In my essay I would like to focus on the psychoanalytic view of the creatures of transformational horror films, and I will try to give an explanation of the fear they create in the spectator. In-between creatures have been objects of fear and exclusion since the ancient times, and reached their heyday during the Middle Ages when the burning of witches or the banishment of supposed werewolves meant numerous executions each day (Hall 345-346). I suppose, the original aim of these acts mostly aimed to expel evil forces from the world of the living and was strongly connected to religion. In the period of the Enlightenment these ritualistic events mostly disappeared, however, the evil and destructive self of people persisted and were exiled into the field of literature. With the rise of film these creatures gained newer and newer meanings throughout the 20th century, and soon they developed the genre of horror films. One of its subgenres is transformational horror whose greatest representatives appeared in the 1920s along with German Expressionism providing a basis for late 20th century horror movies. Among the forerunners of horror film are Murnau’s Nosferatu, George Waggner’s The Wolf Man, Tod Browning’s Dracula and James Whale’s Frankenstein. Most of them are based on gothic literary works, and later transformational horror movies were built upon these previously constructed monsters.