Academic literature on the topic 'Body horror'
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Journal articles on the topic "Body horror"
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Cruz, Ronald Allan Lopez. "Mutations and Metamorphoses: Body Horror is Biological Horror." Journal of Popular Film and Television 40, no. 4 (2012): 160–68. http://dx.doi.org/10.1080/01956051.2012.654521.
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Yeung, Lorraine. "Spectator Engagement and the Body." Film Studies 15, no. 1 (2016): 81–96. http://dx.doi.org/10.7227/fs.0002.
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This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.
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Sakina, Cintya Dara, and Esther Risma Purba. "Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body)." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 2 (2022): 366–83. http://dx.doi.org/10.22219/satwika.v6i2.22952.
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Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divisualisasikan secara lebih spesifik, yaitu ditampilkan dalam wujud hantu balas dendam. Terdapat paradoks hantu balas dendam sebagai tokoh jahat dalam cerita yang di sisi lain dimaklumi karena semasa hidupnya ia mengalami ketidakadilan dan penindasan oleh laki-laki. Penelitian ini dilakukan untuk menganalisis film Kuime yang menampilkan bahwa narasi dan visualisasi hantu perempuan Jepang merupakan sebuah diskursus dari pemahaman masyarakat Jepang mengenai perempuan. Metode yang digunakan dalam penelitian ini adalah studi pustaka dengan pendekatan kualitatif menggunakan teori analisis wacana kritis oleh Norman Fairclough. Teori tersebut mencakup analisis deskripsi linguistik dari teks, interpretasi hubungan antara proses diskursif dengan teks, serta hubungan antara proses diskursif dengan proses sosial. Hasil dari penelitian ini adalah terdapat diskursus posisi dan peran perempuan dalam masyarakat Jepang yang memengaruhi pembentukan mitos hantu perempuan pada karya bergenre horor di Jepang. Dengan adanya diskursus tandingan dalam paradoks hantu dan pembunuh perempuan pada film Kuime, dapat disimpulkan bahwa terdapat perubahan pada pemaknaan perempuan dalam film horor Jepang yang pada awalnya dimaknai sebagai bentuk manifestasi ketakutan laki-laki terhadap perempuan menjadi pemaknaan yang berpusat pada keberdayaan perempuan. The horror genre often portrays women as terrible Gambars. Women are deliberately represented as a menace to men. As a result, a frightening and terrible Gambar is identified as a woman. Related to the most of horror genre that represents women as terrifying Gambars with terror and grim appearance, Japanese horror, known as kaidan (怪談) also still maintains this practice. In kaidan, women are narrated and visualized more specifically in revenge ghost Gambars. There is a paradox in the vengeful female ghost who is seen as an evil character in the story, but her revenge is understandable because she was wronged and oppressed by men. This research was conducted to analyze Kuime, a Japanese horror film which shows that the narration and visualization of Japanese female ghosts is a discourse on the stereotypes about women in Japanese culture. The method used in this research is a literature study with a qualitative approach using the theory of critical discourse analysis by Norman Fairclough. The theory includes the analysis of the linguistic description of the text, the interpretation of the relationship between the discursive process and the text, and the relationship between the discursive process and the social process. The result of this research shows that discourse about the position and role of Japanese women builds the myth of female ghosts in Japanese horror. By the counter-discourse in the paradox of ghosts and female killers in Kuime, it can be concluded that there is a change in the meaning of women in Japanese horror films, which was interpreted as a manifestation of men's fear of women becoming centered to women's empowerment.
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Yana, Tsyrlina. "Non-Human Uncanny in Body Horror Movies." TECHNOLOGOS, no. 3 (2024): 37–48. http://dx.doi.org/10.15593/perm.kipf/2023.3.03.
