Relevant bibliographies by topics / Childrens' horror genre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Childrens' horror genre'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Childrens' horror genre"

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Eap, Angelina. "The Significance of the Children’s Horror Film Genre." Film Matters 15, no. 2 (2024): 116–17. https://doi.org/10.1386/fm_00347_5.

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Review of: The Significance of the Children’s Horror Film Genre Horror Films for Children: Fear and Pleasure in American Cinema, Catherine Lester (2023) New York: Bloomsbury Academic, 232pp., ISBN: 9781350265127 (pbk), $39.95
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Antunes, Filipa, and Alec Plowman. "‘Ages five and up’: Alien toys for children and the question of horror’s histories." Horror Studies 13, no. 1 (2022): 7–25. http://dx.doi.org/10.1386/host_00043_1.

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This article considers the children’s toys made by Kenner for the original release of Alien (1979) and argues that they present a challenge to some of the most frequently repeated assumptions about the horror genre and its history. Specifically, the article questions the ‘natural’ association between horror and transgression, and the genre’s supposed separation from child audiences, noting the way these assumptions become tangled with notions of quality. The article historicizes Kenner’s Alien line in the context of the 1970s toy industry and the rest of children’s culture, including film fran
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Khvostov, A. A. "The Origins Horror Genre in Children’s Literature." Izvestia of Saratov University. New Series. Series: Sociology. Politology 11, no. 3 (2011): 40–45. http://dx.doi.org/10.18500/1818-9601-2011-11-3-40-45.

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Kovanen, Marjo. "Horror in Finnish children’s cinema and film literacy: A case study of Iris." Journal of Scandinavian Cinema 14, no. 3 (2024): 235–53. https://doi.org/10.1386/jsca_00122_1.

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This article focuses on the cultural and aesthetic meanings of horror elements in Finnish children’s cinema, situating it within a Nordic context. Combining close reading and intertextual analysis of Ulrika Bengts’ Iris (2011), the investigation demonstrates that the horror elements are tonal, aesthetic and thematic, making the film representative of an arthouse-oriented Nordic children’s horror genre that differs in significant respects from Anglo-American children’s horror. The article also discusses the pedagogical potential of children’s films influenced by horror aesthetics and proposes a
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Sergienko (Antipova), Inna. "“Horror” Genres in Modern Russian Children's Literature." Russian Studies in Literature 52, no. 2 (2016): 171–89. http://dx.doi.org/10.1080/10611975.2016.1243381.

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Novaković, Nikola. "To Laugh or to Cry? Ambiguity and Humour in Jason's Graphic Novels." Libri et liberi 11, no. 1 (2022): 51–78. http://dx.doi.org/10.21066/carcl.libri.11.1.3.

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The paper offers a reading of Jason’s use of sparsity, seriousness, and reduction as a concealment of a technique that is based on multifaceted ambiguity involving the blending of genres, a playfully intertextual attitude, and surprising emotional depth of character and story. It discusses the connection between humour and visual, textual, and structural ambiguity in Jason’s works, as well as ambivalence in the reader’s response, illustrates Jason’s combination of incongruous genres and simultaneous employment of motifs from children’s literature and various genre movies (such as science ficti
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Bezruchko, Oleksandr. "In-depth Study of Children’s Images in Works of Audiovisual Art in the Genre of Horror." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 1 (2024): 155–65. http://dx.doi.org/10.31866/2617-2674.7.1.2024.302777.

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In 2023, the publishing centre of the Kyiv University of Culture published an interesting and perhaps unusual mono­graph by Khrystyna Batalina entitled The Child as the Embodiment of Evil in Horror Films of the Twentieth and Twenty- First Centuries. This scholar’s study of children’s images in the world and Ukrainian works of audiovisual art in the horror genre will help to reveal the deep aspects of human psychology and cul­tural stereotypes associated with the depiction of children in horror films as the embodiment of evil and its acciden­tal carriers. While babies are mostly as­sociated wit
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Bezruchko, Oleksandr. "In-depth Study of Children's Images in Works of Audiovisual Art in the Genre of Horror." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 7, no. 1 (2024): 155–65. https://doi.org/10.31866/2617-2674.7.1.2024.302777.

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In 2023, the publishing centre of the Kyiv University of Culture published an interesting and perhaps unusual mono&shy;graph by Khrystyna Batalina entitled&nbsp;<em>The Child as the Embodiment of Evil in Horror Films of the Twentieth and Twenty- First Centuries.&nbsp;</em>This scholar&rsquo;s study of children&rsquo;s images in the world and Ukrainian works of audiovisual art in the horror genre will help to reveal the deep aspects of human psychology and cul&shy;tural stereotypes associated with the depiction of children in horror films as the embodiment of evil and its acciden&shy;tal carrie
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Slany, Katarzyna. "Children’s Horror Fiction: Grzegorz Gortat’s Ewelina and the Black Bird and Don’t Wake Me Up Just Yet." Ruch Literacki 58, no. 1 (2017): 45–60. http://dx.doi.org/10.1515/ruch-2017-0014.

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Summary This article attempts to profile the children’s horror story, aka children’s Gothic, by examining two notable examples of this autonomous sub-genre, Grzegorz Gortat’s Ewelina i Czarny Ptak [Ewelina and the Black Bird] and Nie budź mnie jeszcze [Don’t Wake Me Up Just Yet], published in 2013 in the teasingly named series ‘Lepiej w to uwierz!’ [You’d better believe it]. A close reading of both novels shows that their effect depends on the use of a range of motifs and archetypes of fear within a broad, carnivalesque narrative strategy. Another distinctive feature of Gortat’s children’s hor
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Moss, Gemma. "Children Talk Horror Videos: Reading as a Social Performance." Australian Journal of Education 37, no. 2 (1993): 169–81. http://dx.doi.org/10.1177/000494419303700205.

