Journal articles: '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 (October 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 (October 31, 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 (August 8, 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, no. 2 (June 29, 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 (October 16, 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 (March 19, 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 (February 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.

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Hawco, Victoria. "The Ludic Impact of Horror Games on the Body: Until Dawn, Amnesia: The Dark Descent, and Alien: Isolation." Hungarian Journal of English and American Studies 29, no. 2 (November 1, 2023): 381–400. http://dx.doi.org/10.30608/hjeas/2023/29/2/9.

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Abstract Horror video games create an enhanced sense of fear compared to film and television of the same genre due to their use of ludic elements. These ludic elements, specifically haptic game design mechanics, play conditioning, and the coding of the games themselves all bypass the screen and controller to impact the body of the player. Understanding affect as the relationship of the body to the world, video games are therefore a strong affective medium for the horror genre. Three aspects enable video games to have this strong impact: haptic game design mechanics, play conditioning, and game coding. Using the controller as a threshold object, video games physically interact with players to create a horror experience that compels the body to mirror the fear on screen. Additionally, horror games condition players to play them in a specific way to heighten tension and deny control. Finally, the coding of horror games can create obstacles that deny player control and create an environment of fear. The aim of the essay is to explore the effective use of all these elements and mechanics in three games: the 2015 game Until Dawn, the 2016 horror game Amnesia: The Dark Descent, and the 2014 game Alien: Isolation. (VH)

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Woodstock, Louise. "BOok Review: Body Horror: Photojournalism, Catastrophe and War." Journalism: Theory, Practice & Criticism 1, no. 2 (August 2000): 241–45. http://dx.doi.org/10.1177/146488490000100207.

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Smulders, Eric. "Body horror. Photojournalism, catastrophe and war - John Taylor." TMG Journal for Media History 2, no. 2 (December 1, 1999): 170. http://dx.doi.org/10.18146/tmg.452.

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Tait, Sue. "Pornographies of Violence? Internet Spectatorship on Body Horror." Critical Studies in Media Communication 25, no. 1 (March 2008): 91–111. http://dx.doi.org/10.1080/15295030701851148.

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Álvarez Trigo, Laura, and Xavier Aldana Reyes. "Digital Gothic: An Interview with Xavier Aldana Reyes." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 16–30. http://dx.doi.org/10.37536/reden.2022.3.1812.

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Xavier Aldana Reyes is Reader/Associate Professor in English Literature and Film at Manchester Metropolitan University and a founder member of the Manchester Centre for Gothic Studies. He is author of Gothic Cinema (2020), Spanish Gothic (2017), Horror Film and Affect (2016) and Body Gothic (2014), and editor of Twenty-First-Century Gothic: An Edinburgh Companion (with Maisha Wester, 2019), Horror: A Literary History (2016) and Digital Horror (with Linnie Blake, 2015). Xavier is chief editor of the Horror Studies book series at the University of Wales Press, and has edited anthologies of Gothic and horror fiction for the British Library. One of Xavier's research interests is the optical dynamics of found footage horror films. On this topic, he has published an article on narrative framing for Gothic Studies, and chapters on affective immersion in the film [REC] (2007) and viewer involvement and guilt in The Last Horror Movie (2003). More recently, he wrote a chapter on 'Online Gothic' that considers social media found footage horror for the collection The Edinburgh Companion to Globalgothic (2022).

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Surace, Bruno. "The flesh of the film: The camera as a body in neo-horror mockumentary and beyond." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 25–41. http://dx.doi.org/10.1386/nl_00003_1.

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Abstract The neo-horror mockumentary, from the 1990s onwards, has been a genre in constant ascent, rejuvenating extremely codified strands. What unites these strands is undoubtedly a formal commonality since the premise of the genre is that of basing oneself on 'lucky' shots, which imitate a certain amateurism, while being also extremely corporeal. The neo-horror mockumentary treats the camera as a body in its own right, with its own potential and fragility, an actor like those it films. The body of the camera and the bodies filmed by it generate a dialectic of the flesh that makes the neo-horror mockumentary a body-based genre, irrespective of its articulations, which are examined in this essay from a semiotic perspective, which investigates the role of corporeality within the formal components of the genre, a filmographic perspective that through case studies identifies the system of variants and invariants around which the body becomes a pivot, and a philosophical perspective that frames the concept of body and its change in the imaginary within this new way of making cinema.