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The article presents an attempt to theorize the modes of body transformation in body horror films, as well as their impact on the viewer's body experiences and, in a more complex perspective, on the understanding and conceptualization of the body. In doing so, the author includes the concepts of “horror body” and “non-human” in her research, considering new body horror films in a post-human and non-human perspective. In addition, the author turns to the concept of the “new flesh” by David Cronenberg to identify technological or specific mutations in body horror films. According to the author, body horror films have an impact on the viewers' body, forcing them to experience their body as deformed, going beyond its own boundaries. Therefore, the horror of the transformed body in these films is marked by a “shock identity”. The power of horror allows transcending the boundaries of human entity and, in this sense, horror unsettles the belief that this world is only created for human beings and their bodies. In the article, the author applies the concepts of “abjection” by Julia Kristeva, “grotesque body” by Barbara Creed and “unhuman” by Dylan Trigg to show that the holistic state of the human body is becoming more problematic, and the dominance and exclusivity of man is being questioned. The author makes the assumption that body horror films allow us to enter the context of a new posthuman era in which people and non-people form the “new flesh” (technological or specific). Thus, body horror visualizes the becoming of a new body connected to a new recombined or recomposed human flesh which may have to come in the future.
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Marak [UMK], Katarzyna, and Nelly Strehlau. "Thanatomorphose and Contracted: Feminine body and sexuality in horror and the horror of feminine body and sexuality." Literatura i Kultura Popularna 24 (April 18, 2019): 187–97. http://dx.doi.org/10.19195/0867-7441.24.14.
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Thanatomorphose and Contracted: Feminine body and sexuality in horror and the horror of feminine body and sexualityThe paper juxtaposes two films — Thanatomorphose directed by Éric Falardeau 2012 and Contracted directed by Eric England 2013 — in order to illustrate how both use similar themes of rot, disfigurement and decay of the body to paint different images of the female body and its aesthetic and functional value. Through the use of close reading, the analysis focuses on the manner in which the aforementioned themes in the discussed film texts are expressed within the boundaries of horror discourse to emphasize issues such as abuse, objectification and self-harm.
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Berger, A. "Body Horror: Photojournalism, Catastrophe and War." BMJ 317, no. 7155 (1998): 421. http://dx.doi.org/10.1136/bmj.317.7155.421a.
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Briata, Ilaria. "Repentance through Fear: Cosmic and Body Horror in Sheveṭ Musar". European Journal of Jewish Studies 14, № 2 (2020): 264–84. http://dx.doi.org/10.1163/1872471x-bja10016.
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Abstract One of the most notorious early modern musar compilations, Sheveṭ Musar, challenges its readers with an obscure and gory imagery that can be classified as horror. This article proposes an exploration of these horrific images of death, decomposition, and hell. In order to contextualize a selection of passages from Sheveṭ Musar, a state of the art concerning research on Jewish horror will be provided and integrated with references to horror scholarship in areas of literature where this topic has received more investigation. What characterizes horror in Sheveṭ Musar appears to be the didactic functionality of exciting negative emotions such as fear and disgust. This moralizing rhetorical mechanism will be illustrated through four different topics appearing throughout the tractate: (1) the literary strategy of terror; (2) the description of the physical and metaphysical processes of death; (3) a memento of the caducity of human life; and (4) anticipation of infernal damnation.
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Troy, Maria Holmgren. "Body Horror in Octavia E. Butler’s Clay’s Ark." Humanities 12, no. 5 (2023): 120. http://dx.doi.org/10.3390/h12050120.
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African American science fiction writer Octavia E. Butler’s works have attracted a great deal of academic interest since the 1990s onwards. Clay’s Ark (1984), however, has not gained as much scholarly attention as some of her other novels, and the centrality of Gothic aspects, in particular those related to body horror, has not been addressed. By focusing on how these aspects inform the structure, setting, and characters’ actions and relationships in this novel about an extraterrestrial infection that threatens and changes humanity, this article demonstrates how Butler employs and adapts strategies and conventions of Gothic horror and body horror in order to explore various attitudes towards difference and transformation, paralleling these with a particular brand of antiblack racism growing out of American slavery. Although the 1980s are already receding into American history, and a few aspects of the imagined twenty-first century in this novel may feel dated today (while many are uncomfortably close to home), Clay’s Ark is a prime example of how aspects of popular culture genres and media—such as science fiction, the Gothic, and horror films—can be employed in an American novel to worry, question, and destabilize ingrained historical and cultural patterns.
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Mondal, Subarna. "Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In." Humanities 10, no. 1 (2021): 54. http://dx.doi.org/10.3390/h10010054.
