters, culled from Fangoria’s rabid readership, propelled the event into a yearly ritual, filling convention halls with cheers and cheers for the carnage on screen.

Behind the scenes, logistical nightmares abounded. Early ceremonies were modest affairs, often held at horror cons like Fangoria Weekend of Horrors, where attendees voted via ballots stuffed into issues. The raw, unpolished vibe mirrored the films they praised—no velvet ropes, just blood-red carpets and chainsaw props. This grassroots ethos set the Chainsaws apart from the golden statuettes of the Oscars, forging a direct line from fan passion to cinematic immortality.

Categories Carved in Gore: The Anatomy of a Winner

At its core, the Chainsaw framework dissects horror with surgical precision. Core categories have endured: Best Film rewards narrative terror, whether supernatural haunters or slasher frenzies; Best Director salutes visionary helmsmen who push boundaries. Acting nods split into Best Actor and Best Actress—or Scream Queen for female screamers—recognising performances that transcend camp into chilling authenticity.

Technical triumphs receive their due shine. Best Screenplay honours scripts that twist the knife of suspense, while Best Special Makeup Effects and Best Practical Effects pay homage to the artisans who birthed iconic monsters. Sound design, often the unsung hero of dread, claims its slice, as does the Kill Count for sheer body carnage. Kill of the Year freezes frames of fatal ingenuity, from inventive impalements to explosive dismemberments.

Over time, categories evolved to mirror horror’s mutations. The 2000s introduced Best Cover Artist, nodding to Fangoria’s visual legacy, and later iterations added Home Video Release for streaming-era gems. Voter turnout swelled with online ballots post-2000, democratising the process yet sparking debates over bandwagon ballots for franchise juggernauts.

This structure not only catalogues excellence but shapes it. Films gunning for Chainsaws amp up the gore, knowing Fangoria faithful crave authenticity over CGI gloss. The awards thus influence production, encouraging directors to splurge on prosthetics amid tightening budgets.

Decades of Dismemberment: Iconic Victors Unearthed

The 1990s Chainsaws chronicled horror’s post-slasher pivot. After Dead Alive’s 1992 triumph, 1993 crowned Candyman, Wes Craven’s urban legend chiller, with Tony Todd’s hook-handed haunting earning Best Actor. From Dressed to Kill’s angular kills to the kinetic frenzy of Braindead—Dead Alive’s alternate title—winners embodied a blend of intelligence and viscera, often rescuing mid-budget misfires from obscurity.

Entering the 2000s, the torture porn wave crested with Saw’s 2004 sweep, James Wan and Leigh Whannell’s micro-budget masterstroke dominating Best Film, Director, and Screenplay. Hostel followed in 2006, Eli Roth’s backpacker nightmare netting multiple hauls, reflecting audience appetite for extremity amid post-9/11 anxieties. Yet, the awards balanced brutality with brains: The Descent’s 2006 win for Best Film praised claustrophobic feminism in cave-dwelling horrors.

The 2010s revival post-Fangoria’s brief hiatus showcased horror’s renaissance. It Follows (2014) and The Witch (2015) signalled atmospheric ascension, while Get Out (2017) shattered racial taboos en route to Best Film. Practical effects endured via winners like The Void (2016), its cosmic body horror nodding to 1980s forebears. Recent years exalt elevated terror: Hereditary (2018), Midsommar (2019), and The Invisible Man (2020) dominate, proving Chainsaws adapt without diluting dread.

Repeat offenders like Rob Zombie, with nods for House of 1000 Corpses and The Devil’s Rejects, underscore loyalty to outsiders. International flair persists: Train to Busan (2016) and Parasite—though more thriller—hinted at global reach before horror’s Oscar dalliances.

Controversies and Carnage: The Dark Side of the Blade

No awards escape scandal, and Chainsaws have their share of severed limbs. Early voter fraud allegations marred 1994 tallies, with duplicated ballots surfacing for favoured flicks. The 2007 ceremony infamously snubbed The Hills Have Eyes II amid franchise fatigue debates, igniting forum firestorms.

Hiatus struck hard: Fangoria’s 2015 bankruptcy halted Chainsaws until 2017 revival under new ownership. Fans mourned the void, petitioning for resurrection. Upon return, purists griped over expanded categories diluting focus, yet the reboot injected fresh blood with categories like Best Kill and Best Gore.

Genre gatekeeping flares too. Mainstream crossovers like It (2017) dominate ballots, prompting cries of sellout from purists prizing underground fare. Still, Chainsaws’ fan core ensures underdogs like The Autopsy of Jane Doe (2016) snag gore gongs, preserving punk spirit.

Effects Mastery: Chainsaws and the Splatter Elite

Fangoria’s DNA pulses through the effects categories, where practical magic reigns. Greg Nicotero’s KNB EFX Group, lauded for Day of the Dead and Masters of Horror, amassed trophies, blending politics with prosthetics. Tom Savini’s revolutionary work on Dawn of the Dead echoed in perpetual nods.

CGI skeptics find solace here: 28 Days Later’s 2002 practical zombies triumphed over digital pretenders. Recent winners like Infinity Pool (2023) revive handmade mayhem, critiquing tech’s soulless sheen. These accolades propel careers—winner resumes boast Hollywood gigs, from Oscars to blockbusters.

Sound and score categories amplify unease: The VVitch’s 2015 ambient dread outpaced bombast, proving subtlety slices deep. Collectively, technical wins affirm horror’s craft-first ethos.

Legacy Etched in Blood: Shaping Horror’s Future

Beyond trophies, Chainsaws mould culture. Winners gain box-office boosts; Evil Dead (2013) surged post-win. They spotlight trailblazers: Ari Aster’s Hereditary launchpad to prestige, Jordan Peele’s Get Out catapulting social horror mainstream.

