Genre's in Horror.

Horror, it has many genre's within itself, in order to help me decide i am going to analise them and send out a questionaire to my friends to see which one of the following genre's they prefer.

Aliens infuse this subgenre with relentless troublemaking. Overlapping with 'science fiction,' the source of terror is another planet, whose inhabitants are encountered there, or travel to our Earth, if not both. The "Alien" franchise (featuring Sigourney Weaver) leads this charge. Scott Sigler's novel Infected is a recent example, among many. In M. Night Shyamalan's movie Signs, mysterious rural visitors are revealed to be (somewhat improbable) aliens.
Creepy Kids horror is defined by its name. Horror mavens have said that children are mysterious strangers coming into the world--and this subgenre takes that unspoken worry and runs with it. Stephen King's short story and film Children of the Corn are straightforward examples. Many others, such as Richard Donner's film The Omen, involve a child who is directly related to Satan.

Cutting Edge refers to horror that consciously goes against the grain, and is probably without many of the genre's familiar tropes and/or styles. These tales usually feature a modern setting. Often this subgenre is associated with graphic novels, or new venues such as online chapter postings. Author Douglas Clegg has pioneered the latter with his novel Purity.
Dark Fantasy is an overlapping subgenre, and its stories generally feature human evil and strife, rather than supernatural monsters. Karl Edward Wagner's "Kane" books are an oft-cited example.

Dark Fiction is a huge descriptive category, almost as broad as 'speculative fiction.' Many genre publications use it in their title and/or self-description. (Sometimes, for practical reasons, it's used to market a horror story without employing the term itself.)

Erotic horror contains a strong sexual element. In this subgenre the sex can be explict, but it's often far from pleasurable. Alfonsi and Scognamiglio's anthology Dark Seductions is an example. (As authors of this subgenre will regularly inform you, such tales are not for casual reading.)

Extreme (splatterpunk, viceral) This subgenre is as raw as fiction or film can be. The explicit violence and bloody gore are heaped on, often from start to finish.
Splatterpunk is a term coined in imitation of cyberpunk, and favored by certain younger authors. Often these stories incorporate technology.
Viceral is in between these two subgenres, and its stories aim for an "in your face" gross-out.
(Webmaster's prerogative: look up your own examples, if you must.)

Hauntings subgenre tales feature exactly this. Often the persistant ghost is a specific individual, somehow connected to the building or protagonist. The (supposedly true) novel and film The Amityville Horror are famous examples. The TV show The Ghost and Mrs. Muir verged on romance, and the "Caspar" franchise on comedy.

Holocaust tales involve mass deaths, whether during the horrific 20th century event of that name; or involving a similar tragedy, past or future. Those deaths might be due to human slaughter, or from a plague or monsters. In a few bizarre versions, everyone has already died, and today's humanity is the replacement--but doesn't know it. Stephen King's novel and movie The Stand depict a near-future apocalyptic plague.

Humorous horror is fairly common, and its macabre elements are often understated--or exaggerated into parody. The old comic strip and TV show The Addams Family are familiar examples. The anthology Blood Lite from Kevin J. Anderson is a recent contribution to this subgenre.
Mind Control horror exploits this particular fear. The method may be sorcerous or technological, but the victims are compelled to act against their will and better natures--often while fully aware of what's happening. False Memory, by Dean Koontz, is a popular example. Curt Siodmak's novel Donovan's Brain is an early example of invasive medical technology gone awry.

Paranormal is a subgenre with mortal heroes. Such tales emphasize a difficult battle against evil supernatural encroachment, whether by a saintly exorcist or high-tech ghostbusters. There are many popular examples, such as Tobe Hooper's film Poltergeist. (Unlike most 'horror' stories, there's 50-50 chance the good guys will prevail.)

Psychological (surreal)
This subgenre is usually written from a tight viewpoint. Is the protagonist really seeing terrible things, perhaps battling against demonic possession -- or is he (less often, she) going insane? On the flip side, this subgenre can feature an insane protagonist, such as a tormented serial killer. A modern example is the novel Heart Shaped Box, by Joe Hill.
Surreal horror incorporates bizarre imagery, often drawn from vivid, threatening dreams.

Rampant Animals is a subgenre whose name says it all. Perhaps the dominant examples are Stephen King's novel and film Cujo, which feature an unstoppable rabid dog. Aggressive spiders and chthonic monsters and many other nasty critters fill such pages. (Opposite this, William F. Claxton's 1972 film Night of the Lepus attempts to scare people with gigantic rabbits!)

Supernatural (demons, zombies, etc.) These stories focus on various types of monster from 'beyond,' persistantly ruining the lives of a suffering humanity. Often the setting is an isolated village, where the protagonist becomes stranded. There are countless examples. Anne Rice's novels are filled with powerful arcane beings.
Zombies are popular enough to warrant special mention. For example, Richard Matheson's 1954 novel I Am Legend and its several film versions. Others, such as Edgar Wright's film Shaun of the Dead, contain humorous elements.
I have reseached these definisions on (http://www.cuebon.com/ewriters/Hsubgenres.html)