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The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodóvar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodóvar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured and replenished in “Talk to Her” (2002), patched up and stitched in “The Skin I Live In”, becomes a key ingredient in Almodóvar’s films that celebrate the fluidity of human anatomy and sexuality. The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. In “The Skin I Live In” the destruction of Vicente’s body and its recreation into Vera follow a mad scientist’s urge to dominate an unattainable body, but this ghastly assault on the body has the onscreen appearance of a routine surgical operation by an expert cosmetologist in a well-lit, sanitized mise-en-scène, suggesting that the uncanny does not need a dungeon to lurk in. The exploited body on the other hand may be seen not as a passive victim, but as a site of alterity and rebellion. Anatomically a complete opposite of Frankenstein’s Creature, Vicente/Vera’s body, perfect, beautiful but beset with a problematized identity, is etched with the history of conversion, suppression, and the eternal quest for an ephemeral object. Yet it also acts as an active site of resistance.
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Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.
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ABSTRACT
 Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to the formation of the devil Mahakali figure, the application of rules in film is also worked out in such a way as to produce a film work that can give the impression of horror to the audience. It is hoped that the works of secondhand horror puppet films will become an offer or a new style in the world of puppet creativity as well as being a useful contribution to the development of arts and sciences.
 
 ABSTRAK
 Bekasakan merupakan sebuah karya film horor dengan menggunakan media wayang kulit sebagai objek pemerannya. Karya ini bertujuan untuk menciptakan sebuah genre baru dalam dunia pewayangan terutama dalam mengemas tema-tema horor sebagai lakon pertunjukan secara khusus. Berpijak dari pertunjukan wayang yang kemudian diangkat ke dalam perspektif film menjadikan karya ini sebagai salah satu tawaran menarik bagi dunia pewayangan. Kebaruan dari karya ini adalah pembentukan sosok setan Mahakali yang direalisasikan dengan penggambaran anatomi tubuh yang aneh sekaligus memberi kesan seram bagi penonton. Selain terbentuknya sosok setan Mahakali juga penerapan kaidah-kaidah dalam perfilman digarap sedemikian rupa sehingga menghasilkan suatu garap karya film yang dapat memberi kesan horor bagi pernonton. Karya film wayang horor bekasakan diharapkan dapat menjadi tawaran atau gaya baru dalam dunia kreativitas pewayangan sekaligus dapat menjadi sumbangan berguna bagi perkembangan ilmu seni dan ilmu pengetahuan.
Dissertations / Theses on the topic "Body horror"
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Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.
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This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly .<br>My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology.<br>In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.
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Peirse, Alison Louise. "The destruction of the male body in classic horror film." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497149.
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My doctoral research explores how certain ideas from psychoanalysis can shed light on the aesthetic experience offered by classic horror films. By making specific reference to five 1930s horror films, including Vampyr (1932) and Island of Lost Souls (1933), the thesis re-evaluates the psychoanalytic concepts of abjection, the uncanny and le corps morcele. This is a study of spectatorship and identification in cinema, aiming to shed light on filmic horror's textual processes and the nature and mechanics of its address to viewers. It is also a study of terrified, deformed and monstrous male screen bodies and an analysis of the rarely explored on-screen incarnations of male fear in classic horror films. In particular, the objects of study are low budget and B-movie productions in which the male body is the focus of transgression, mutilation and death, often to the point of completely excluding female characters from the narrative.
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Astley, Mark. "Meatspace : The body as spectacle and cultural artefact in contemporary actuality body horror and death media." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515134.
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Abstract Virtual worlds now allow 'second lives' for World Wide Web users online, lives where identity is mutable and not assailed by the fallibility or perceived inadequacy of the flesh. Two terms have entered the new media lexicon, that are useful in denoting this dualism between the real and the simulated, 'cyberspace' and 'meatspace'. The meatspace is simply where the meat lives; meatspace is where physical, in contrast to electronic, interaction takes place. What the virtual is to cyberspace, flesh and blood is to meatspace. Yet an irony of this dichotomy is that in the digital realm of the World Wide Web there is a huge market, or rapt audience, for ‘real life’ representations of the body. The attraction of these images is that they privilege the flawed, unusual or damaged body as a site of spectacle. Here, the object of fascination is not only the human body and its functions, the most obvious example being the sexual body found in the hardcore pornography genre, but the human body in extremis. A dominant theme of this thesis shall be how the emergence of new media technologies has seen this hitherto niche genre grow exponentially, in regard to the volume of material available and the potential size of its audience. The primary focus in this thesis is the sub-genre of actuality body horror and death media, a recess within contemporary media that is dedicated to the production, distribution and consumption of visual records of ‘real life’ violence and its bloody aftermath, and the explicit representation of the traumatised, decayed or torn asunder body. Along with this, the thesis shall also look at how new media has changed spectator positions. However, this is no technologically deterministic account, for while new media enables greater production and distribution of death media, it is acknowledged herein that what is actually captured on camera is often dictated by a complex intersection of socio-cultural, religious and political influences. It shall be argued that in actuality body horror and death media the body fulfils either one of two functions, being a site of spectacle or cultural artefact. The distinction between the body being a site of spectacle or cultural artefact provides an organising duality for the thesis: meaning (the body as cultural artefact) and spectacle (the body as spectacular attraction). Adopting an interdisciplinary approach, the thesis incorporates film theory, literary and cultural theory, new media and socio-technological studies, and applies critical discourses to key actuality body horror and death media texts.