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Mendagalieva, A. G. "REPRESENTATION OF EMOTIONAL CONCEPTS IN A. VARGO’S PROJECT." Culture and Text, no. 53 (2023): 168–76. http://dx.doi.org/10.37386/2305-4077-2023-2-168-176.

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The article reveals emotional concepts in A. Vargo’s prose, which is an example of the horror genre in modern Russian popular literature. It is emphasized that negatively colored emotional concepts are most frequently used, among which the concept of “fear”, which belongs to the genre-forming features of horror, occupies a special place. The means of textual representation of the concepts “fear”, “anxiety”, “panic”, “horror”, “disgust”, “anger”, “rage” are revealed. The main attention in the article is paid to the conceptualization of emotional states through body language, i.e. verbalization of physiological manifestations.

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Shaviro, Steven. "Body Horror and Post-Socialist Cinema: Györgi Pálfi's Taxidermia." Film-Philosophy 15, no. 2 (October 2011): 90–105. http://dx.doi.org/10.3366/film.2011.0027.

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Jerslev, Anne. "The horror film, the body and the youth audience." YOUNG 2, no. 3 (September 1994): 18–33. http://dx.doi.org/10.1177/110330889400200303.

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Kau, Edvin Vestergaard. "From concrete horror to symbolic significance in Body Memory." Short Film Studies 4, no. 2 (October 1, 2014): 145–48. http://dx.doi.org/10.1386/sfs.4.2.145_1.

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Body Memory confronts the viewer with a tale of deported people’s experience of hopelessness and terror. In this article, I engage with the film and analyse elements of its concrete cinematic practice, in order to investigate how it achieves symbolic significance and universality.

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Austin, Guy. "Biological Dystopias: The Body in Contemporary French Horror Cinema." L'Esprit Créateur 52, no. 2 (2012): 99–113. http://dx.doi.org/10.1353/esp.2012.0023.

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Mikles, Natasha L. "The Forbidden Body: Sex, Horror, and the Religious Imagination." Journal of Contemporary Religion 38, no. 2 (May 4, 2023): 396–98. http://dx.doi.org/10.1080/13537903.2023.2213025.

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Floare, Flavius. "Redefining Biological Horror: The Aesthetic Evolution of an Infected Body in HBO’s ‟The Last of Us”." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (March 30, 2023): 125–40. http://dx.doi.org/10.24193/subbdrama.2023.1.07.

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"The post-apocalyptic genre has seen a resurgence in 2023 due to HBO’s The Last of Us, a television adaptation based on Naughty Dog’s video game of the same name, where the society has collapsed due to an infection that causes human bodies to gradually mutate and become violent. There have been debates on whether the infected humans should be called “zombies”, as the word was banned on the production set and the creative director of the video game has refused numerous times to use the word when labeling the infected bodies. In this article, I am taking a closer look at the infection presented in the series, its impact on the human body, the mutation and transformation that precedes it, and the question of zombification in relation to an existing and real-world infection, as in the case Cordyceps fungus. Moreso, I will discuss the validity of considering analyzing The Last of Us through the body horror filter, due to the exploration of an infection that happens in stages, and the different anatomical and aesthetical changes it provokes to the human body. Keywords: horror, television, video game, body horror, adaptation. "

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Wieser-Cox, Corina. "Spectacle of the Demonic Other." Screen Bodies 8, no. 2 (December 1, 2023): 60–77. http://dx.doi.org/10.3167/screen.2023.080206.

