What do we do with vacant space in horror films?

Does horror make the potentiality of space available and extend the operations deeming vacated spaces empty ones, thereby making them imaginatively available for acquisition and for other endeavors, such as clearing agendas (gentrification, redevelopment, demolition, etc.)? Or does horror interrupt those processes, drawing an awareness to our complicity in the visual regimes that demand we see vacancy as an emptiness that must be filled? These questions need to be asked with an awareness of their geopolitical inflection in particular contexts, such as in Italy in the years during and just after the so - called economic miracle, the label given to the boom years of the 1950s and 1960s, a period characterized by the promotion of American - style consumerism and broader access to middle - class standards of living