The Horror Film in Late Modern Society,” according to which calling films like these postmodern may be an exaggeration. He argues that gender hybridity, as seen in horror comedies such as "The Cabin in the Woods" and "Scream," is nothing "new" and that comedy has always played a prominent role in the horror genre. He goes on to state that "much of the comic pleasure that can be had (in contemporary horror comedies) arises from the excess of gory detail. The other aspect, in this case more characteristic of the development of the 1990s than the 1980s, is the tendency to generate humor reflexively by openly appealing to the familiarity of an informed audience with the conventions of the genre . This view suggests that Tudor views the emergence of a more comedic element in horror films as an evolutionary stage of horror rather than a deliberately postmodern view. Making his point concrete using the example of "Scream" and the films made in its wake (such as "Scary Movie" (2000)), Tudor states: "It's films like these that have so often attracted the label "postmodern", if only superficially, because of their studied self-awareness and use of pastiche (Tudor, p.107) Tudor's view is that films like these. These carry only a superficial post-modernism, that the term is used too liberally and that the films would be better suited to the term parody than to a post-modernism Tudor argues that their "studied self-awareness" them. disqualifies from being labeled as postmodern, but it can be argued that the elements of parody and self-awareness of these films are what makes them postmodern in terms of postmodernity.