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Abstract The monster-as-queer trope in horror cinema historically implemented the binary of self-versus-other as heterosexual heroine versus queer monster/villain. With the rise of queer creators and spectators within horror, this trope was questioned so that the queer(ed) monster became multifaceted. From its birth, the horror anthology series American Horror Story has questioned this binary thinking, and the 2018 season Apocalypse exemplifies this best. Using camp, the show creates a queer basis that overthrows normative depictions of sexuality and queer bodies in television. In Apocalypse—in which the “normative” is represented as inherently queer—a subversive reimagining of typically “Othered” bodies overturns the regime of representation in horror cinema. By analyzing how the villain of Apocalypse, the Antichrist, is (re)presented with an ambiguously gendered body and sexuality, I argue that the toppling of heteropatriarchy challenges the position of the Othered villain/monster so that their “evil” is made ambiguous in contextualization with queer futurism.

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Yakushenkova, Olesya S. "Terrifying Nudity: the Naked Truth of Horror Film." Corpus Mundi 3, no. 1 (May 30, 2022): 123–59. http://dx.doi.org/10.46539/cmj.v3i1.62.

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Attitudes towards the naked body vary from culture to culture. Even within one culture, the nakedness often symbolises very different and sometimes arbitrarily contradictory things. It can be associated with eroticism, sanctity, aggression, a certain type of culture (from savagery to elitism), etc. Focusing on specific cinematic examples, the author examines the symbolism of naked male and female bodies in horror films. The author concludes that while nudity may serve to attract viewers to the cinema, it does not necessarily equate to sexuality. The nudity is frightening in its vulnerability, but it also shows how little we know about our own bodies. In cinema, the naked body is often tortured, objectified, manipulated or even sacrificed to maintain social order or nature's fertility. Female nudity in films is linked to fears of female sexuality and fertility. Often, the encounter with the naked female body turns out to be fatal for male characters, leading to their corporal transformation or loss of identity. In any case, the naked body is something out of the norm, it is marginal and destabilizing and so it scares us.

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KOOYMAN, BEN. "Whose body? Auteurism, feminism and horror in Hostel Part II and Jennifer’s Body." Australasian Journal of Popular Culture 1, no. 2 (September 8, 2011): 181–95. http://dx.doi.org/10.1386/ajpc.1.2.181_1.

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Durante, Erica. "The Silence and the Fury: Samanta Schweblin's "Dissolved Horror" in Light of Mariana Enriquez's Gothic Horror." Revista de Estudios Hispánicos 58, no. 1 (March 2024): 63–81. http://dx.doi.org/10.1353/rvs.2024.a931919.

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Abstract: In this paper, the works of Argentinean writer Samanta Schweblin are explored, focusing on the concept of dissolved horror as a guiding framework. Dissolved horror describes a unique form of horror that goes beyond the typical extremes of gore and gothic imagery. Instead, it embraces an eerie, peculiar, and intimate lyrical dimension, prompting Schweblin to reshape semantics and challenge traditional narrative conventions in horror storytelling. To analyze Schweblin's aesthetic and poetic approach to dissolved horror, this article draws a parallel with the body of work by Mariana Enriquez. This comparative analysis sheds light on Schweblin's distinct narrative patterns, tropes, and strategies. I trace the literary trajectories of these two prominent writers, rooted in their individual experiences as adolescents exposed to the pervasive climate of fear and the haunting specter of shattered and vanished lives and bodies during the Argentinean military dictatorship. By delving into both authors' poetic affinities and unique creative paths, I aim to contribute to a more precise and thoughtful taxonomy that enables readers to fully comprehend the current and unparalleled Latin American feminine and feminist literary landscape.

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Tortolani, Erica. "Horror, bodily agency and Peggy Ahwesh’s Nocturne (1998)." Short Film Studies 13, no. 2 (September 1, 2023): 123–34. http://dx.doi.org/10.1386/sfs_00098_1.