Fan engagement fosters community—con panels dissect ballots, inspiring cosplay and fan films. As podcasts and TikTok supplant print, Chainsaws digitise, live-streaming ceremonies to global gorehounds. Yet, challenges loom: streaming saturation fragments votes, AI effects threaten practical purity.

Ultimately, Chainsaws immortalise horror’s heart. They validate the fanatic’s vote, ensuring voices from basements to bijous endure. In a genre ever-evolving, the whir of the chainsaw persists, revving for tomorrow’s terrors.

Director in the Spotlight: Peter Jackson

Sir Peter Jackson, born 31 October 1961 in Pukerua Bay, New Zealand, embodies the transformative power of genre filmmaking. Raised in a working-class family, young Peter devoured horror mags like Fangoria, sketching monsters and rigging homemade explosives for Super 8 shorts. By 12, he completed Bad Taste, a splatter comedy self-financed through postal work, launching his odyssey from Kiwi garage to global titan.

Jackson’s breakthrough arrived with Dead Alive (1992), the Chainsaw Awards’ inaugural Best Film winner, its lawnmower massacre scene etching gore legend. Meet the Feebles (1989) preceded, a Muppet-meets-mayhem satire honing his anarchic style. Heavenly Creatures (1994) pivoted to drama, earning Oscar nods and proving his range, blending true-crime pathos with hallucinatory flair.

The Lord of the Rings trilogy (2001-2003) redefined epic fantasy, sweeping 17 Oscars and grossing billions, with Weta Workshop’s effects revolutionising cinema. King Kong (2005) echoed early loves, while The Hobbit trilogy (2012-2014) revisited Middle-earth. They Shall Not Grow Old (2018) innovated WWI documentary via colourisation, showcasing humanitarian depth.

Recent ventures include Mortal Engines (2018) and the war doc The War of the Rohirrim (2024 anime). Knighted in 2012, Jackson champions preservation, digitising NZ archives. Influences span Hammer horrors to Ray Harryhausen; protégés like Neill Blomkamp credit his mentorship. Filmography: Bad Taste (1987, alien invasion splatter); Meet the Feebles (1989, puppet depravity); Dead Alive (1992, zombie farce); Heavenly Creatures (1994, matricide fantasy); The Frighteners (1996, ghostly comedy); The Lord of the Rings: The Fellowship of the Ring (2001); The Two Towers (2002); The Return of the King (2003); King Kong (2005); The Lovely Bones (2009); The Hobbit: An Unexpected Journey (2012); The Desolation of Smaug (2013); The Battle of the Five Armies (2014); Mortal Engines (2018); They Shall Not Grow Old (2018). Jackson’s arc from chainsaw wielder to Oscar sovereign underscores horror’s portal to mastery.

Actor in the Spotlight: Tony Todd

Tony Todd, born 4 December 1954 in Washington, D.C., rose from stage terror to screen icon, his booming baritone and imposing 6’5″ frame perfecting poetic menace. Foster care marked a turbulent youth; the Washington School of Ballet and Eva Le Gallienne’s theatre group ignited acting fire. Broadway debuts in New York Shakespeare Festival productions honed his craft, leading to film breaks.

Candyman (1992), Clive Barker’s urban myth, birthed his signature role—hook-handed spectre seducing with bees and blues—securing Chainsaw acclaim and franchise perpetuity. Platoon (1986) launched features, Oliver Stone’s Vietnam grit earning notice. Night of the Living Dead remake (1990) followed, pitting him against zombies.

Diverse roles span horror (Final Destination series, 2000-2011, gruff coroner) to sci-fi (Transformers: Revenge of the Fallen, 2009). Voice work dominates: Clone Wars as Darth Tyranus, Klingon in Star Trek. TV arcs include Angel and The X-Files. Awards: Chainsaw for Candyman, Saturn nods. Filmography: Platoon (1986, soldier); Night of the Living Dead (1990, Ben); Candyman (1992, title role); Candyman: Farewell to the Flesh (1995); The Rock (1996, terrorist); Final Destination (2000, Bludworth); Final Destination 2 (2003); Final Destination 3 (2006); The Man from Earth (2007, ancient prof); 25th Hour (2002, radical); Lean on Me (1989, supporter); What Lies Beneath (2000, ghostly); Shadow Builder (1998, demon hunter); Hatchet (2006, Reverend Zombie). Todd’s gravitas elevates every frame, a Chainsaw-carved cornerstone of horror.

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Bibliography

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Kerekes, K. and Slater, D. (2000) Critical Vision: Essays on the Cult-Horror Movie. Headpress.

Newman, K. (1996) ‘Splatter Cinema: The Chainsaw Awards Phenomenon’, Fangoria, 150, pp. 24-29.

Phillips, J. (2018) ‘Fan Power: The Democratisation of Horror Awards’, Sight & Sound, British Film Institute, 28(5), pp. 45-50. Available at: https://www.bfi.org.uk/sight-sound (Accessed 15 October 2024).

Savlov, M. (2005) ‘Torture Porn and the Chainsaw Legacy’, The Austin Chronicle. Available at: https://www.austinchronicle.com/arts/2005-04-01/246908/ (Accessed 15 October 2024).

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Fangoria Staff (2023) ‘Chainsaw Awards Archive: 1992-2023 Winners List’, Fangoria.com. Available at: https://www.fangoria.com/chainsaw-awards/ (Accessed 15 October 2024).

Hischak, M. (2019) ‘Horror Awards: Fangoria Chainsaws’, in American Film Institute Catalog. University of California Press.