The horror film in late modern society» that labeling films like these as postmodern might be excessive. He argues that the genre hybridity seen in horror comedies like "The Cabin in the Woods" and "Scream" are nothing "new" and that comedy has always had a prevalent role in the horror genre. He goes on to say that “much of the comic fun (in contemporary horror comedies) comes from the excess of gory detail. The other aspect, in this case more a characteristic development of the 1990s than the 1980s, is the tendency to generate humor reflexively by openly appealing to an aware audience's familiarity with the conventions of the genre. This view suggests that Tudor sees the emergence of a more comedic element in horror films more as an evolutionary step in horror, than as a deliberately postmodern perspective. Confirming this as his point of view using the example of 'Scream' and the films made in its wake (such as 'Scary Movie' (2000)), Tudor states: "It is films such as these that have so often attracted the designation 'postmodern ', if only superficially, due to their studied self-consciousness and their use of pastiche. (Tudor, p.107) Tudor's view is that films such as these only carry postmodernism on a superficial level, that the term is used. too freely and that the films would be better suited to the term parody than postmodernism. Doror argues that their "studied self-consciousness" disqualifies them from being labeled postmodern, however it can be argued that the elements of parody and self-consciousness in these films are what which makes them postmodern globally.