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This article analyses the 1998 short film Nocturne, directed by artist Peggy Ahwesh in one of her most earnest engagements with the horror genre. It demonstrates the ways in which Nocturne uses visual and aural horrific elements to show how the gendered female body is socioculturally constructed. Importantly, its horrific elements open up the possibility for women to reclaim corporeal agency, a feat otherwise absent in the very source material that Ahwesh borrows from in her film. The female body is presented in Nocturne as uninhibitedly able to move, touch, explore, desire and, yes, kill, as it navigates through, and eventually destroys, the intricate systems of power keeping it in check. After exploring Ahwesh’s larger body of work, the article considers how Nocturne assigns the so-called corporeal weight to its female bodies on-screen, through horrific elements and, to a lesser extent, the woman-as-animal metaphor.

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Aguilar González, Metztli Donají. "Violencia y deshumanización del cuerpo: una lectura del body horror en “Subasta” de María Fernanda Ampuero." Revista Ciencia y Cultura 26, no. 49 (November 4, 2022): 29–44. http://dx.doi.org/10.35319/rcyc.202249311.

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Debido a su escritura atroz y temas de lo perverso, María Fernanda Ampuero se ha convertido en una de las voces literarias más importantes de Ecuador y Latinoamérica. Su cuento “Subasta” contenido en Pelea de gallos (2018), sobresale de entre el resto porque en él se configura un universo de violencia masculina y traumas de la infancia que propician la intervención del cuerpo femenino hasta llevarlo al rango del body horror (horror corporal), un acto que trastoca los límites de lo monstruoso, lo repugnante y lo indeseable como última alterativa de emancipación en la esfera del abuso patriarcal.

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MacDonald, Tanis. "“Out by Sixteen”: Queer(ed) Girls in Ginger Snaps." Jeunesse: Young People, Texts, Cultures 3, no. 1 (June 2011): 58–79. http://dx.doi.org/10.3138/jeunesse.3.1.58.

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The Canadian cult-horror film Ginger Snaps (2000) was marketed as a wry and wrenching adolescent female version of B-movie transformation narratives, conflating puberty with monstrosity while exposing how excesses of representation alter the effect of gender as a technology of feminine identity. Ginger Snaps complicates horror-film convention by emphasizing the intense relationship between the Fitzgerald sisters, suggesting that lesbian desire is part of the sisters’ resistance to normativity, best revealed by their blood pact to be “out by sixteen or dead in the scene.” By matching the heterosexual male werewolf’s appetite for the female body, Ginger’s teen-lesbian werewolf poses a visual and sexual conundrum in the contemporary Gothic horror film.

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Balsam, Rosemary H. "On the Natal Body and Its Confusing Place in Mental Life." Journal of the American Psychoanalytic Association 67, no. 1 (February 2019): 15–36. http://dx.doi.org/10.1177/0003065119831767.

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These reflections concern ongoing confusions in holding together the gestalt of the natal body, sex, gender, and procreation. Highlighting theoretical confusions is the shifting history of relations among the material body, the “psychoanalytic body,”:sex, and gender. Studying these confusions and collecting more data may help the field advance where a rush to theoretical foreclosure will not. Observe, for example, how commonly foreclosing are the terms “masculine” and “feminine” when automatically applied to the merely biological attributes of a sexed body. More confusions arise from theorizing gender identity using split-off images of body parts divorced from any natal referent. In a published clinical case, for instance, the role of the procreative body is characteristically ignored in gender theorizing. Apparently unspeakable horrors of the female body come with its birthing potential and may be a motive for erasure. Julia Kristeva, an exemplary writer, accepts simultaneously a sexed, procreative, and gendered layering in the mind. Her account of the “abject” can shed light on the suppressive horror in our field, which remains almost silent on the body’s procreative potential in everyday life. By contrast, even Ice Age sculptors were engaged with procreative female bodies.

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Jerslev, Anne. "Violence and the body in contemporary action and horror films." YOUNG 4, no. 4 (November 1996): 39–53. http://dx.doi.org/10.1177/110330889600400404.