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Boss, Peter John. "Death, disintegration of the body and subjectivity in the contemporary horror film." Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/34813/.
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This thesis is an attempt to account for the contemporary American horror film's increased reliance upon images of bodily dismemberment and decay. At the core of this exploration is an inspection of the body's capability as a metaphor by which our understanding of the relation of self to society is articulated. The horror film is shown to be a genre traditionally disposed towards the interrogation of categories of human identity,and one which is now responding to the kind of cultural developments often referred to by the expression postmodernism. As such the genre is placed in a context of other social discourses about the body, death, disease and decay.In proposing the body as the central metaphor of the modern horror film, and pursuing its significance in a range of recent film texts, the thesis triesto provide a positive basis for understanding an aspect of popular culture often left 'explained' by accusations of exploitation or dismissed by the traditionalists as aberrant. The thesis does not attempt to be a theory of genre per se, nor does it offer an exhaustive account of the field; the outlining of the emergence of a new tendency is not meant to imply that more conventional material has been discontinued. 'Body Horror' is argued to be the most important development in the field however, and the work concludes after demonstrating its vitality in recent examples where its deployment takes radically varied positions with respect to the construction of the masculine subject in particular. The work is broken down into five Chapters. In Chapter One the existing theoretical literature is critically examined. In Chapter Two, the nature of the contemporary horror film is laid out. In Chapter Three the body as a symbo is considered in relation to the genre. In Chapter Four this idea is developed through textual analysis in relation to discourses of death and disease. In Chapet Five the emergence of a postmodern horror film is considered. A conclusion acts as a summary and as a focus in which the implication of the work for feminist and psychoanalytical theories of the subject can be drawn.
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Jones, Steven David. "Selfhood as instance of horror : ontology, ideology, and narratives of body-terror." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504325.
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This thesis investigates the ways In which Horror metaphorically appeals to the viewers sense of identity by presenting a moment of crisis and deconstructing normative auto-boundaries. I employ various films and novels to illustrate the philosophical complexities of selfhood, especially centring upon the supposed "norm" subject. These moments of trauma are evinced in the contradictory pulls of ideology, and are symbolically rendered through the deconstruction of the body (the signifier of selfhood) onscreen. I employ a rereading of psychoanalysis and post-structuralism,a s well as grounding these more abstract theoretical thrusts in the socio-political reality of AIDS discourses. I begin by positioning my work in the critical field, especially in relation to the philosophy of consciousness and feminism. My second chapter utilises case studies that investigate Otherness within a locus of ideological "normality" - America. Here, I demonstrate the fragmentation of selfhood that occurs when self and Other interact, as well as the multiplicity and instability of identity. My third chapter opens with a re-evaluation of the slasher cycle. From this explicitly gender-based angle, I go on to explore the relationship between sex and death through the rape-revenge film, then pornography. Here, as in the slasher film, bodies interact, and can be read as problematising the interrelationships between selves. Pornography's desire to be read as "authentic" also implicates the viewer as one of the selves that are problematised during this interaction by transgressing the line between fiction and reality. My final chapter continues along this line of enquiry, probing narratives in which the character selves do not adhere to singular body-spaces, thus figuratively manifesting the crises of subjectivity, as the self Is paradoxically both abstract/intangible and embodied/physical.
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AlFares, Fawwaz A. "Infestation, Transformation, and Liberation| Locating Queerness in the Monsters of 'Body Horror'." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123807.
