Dissertations / Theses: '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 .
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.
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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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.

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.

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.

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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.
Master of Fine Arts
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.

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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.

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Stuever-Williford, Marley Katherine. "Hex Appeal: The Body of the Witch in Popular Culture." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1610295587336417.

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Harlin, Andrea Nikki. "CRAFTING THE FEVER." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/368.

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The Hibiscus Snake is a collection of poetry investigating the female experience encountering danger. She explores psychic landscapes descended in the unconscious uncanny, the feminine body within the context of horror, and lyrical poems about living in working class communities in San Bernardino. The collection attempts to subvert the presentation of the female body in Horror genres, moving it from a position of victimization to empowerment. In other poems, the speaker ventures into horror-like psychic landscapes filled with images representing the anxiety experienced growing up in a city where danger is quite real. The protagonist risks these journeys to overcome her fear and achieve a transformation. The collection also contains elegies written in lyrical, free-verse form. I also explicate how I employ line breaks to exaggerate the multiplicity of lines, words and connotations. This collection works toward understanding and redefining the female experience and identity within a range of male dominated contexts and dangerous environments.

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MacCormack, Patricia (Patricia Anne) 1973. "Pleasure, perversion and death : three lines of flight for the viewing body." Monash University, Centre for Women's Studies and Gender Research, 2000. http://arrow.monash.edu.au/hdl/1959.1/7835.

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Hjelm, Zara Luna. "Blood, Sperm, and Tears in Extreme Cinema : A phenomenological study in hegemonic masculinity through Gaspar Noé's Love from a psychoanalytical perspective." Thesis, Linköpings universitet, Tema Genus, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166936.

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This thesis will analyze how masculinity is depicted in the French-Argentinean director Gaspar Noé’s movie Love (2015), and how it is orientating and disorientating through an intersectional lens. In his films, the filmmaker often uses haptic images and sound traversing to interrogate the existence and to express a clear and abject visuality to expose the flesh. On that notion, the study will use a psychanalytic theoretical framework with hegemonic masculinity, and a phenomenological methodology with Bertolt Brecht’s theories on theatre to examine the bodily performances of the cinematic body, the bodies of the characters on screen, and the spectator’s body to reflect on the film’s thematic, aesthetic, and ideological features. Additionally, this study will explore how the viewer embodies the self-images and memories of the characters on the screen, and how that affects the spectator.

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Ruben, Jennifer Lynn. "Illusionary Strength; An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1355753729.

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Hallberg, Therese. "Mellan livet och döden : Den litterära gotikens närvaro i dokumentära skildringar av självskada." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30505.

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Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.

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Kramer, Angela C. "Everything Endlessly Rising." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu161659952570974.

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Hjelm, Zara Luna. "Mirror, Mirror : Embodying the sexed posthuman body of becoming in Sion Sono’s Antiporno (アンチポルノ, 2016) and Mika Ninagawa’s Helter Skelter (ヘルタースケルター, 2012)." Thesis, Linköpings universitet, Tema Genus, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177284.

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This thesis examines the embodiment of the sexed body and the struggle of fitting into the narrow frames of what a woman is supposed to behave and look like in Japanese cinema. Using the medium of film, I, therefore, seek to produce knowledge regarding the internalized gaze of the oppressor, and self-objectification, caused by the capitalist heteropatriarchy. Thus, I am drawing from cyborg feminism, and the second wave of sexual difference theory’s concept of becoming, expanded upon by the Italian-Australian philosopher Rosi Braidotti. I further use the French sociologist Pierre Bourdieu’s notion of masculine domination and the American philosopher Gayle Rubin’s charmed circle, in creating a theoretical framework, and using the methods of cultural and feminist film analysis to contextualize the films and locate the subjectification of the women. The movies that I will be analyzing are the Japanese director and poet Sion Sono’s Antiporno (アンチポルノ, 2016) and the Japanese director and photographer Mika Ninagawa’s Helter Skelter (ヘルタースケルター, 2012), which both center around two women and their struggle in becoming-cyborg, in relation to power, trauma, sexuality, technology, and beauty ideals in ‘modernized’ Japan. In that sense, I will study the phenomenon of operating outside the lines of social norms of femininity and desire.

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Ramos, Alquezar Sergi. "Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.

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La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastique
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre

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Vang, Jens. "Bland gröna gubbar och röda faror : En historisk studie om vanligt förekommande teman i amerikansk science-fictionskräckfilm under McCarthyeran." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74648.