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Le, Vincent. "Philosophy’s dark heir: On Nick Land’s abstract horror fiction." Horror Studies 11, no. 1 (April 1, 2020): 25–42. http://dx.doi.org/10.1386/host_00009_1.

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Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work from his earlier academic writings as a philosopher, this article argues that Land turns to writing horror fiction, because he sees the genre as a better compositional form than traditional philosophy to continue his critique of anthropomorphism insofar as it is able to stage a confrontation with that which lies beyond all parochial human comprehension. I begin by outlining Land’s earlier critique of anthropocentric philosophies with recourse to the brute fact of humanity’s inexorable extinction as a way to undermine their attempts to project human values and concepts onto an inhuman cosmos for all time. I then examine Land’s theory of abstract horror to see how he envisions horror fiction as the best aesthetic means for transcendentally channeling the traumatic limits of human experience. I conclude with an analysis of Land’s two horror novellas, Phyl-Undhu and Chasm, to draw out the ways in which his earlier critical philosophy continues to inform their literary motifs. What ultimately emerges from this analysis of Land’s fiction is a conception of horror as the dark heir to critical philosophy.

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Jenkins, Candice M. "“Unimaginable from this distance”: Get Out , Black Speculative Horror, and Captive Embodiment." Studies in the Fantastic 16, no. 1 (January 2024): 39–59. http://dx.doi.org/10.1353/sif.2024.a923182.

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Abstract: In this essay, which attends to Jordan Peele’s 2017 Black horror masterpiece, Get Out , I consider how Peele’s visual narrative employs not only horror’s genre cues, but speculative tropes more broadly, to animate instances of embodied Black trauma and white gratification that can be linked directly to submerged American histories of enslavement. Hortense Spillers has memorably catalogued slavery’s “theft of the body—a willful and violent (and unimaginable from this distance) severing of the captive body from its motive will, its active desire”; my analysis in this essay zeroes in on her almost casual parenthetical recognition that this violence is “unimaginable” from our present vantage and interrogates the ways that Peele’s complex brand of Black horror brings such bodily trespass close. Throughout my discussion here, I consider both the bodily vulnerability of the film’s Black characters to racialized incursion and subjection, and their positioning as literal vehicles for the enactment of white agency, suggesting that the surface critique of liberal racism offered by Get Out is complicated and deepened by the film’s speculative horror elements. By animating and bringing near, via speculative horror tropes, some of the most “unimaginable” elements of anti-Black violence, Peele’s film advances an understanding of Black captive embodiment that uncannily echoes Afro-Pessimism’s sense of the perpetual and proximate nature of Black enslavement in our contemporary moment.

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Logsdon, Richard. "Where Have All the Vampires Gone? An Examination of Gothic Horror in BBC's Luther." Popular Culture Review 29, no. 1 (March 2018): 99–112. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00219.x.

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Abstract:Gothic horror has found a home in several recent European crime dramas. One of these dramas is BBC's four‐season series Luther. Episode after episode, London “copper” John Luther tracks down a sociopathic killer whose monstrous actions are easily the equivalent of those committed by the creatures of traditional Gothic horror. Just as significantly, Luther's encounters with the evil represented by these killers taps into those anxieties that currently grip a European continent that has experienced mass shootings, mass stabbings, suicide bombings, baby trafficking, sex trafficking, and killings related to the smuggling of drugs and diamonds. This essay thus represents a unique contribution to the existing body of scholarship devoted to the study of the merging of Gothic horror and contemporary European crime drama.

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Chusna, Aidatul, and Shofi Mahmudah. "Female Monsters: Figuring Female Transgression in Jennifer's Body (2009) and The Witch (2013)." Jurnal Humaniora 30, no. 1 (February 24, 2018): 10. http://dx.doi.org/10.22146/jh.31499.