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<p> Given the increased public enthusiasm for the genres of Horror and Science Fiction, as well as the renewed and ever-evolving interest in indie horror films (propelling them into the mainstream), there is a noticeable increase of public eagerness to consume films that toy with the ideas of anxiety and the body. While many of these films seem to fit the rubric of heteronormative and mainstream Hollywood productions that occupy a neat world of perfectly defined gender identities, we can still excavate bodies that fall outside of such neat definitions. On the one hand, we are presented with a defined female or male character, thrust into a chaotic situation through which they must endure tremendous anxiety and pain and strive to survive. On the other, these bodies seem to survive and thrive despite not fitting in with the simple heteronormative worlds in which they dwell. </p><p> The purpose of this thesis is not to provide a stand-in or voice for the queer body, nor is its purpose to create an index of films that fall under the sub-genre of ‘Body Horror,’ but to explore how films in this genre that seem to privilege performances of able-bodiedness and heteronormativity actually treat queerness and queer topics in very different ways. This thesis wishes to explore these bodies as they cruise through their respective dystopian technofetishistic worlds; as their bodies are infected, their figures transformed, and their psyches liberated as they attain physical, sexual or psychological release. </p><p> To facilitate both observation and maintain its central focus, this paper will be divided into three main parts. The first chapter will define key terms and phrases that are the central focus of this paper. The second chapter will explore the concept of ‘Infestation,’ which will focus on the queer and disabled bodies as they are occupied, annexed, and attacked by external forces or internal strife. This chapter will consider the concept of ‘Transformation’ and further examine the manner through which the “monstrous queer” emerges through the definition of normalcy and the anomalous. Lastly, the final chapter will revolve around the concept of ‘Liberation,’ and review these observations in terms of how these performances reconcile and imagine their own respective ideas of queer futures. This final chapter will expand the narrative of queer futurity while also dwelling on notions of the inevitable “queer dystopia” in ‘Body Horror’ films. The voices and scholarship in the fields of Queer and Disability Studies, Psychoanalysis, and Film Studies will guide this reading as it seeks out these bodies and unearths the deeply affective, psychological, and physical states of transformation they undergo.</p>
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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
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This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
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Comstock, Hannah Marie. "Deivisceris." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103038.
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Deivisceris is a four-player role-playing tabletop game that focuses on themes of horror. It looks into ideas from the horror genre as a whole while combining aspects from the body horror and cosmic horror subgenres to create a discomforting horror experience. The game features illustrations and written events with a choice-based narrative that can have multiple outcomes depending on a player's decisions, stats, and items. Deivisceris utilizes randomness in order to create a new experience each time it is played through randomized characters and a randomized game board that is built up as it is played. The game reveals its narrative through clues within the gameplay, illustrations, and written text as characters enter the game's world blindly. Deivisceris is an immersive tabletop horror experience that can be further expanded on in the future with the possibility of a larger production.<br>Master of Fine Arts<br>Deivisceris is a four-player tabletop game that looks into the ways horror can be created in a board game format. It examines various ideas from the horror genre as a whole while taking inspiration more directly from two subgenres of horror: body horror and cosmic horror, each of which has very different ways of evoking horror. The game includes a variety of full-color illustrations and written situations that give players a chance to make their own decisions. Deivisceris utilizes randomness in order to create a new experience every time it is played. The game board is built up differently every time it is played and characters' stats, such as strength, intelligence, and endurance, may be different in each game. The game's story is revealed through clues within the gameplay, illustrations, and text. Deivisceris is a tabletop role-playing horror experience that can be further expanded on in the future with the possibility of a larger production.
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Vermaak, Janelle Leigh. "Part one: "Horror versus terror in the body genre" : part two: "Silent planet"." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/636.
Full textAbstract:
This article seeks to investigate this balance and to interrogate the difference between horror and terror in an attempt to contribute to the development of a systematic genre typology. A brief history of the genre will be given, after which the focus will fall on contemporary Horror film, paying specific attention to the relationship between violence and horror, the theme of sacrificial violence, and the transgression of ‘natural’ laws. An eclectic approach is followed, drawing from literary theory, theology, psychology, and, of course, film theory.
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Zhang, Qian. "Women's Time and Reproductive Anxiety in Contemporary Horror Films." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532349287122159.