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The following study has its origin and context in the politically polarised McCarthy era of the American history. With the WWII in retrospect, politicians in Western nations quickly acknowledged the potential impact and sphere of influence of popular culture and its ability to form public opinion. During this period attempts were made to censor culture from underlying socialist messages in order to spread and awake support for the government, especially in mainstream Hollywood productions. However, how successful were these attempts and did it actually create a resistance against the censorship’s proclaimers? This study analyses four different Hollywood science fiction films from the 1950’s and argues that the underlying messages were more diverse than previously expected. Some of the productions seemed to endorse the McCarthyist values, whereas others more clearly rejected these sets of values, implicitly claiming they were a highly irrational response to an unstable international situation.

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Awgichew, Kassahun. "Comparative performance evaluation of Horro and Menz sheep of Ethiopia under grazing and intensive feeding conditions." Doctoral thesis, [S.l. : s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=961806729.

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Dafsari, Hormos Salimi [Verfasser]. "On the relationship of apraxia, body structural description, and judgement of plausibility in left-hemispheric stroke / Hormos Salimi Dafsari." Köln : Deutsche Zentralbibliothek für Medizin, 2016. http://d-nb.info/1126660736/34.

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Triggs, Riley Grant. "Reel houses of horror: Film, body and architecture." Thesis, 2006. http://hdl.handle.net/1911/17925.

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An exploration of the emotional intertwining of character and architecture in two horror films of the 1960s, The Haunting (Robert Wise, 1964) and Repulsion (Roman Polanski, 1965). In these films we find fully rendered illustrations of architecture that include the non-visible element of emotion that is essential in the becoming of architecture and place.

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Tang, Cheong Wai Acty. "Gazing at horror : body performance in the wake of mass social trauma /." 2005. http://eprints.ru.ac.za/207/.

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Bruen, Beverley Anne. "The making of monsters : has the medieval monster been reassembled as the unbounded body of medical science and environmental horror?" Phd thesis, 2011. http://hdl.handle.net/1885/147152.

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This investigation examines perceptions of the monster as an unbounded body. Bodily containment is clearly disregarded in the fearsome physical abnormality of the medieval monster. Their hybrid physiologies and the emphasis on bodily orifices are reminiscent of those horrors described in Julia Kristeva's Powers of Horror: An Essay on Abjection. My research argues that the monster continues to retain its impact as a metaphor for fear and horror of unforeseen dangers in contemporary secular circumstances. My studio practice addresses the unbounded body of the monster as a metaphor for environmental horror. An accompanying exegesis documents the methodology, experimentation and ideas that drove this practical research. In the resultant works the monster is presented as an elusive entity embedded within abstracted land forms and in small assemblages of found objects. My dissertation provides theoretical and historical links to my studio practice. It clarifies the significance of the tradition of medieval mapmaking in addressing the fears and horrors of the unknown by ordering connections between nature, theology and the workings of the cosmos. More specifically, the dissertation contrasts the shift from the monsters of medieval religion to their reconfiguration as an increasingly scientific/medical phenomenon culminating in the genetically altered bodies of today's biotechnologies. Recollecting the body/earth metaphor of the medieval Hereford mappa mundi, ten digital images record my journey through drought-stricken landscapes where the earth is conceptualised as a fragile body, vulnerable to environmental disaster. The medieval need to confine the monster to its rightful place in the mapped schema of God's 'plan of creation' is also reflected in the series of assemblages of found objects - bones, feathers, fur, mummified frogs, small lizards, cicadas, pig, goat, kangaroo and wombat skulls, metal objects and silk constructions - that are skewered on ancient medical, optical and mathematical instruments. The making or transforming of monsters and the containment of these unbounded bodies is alluded to by safely confining each little assemblage within a miniature glass tower. Grouped together, they recall the eclectic wonderment of the 'cabinet of curiosities' or Kunstkammer and Wunderkammer that encapsulated the emerging ethos of medical and scientific enquiry of Enlightenment Europe. Technically, I contribute to new knowledge in art practice by layering elements of my drawings and scanned found objects in Photoshop to create a painterly abstraction and in the employment of the new technologies of direct digital print to transfer these images onto silk fabric and archival papers. By further embellishing the silk prints with beads and stitching, I demonstrate the interaction of handmaking with digital processes: a multilayered method akin to collage and assemblage. This process of assemblage links the landscape pieces to the small glass towers. My investigations found that, although its appearance may differ from that of the medieval grotesque, the monster is undiminished as a metaphor for the unbounded body of medical science and environmental horror. The resulting body of work is to be exhibited at the ANU School of Art Gallery from 16 March to 1 April, 2011.