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This paper aimed to examine the depiction of the monstrous feminine in two horror flms, 2009’s Jennifer’s Bodyand 2015’s The Witch, by investigating how horror flms confront transgression through the construction of woman as a monstrous fgure in the story. The theory of abjection proposed by Julia Kristeva and of the monstrous feminine by Barbara Creed were used in the analysis. The main data were taken from these two flms, focusing on the characterization and narrative aspects. It was found that the depiction of the monstrous feminine in both flms was through the use of monstrous acts and images. The way in which these flms constructed monstrosity indicates female transgression of patriarchal boundaries, specifcally on the issue of gender identity and religiosity. The transgression emphasizes that there is no absolute identity, and thus boundaries are disrupted due to this ﬂuid identity

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Chusna, Aidatul, and Shofi Mahmudah. "Female Monsters: Figuring Female Transgression in Jennifer's Body (2009) and The Witch (2013)." Jurnal Humaniora 30, no. 1 (February 24, 2018): 10. http://dx.doi.org/10.22146/jh.v30i1.31499.

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This paper aimed to examine the depiction of the monstrous feminine in two horror flms, 2009’s Jennifer’s Bodyand 2015’s The Witch, by investigating how horror flms confront transgression through the construction of woman as a monstrous fgure in the story. The theory of abjection proposed by Julia Kristeva and of the monstrous feminine by Barbara Creed were used in the analysis. The main data were taken from these two flms, focusing on the characterization and narrative aspects. It was found that the depiction of the monstrous feminine in both flms was through the use of monstrous acts and images. The way in which these flms constructed monstrosity indicates female transgression of patriarchal boundaries, specifcally on the issue of gender identity and religiosity. The transgression emphasizes that there is no absolute identity, and thus boundaries are disrupted due to this ﬂuid identity

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Jackson, Chuck. "Petrification and Petroleum." Film Studies 21, no. 1 (November 2019): 38–52. http://dx.doi.org/10.7227/fs.21.0004.

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Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

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Casey, Máiréad. "‘A Walking Study in Demonology’: Postfeminism and Popular Misogyny in Jennifer’s Body (2009)." Gothic Studies 25, no. 2 (July 2023): 160–78. http://dx.doi.org/10.3366/gothic.2023.0162.

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This article analyses the 2009 horror-comedy directed by Karyn Kusama, Jennifer’s Body. I describe how this female-centred horror film critiques the postfeminist or neoliberal feminine subject from an angle that aligns most comfortably with antifeminist sentiments and arguments from the centre-right and right. I discuss how a gendered neoliberal discourse of individualism, and the idea that the individual must be ultimately bear responsibility for their own biography, renders the titular character as an illegible subject of sexualised violence. I argue that the film naturalises threats of sexual violence, attributes blame to the violated female body, and renders her illegible as a victim or as person worthy of sympathy and support. I demonstrate how the film is prescient of secular forms of exclusion, specifically popular misogyny and conforms to some of popular misogyny’s circulated myths and philosophies regarding female sexuality.

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Randell, K. "Masking the horror of trauma: the hysterical body of Lon Chaney." Screen 44, no. 2 (June 1, 2003): 216–21. http://dx.doi.org/10.1093/screen/44.2.216.

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Taşkale, Ali Rıza. "Global powers of horror: Security, politics, and the body in pieces." Contemporary Political Theory 17, S4 (October 5, 2017): 193–96. http://dx.doi.org/10.1057/s41296-017-0163-6.

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Fish, Laura. "The Disappearing Body: Poe and the Logics of Iranian Horror Films." Poe Studies 53, no. 1 (2020): 86–104. http://dx.doi.org/10.1353/poe.2020.a770685.

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Dhusiya, Mithuraaj. "Shape Shifting Masculinities: Accounts of maleness in Indian man-to-animal transformation horror films." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 61–74. http://dx.doi.org/10.15388/aov.2011.1.3932.