Full textBooks on the topic "Body horror"
Book chapters on the topic "Body horror"
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Aldana Reyes, Xavier. "Abjection and Body Horror." In The Palgrave Handbook of Contemporary Gothic. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_24.
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Sutton, Travis. "Avenging the Body." In A Companion to the Horror Film. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch5.
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Williams, Jessica L. "Horror Movies, Horror Bodies: Blurring the Freak Body in Cinema." In Media, Performative Identity, and the New American Freak Show. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66462-0_3.
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Kinder, Marsha. "Body Horror and Post-Socialist Cinema." In A Companion to Eastern European Cinemas. John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118294376.ch2.
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Ruddell, Caroline. "Cutting Edge: Violence and Body Horror in Anime." In Controversial Images. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291998_10.
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Harris, Martin. "Surrendering Selfhood in Invasion of the Body Snatchers." In Horror and Science Fiction Cinema and Society. Routledge, 2024. http://dx.doi.org/10.4324/9781003372288-3.
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Taylor, Tosha R. "Gendered Violence and the Abject Body in Junji Itō's Tomie." In Critical Approaches to Horror Comic Books. Routledge, 2022. http://dx.doi.org/10.4324/9781003261551-9.
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Blázquez Cruz, Laura. "Mutilation and Dual Body in The Perfection (2018): A Reading on Queer Horror." In Culture Wars and Horror Movies. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-53278-8_11.
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Kerner, Aaron. "Torture Porn: The American Sadistic Disposition in the Post-9/11 Horror Genre." In Screening the Tortured Body. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-39918-2_3.
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Belling, Catherine. "Dark Zones: The Ebola Body as a Configuration of Horror." In Endemic. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-52141-5_3.
Full textConference papers on the topic "Body horror"
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Haig, Ian. "Body Horror 2.0." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.6.
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Makioka, Tastuki, Shogo Okamoto, and Ibuki Tara. "Fear magnified by vibratory stimuli to the upper-body at predictive horror scenes." In 2022 IEEE 11th Global Conference on Consumer Electronics (GCCE). IEEE, 2022. http://dx.doi.org/10.1109/gcce56475.2022.10014295.
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Wallace, Chaneil J., Daniel J. Kontak, and Elizabeth C. Turner. "Anomalous SedEx mineralization at the Walton Ag-Pb-Zn-Cu carbonate-hosted sulphide deposit (Nova Scotia, Canada): result of hydrocarbons?" In Irish-type Zn-Pb deposits around the world. Irish Association for Economic Geology, 2023. http://dx.doi.org/10.61153/nivf1636.
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Walton is a past-producing Ag-Pb-Zn-Cu sulphide carbonate-hosted deposit (0.41 Mt; head grade of 350 g/t Ag, 4.28% Pb, 1.29% Zn, and 0.52% Cu) hosted primarily by sideritized Viséan Macumber Formation limestone and juxtaposed to and replacing a barite ore body (4.5 Mt of >90% barite). Previous work demonstrated that mineralization came from heated (~300°C), saline (20-28 wt. % equiv. NaCl) fluids. The present study uses optical microscopy, SEM-EDS, and major- and in situ LA-ICP-MS trace-element signatures of the host, gangue, and ore phases to refine our understanding of the mineralizing fluid system. Sideritization of the Macumber Formation occurred after dolomitization. Dolomite and siderite are generally LREE-depleted, with mostly negative Ce anomalies and prominent negative Y anomalies. Pyrite has As levels ranging from <1 ppm to 7.7 wt. % that correlate positively with Ag (values up to 2,400 ppm); the latter likely accounts for most of the Ag in the deposit. The LREE-depleted patterns of various carbonate phases indicate that the ore fluids did not equilibrate with a LREE-rich reservoir, whereas negative Ce anomalies suggest precipitation from an oxidised fluid. The positive correlation between Ag and As implies their coupling and thus a similar source and/or transport mechanism. The proposed source of metals is from hydrocarbons, now preserved as abundant petroleum inclusions, sourced in the underlying Horton Group that may have been enriched in Ag, As, and Cu. The derivation of metals from hydrocarbons could explain differences between mineralization at Walton and other carbonate-hosted sulphide deposits in Nova Scotia that do not contain significant petroleum or Ag, As, and Cu.