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Chareyron, Romain. "Les emprunts au genre horrifique et pornographique à travers les images du corps dans le cinéma français contemporain." 2010. http://hdl.handle.net/10048/1178.

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Thesis (Ph. D.)--University of Alberta, 2010.
Title from PDF file main screen (viewed on July 23, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, French Language, Literatures and Linguistics, Department of Modern Languages and Cultural Studies. ... [University of Alberta,] Fall 2010." Includes bibliographical references.

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Hladonik, Jan. "Nové tělo? Hranice těla ve filmech Davida Cronenberga." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-299214.

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Diploma work New Flesh? The Limits of the Body in the Films by David Cronenberg deals with the human body as one of the main motives in the filmography of the Canadian director David Cronenberg. Its mission is to implicate new approaches to the human body in the theories of postmodern philosophy, philosophy of media and posthuman therories, which fundamentally transform the principles of previously applied concept of body and mind dualism and point out that media and new technologies has a significant influence on our perception of a human body. New approaches to the human flesh and fleshliness are applied in the final part of this work through the interpretation of selected movies by David Cronenberg - Videodrome and eXistenZ. The main point of this work is to show the complete change of conception and perception of the human flesh, which is summary reviewing here as a "new flesh". Key words body - controlled body - body extension - reality - hyperreality - media - new technologies - cyborg - post-human - body horror - new flesh

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Smith, Julie Lynne. "Fashioning the gothic female body : the representation of women in three of Tim Burton's films." Diss., 2016. http://hdl.handle.net/10500/22190.

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This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other.
English Studies
M.A. (English Studies)

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Lopes, Elisabete Cristina Simões. "Desmontando narrativas e corpos : uma reflexão sobre o corpo no gótico feminino na obra poética de Sylvia Plath e Anne Sexton, e na obra fotográfica de Francesca Woodman e Cindy Sherman." Doctoral thesis, 2012. http://hdl.handle.net/10400.2/2372.

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Tese de Doutoramento em Literatura na especialidade de Literatura Norte-Americana apresentada à Universidade Aberta
O objectivo desta investigação é o de examinar o modo como Sylvia Plath, Anne Sexton, Francesca Woodman e Cindy Sherman exploraram a representação do corpo da mulher, à luz do gótico, mais especificamente, dentro do enquadramento do gótico feminino. Consequentemente, a obra poética de Sylvia Plath e de Anne Sexton, tal como a obra fotográfica de Francesca Woodman e Cindy Sherman, são exploradas dentro das várias vertentes do gótico: feminino, materno, paterno, doméstico e marital. Elementos tradicionais do gótico, tais como as ruínas, os fantasmas, os monstros, o dopplegänger, o anjo ou a “madwoman” do período vitoriano, conjugam-se com elementos de carácter surrealista (os peixes, as luvas, os espelhos, os cadáveres esquisitos), de forma a ilustrar o modo como o corpo feminino estabelece um diálogo com a geografia do espaço. Neste contexto, é igualmente importante analisar de que forma essas mesmas representações comportam um pendor feminista e determinar como operam enquanto resposta e revisão relativamente ao paradigma patriarcal. No âmbito deste estudo, conceitos operacionais intrinsecamente ligados ao estudo do gótico, tais como o grotesco, o abjecto ou a estranheza, são convocados com o intuito de enriquecer esta análise, no seio da qual o corpo feminino se encontra em permanente flirt com a presença da morte.
This research aims at examining the way Sylvia Plath, Anne Sexton, Francesca Woodman and Cindy Sherman have carried out female’s body representation, in the light of the gothic, specifically within the female gothic setting. Therefore, both Sylvia Plath’s and Anne Sexton’s poetic oeuvre and Francesca Woodman’s and Cindy Sherman’s photography are explored within the various gothic types: female gothic, maternal gothic, paternal gothic, domestic gothic and marital gothic. In this analysis, traditional elements of the gothic, such as ruins, ghosts, monsters, dopplegängers, the angel and the madwoman of the Victorian epoch, combine with surrealist imagery (fishes, gloves, mirrors, cadavres exquis) in order to convey the ways in which the female body engages in a dialogue with the geography of space. In this context, it is important likewise to analyse the feminist essence inherent in those representations, and unveil to what extent they constitute an answer and revision regarding patriarchy. In this research, we resort to theoretical concepts intimately linked to the gothic genre, such as the grotesque, the abject and the uncanny, so as to illustrate a female body which appears constantly flirting with death.

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Dissertations / Theses on the topic 'Body horror'

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