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University of DelhiUnlike the werewolf myth, on which there is a significant corpus of takes in Hollywood cinema, Indian horror films abound in snake-, tiger- and gorillatransformations. Most of these shape-shifting monsters represent aberrant subjectivities that set in motion a cycle of destruction and redemption within these narratives. This article will explore how the male body in Indian horror films acts as a site of different bodily discourses that permits a reading of socio-cultural crises within the societal framework. Although there are almost a dozen Indian horror films to date that deal with such shape-shifting monsters, this article will limit itself to studying one Hindi film Jaani Dushman (1979, dir. Raj Kumar Kohli) and one Telugu film Punnami Naagu (1980, dir. A. Rajasekhar). The following core questions will be explored: do these narratives challenge the constructions of hegemonic masculinity? What departures from normative masculinity, if such a thing exists at all, take place? How do these narratives use horror codes and conventions to map the emergence of different types of masculinities? How can these bodily discourses be correlated with various contemporary socio-political issues of India?

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Patra, Indrajit. "Exploring the intersection of Lovecraftian monstrosity and techno-body horror in selected works of Neal Asher: an examination of (post-)humanity." Multidisciplinary Reviews 6, no. 1 (July 2, 2023): 2023009. http://dx.doi.org/10.31893/multirev.2023009.

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This scholarly investigation aims to meticulously examine the various mechanisms employed by British science fiction writer Neal Asher in his works, including the Transformation trilogy (2015–17), Lockdown Tales (2020), and Lockdown Tales 2 (2023), to convey the erosion of humanity following profound physiological and cognitive changes. This research highlights how Asher skillfully combines elements of Lovecraftian grotesqueness with intricate portrayals of physical horror, thereby challenging conventional categorizations. These narratives feature a diverse ensemble of human and non-human protagonists, each subjected to transformative biotechnological, computational, and psychological enhancements. These processes raise questions about the feasibility of preserving even a semblance of humanity in an overwhelmingly advanced, distinctly post-human cosmological environment. While both biotechnological and Lovecraftian modes of horror explore humanity’s insignificance within a vast, indifferent, and often malevolent universe, Asher’s body of work consistently delves into the theme of how humans can retain their inherent humanity in the face of monstrous metamorphosis. Additionally, this investigation elucidates how such transformations give rise to the emergence of the “other” within oneself and the monstrous “Other” that takes center stage in the narrative. By exploring these themes, this study contributes to the scholarly discourse on the intersection of horror, transformation, and the preservation of humanity in science fiction literature.

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Kotwasińska, Agnieszka. "Dis/Possessing the Polish Past in Marcin Wrona’s Demon." Humanities 9, no. 3 (July 9, 2020): 59. http://dx.doi.org/10.3390/h9030059.

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The article examines how Marcin Wrona’s Demon (2015) reworks the Jewish myth of a dybbuk in order to discuss how and to what extent a spectral haunting may disrupt acts of collective forgetting, which are in turn fueled by repression, repudiation, and ritualized violence. A part of a revisionist trend in Polish cinema, Demon upsets the contours of national affiliations, and in doing so comments on the problematic nature of memory work concerning pre- and postwar Polish–Jewish relations. Because the body possessed by a female dybbuk is foreign and male, the film also underlines gendered aspects of possession, silencing, and story-telling. The article draws on Gothic Studies and horror cinema studies as well as Polish–Jewish studies in order to show how by deploying typical possession horror tropes Wrona is able to reveal the true horror—an effective erasure of the Jewish community, an act that needs to be repeated in order for the state of historical oblivion to be maintained.

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Kirby, Dianne. "Michael Goodrum and Philip Smith, Printing Terror. American Horror Comics as Cold War Commentary and Critique." Twentieth Century Communism 24, no. 24 (June 28, 2023): 143. http://dx.doi.org/10.3898/175864323837280490.

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In 1944 America, 41 per cent of men and 28 per cent of women read comics, plus 91 per cent of American children. By 1950, 'the comics industry generated an annual profit of almost $41 million dollars and published 50 million comics a month: everyone read comics' (pp 17-18). Resistance to the industry came from groups such as church and parental organisations that assumed children read the texts seriously. 1954 witnessed the adoption of the Comics Code Authority (CCA), a self-regulatory body that prohibited certain content. It dealt a huge blow to the horror genre, although it did not destroy it: it was to see a significant revival in the 1970s when the CCA reviewed their standards.Printing Terror. American Horror Comics as Cold War Commentary and Critique provides a broad history of the comics it addresses, but its key focus is on addressing the horror genre as a cultural force and examining its commentary on the world.

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Hopkins, Stephen. "Gavin Bowd, Les communismes britannique et français, 1920-1991. Un conte de deux partis; Marco Di Maggio, The Rise and Fall of Communist Parties in France and Italy. Entangled Historical Approaches." Twentieth Century Communism 24, no. 24 (June 28, 2023): 138–43. http://dx.doi.org/10.3898/175864323837280472.

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In 1944 America, 41 per cent of men and 28 per cent of women read comics, plus 91 per cent of American children. By 1950, 'the comics industry generated an annual profit of almost $41 million dollars and published 50 million comics a month: everyone read comics' (pp 17-18). Resistance to the industry came from groups such as church and parental organisations that assumed children read the texts seriously. 1954 witnessed the adoption of the Comics Code Authority (CCA), a self-regulatory body that prohibited certain content. It dealt a huge blow to the horror genre, although it did not destroy it: it was to see a significant revival in the 1970s when the CCA reviewed their standards.Printing Terror. American Horror Comics as Cold War Commentary and Critique provides a broad history of the comics it addresses, but its key focus is on addressing the horror genre as a cultural force and examining its commentary on the world.

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Patra, Indrajit. "Of extreme monsters and extraordinary mutations." Linguistics and Culture Review 5, S2 (October 31, 2021): 986–1002. http://dx.doi.org/10.21744/lingcure.v5ns2.1644.

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The present article seeks to analyse Neal Asher’s novel Jack Four (2021) to show how elements of posthuman monstrosity and extreme biological horror can combine to produce a unique kind of transgressive and transformative effect that radically alters the very definition of human and blurs the boundaries between human and non-human. As part of its theoretical framework, the article seeks to employ Braidotti’s idea of ‘epistemophilic’, Braidotti’s ‘Zoe’-centred view of the posthuman dimension of post-anthropocentrism, and Betterton’s (2006) idea of the boundary-problematizing potential of the monstrous ‘Other’ among many others. The article strives to show how Asher’s portrayal of extreme forms of posthuman monsters not only harnesses the near-inexhaustible transgressive power of the essentially indefinable monstrous figure but also by combining with the gruesome portrayal of endless body horror, it seems to project the human body as a site of endless becomings, connectivities and proliferations.

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Martínez, Tania. "The abject and the sinister in body horror. A psychoanalytic and affective perspective." Revista de Antropologia Visual 3, no. 30 (October 27, 2022): 1–17. http://dx.doi.org/10.47725/rav.030.09.

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This article studies the film genre of body horror from the categories of the abject and sinister in relation to the image and technical elements of cinema. David Lynch's The Elephant Man (1980) and David Cronenberg's The Fly (1986) are used as a source of analysis. The categories of the abject and the sinister will trace the intimate relationship that exists between the spectator and the film genre, giving the opportunity for an analysis that revolves around psychoanalytical and affective perspectives. The physical resignation of the abject will reveals qualities that the human desires to forget, while the sinister will emerge from the ignorance of the body itself.

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Olivas Arana, Diego. "Parásitos mortales y Rabia: las pandemias sexuales de Cronenberg." Ventana Indiscreta, no. 024 (December 3, 2020): 40–47. http://dx.doi.org/10.26439/vent.indiscreta2020.n024.4998.

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En la primera etapa de su carrera, David Cronenberg creó relatos oscuros y sangrientos sobre virus y epidemias: Parásitos mortales y Rabia. Siempre es fascinante pensar nuestro presente a partir de las primeras películas del director canadiense y su visión del body horror.

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Journal articles on the topic 'Body horror'

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