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This article argues that children should be treated as a specific media audience in their own right, who are engaged in actively learning how to read media texts. I use children's talk about horror videos to argue for a social theory of learning in which both talk about text and the social contexts in which the genre circulates orientate readers towards its content and the subject positions from which it can be read.
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Dissertations / Theses on the topic "Childrens' horror genre"

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Björnström, Lovisa. "Vampyr och nagelbitare : En genre- och diskursanalys av barn- och ungdomsrysare och deras ämnesord." Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253494.

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This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and b
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Chen, Bo-rong, and 陳柏蓉. "“Look at Me. I Am Burning!”: On Evil Children and the Superego in the Postmodern Horror Genre." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/49gb2f.

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碩士<br>國立臺灣師範大學<br>英語學系<br>101<br>This thesis aims to deal with a psychoanalytic theorization of the tropes of “bad seeds” as monsters in the postmodern horror genre. Reading contemporary evil children and the postmodern scenario in light of the Žižekian psychoanalytical theory, I would like to argue that evil children in the postmodern horror genre have witnessed how the Law crosses the Mobius strip to become the superego, which I propose is the ultimate transgression of the horror genre. Such transgression exposes the terror of post-Oedipal era, when the Oedipal father is united with the Joui
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Books on the topic "Childrens' horror genre"

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Stine, R. L. Scream of the Evil Genie: Give Yourself Goosebumps #13. Scholastic, 1997.

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Solana, Carlos. Relatos cortos de terror. M. E., 1997.

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1809-1849, Poe Edgar Allan, ed. The Raven and the Monkey's Paw: Classics of Horror and Suspense from the Modern Library. Modern Library, 1998.

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1954-, Darrach Lisa A., ed. The Tell-tale heart. Discis Knowledge Research, 1992.

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Allan, Poe Edgar. El corazón delator. Guadal, 2004.

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Allan, Poe Edgar. The Tell-Tale Heart. Creative Education, 2011.

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King, Stephen. The eyes of the dragon: A story. Guild Publishing, 1987.

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King, Stephen. The Eyes of the Dragon. Hodder, 1987.

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King, Stephen. The Eyes of the Dragon. Signet, 1996.

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King, Stephen. The Eyes of the Dragon. New American Library, 1988.

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Book chapters on the topic "Childrens' horror genre"

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Balanzategui, Jessica. "TV horror-fantasy for children as transnational genre." In Children, Youth, and International Television. Routledge, 2022. http://dx.doi.org/10.4324/9781003243274-6.

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Kowalewski, Kirsten. "Where Are the Scary Books?" In Reading in the Dark. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806444.003.0010.

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This essay closes the study of children’s horror from the perspective of a children’s librarian (albeit one who runs the website Monster Librarian). Kowalewski considers how “Librarians able to navigate the resources that fall into the category of scary books can be guides and partners for children interested in further exploration and extension of their knowledge.” Noting that it can be rather difficult to find an appropriate title for a child who comes in asking for a “scary book” because of the methods by which frightening fictions are shelved in the children’s collection, Kowalewski serves
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Freeland, Cynthia A. "Horror and Natural Evil in The Plague." In Camus's The Plague. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197599327.003.0007.

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Abstract The Plague is a record of great suffering. Children thrash with painful buboes, families are separated, and victims cough up clots of blood. Horrors proliferate, from the initial rat invasions and deaths to burial pits emitting the putrid smoke of human cremations. Here nature is indifferent at best. Camus describes natural phenomena as portents of doom: especially the relentless winds buffeting the town. My chapter places Camus’s novel within the context of what I have elsewhere called “natural horror,” a genre with no identifiable monster but suffused with dread. I discuss how rats
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Frith, Simon. "Genre Rules." In Performing Rites. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198163329.003.0004.

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Abstract There was a program on a college radio station in Ithaca when I was living there in early 1991 which described itself as “Pure American folk from singers who defy labels;” and this self-contradictory statement can stand as the motto for this chapter, in which I will examine the role of labels in popular music and consider the seemingly inescapable use of generic categories in the organization of popular culture. These are so much a part of our everyday lives that we hardly notice their necessity—in the way bookshop shelves are laid out (novels distributed between romance, mystery, sci
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Deighan, Samm. "Fire, Voices and Torment." In M. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.003.0001.

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This chapter focuses on Fritz Lang's seminal film M in 1931, which exists in a liminal space between social drama, crime thriller, and horror film. It explains that M follows the paedophiliac killer Hans Beckert, who is pursued by local police, distraught parents, and the criminal underworld for his horrifying and compulsive murders of Berlin's children. It also explores M's themes of systemic violence, mob justice, and urban paranoia. The chapter situates M within the developing body of twentieth-century horror films and as a progenitor of genre cinema. It also analyses M as the origin point
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McSweeney, Terence. "‘Daddy, I’m scared. Can we go home?’ Fear and Allegory in Frank Darabont’s The Mist (2007)." In American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0012.

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Chapter Eleven, ""Daddy, I'm scared. Can we go home?": Fear and Allegory in Frank Darabont’s The Mist (2007), Terence McSweeney addresses the potency of the horror genre to function as a cultural barometer by engaging with some of the defining anxieties of the era in a metaphorical fashion. Discussing Frank Darabont's The Mist, an adaptation of the Stephen King novella, McSweeney reads the film's narrative concerning a disparate group of small-towners stranded inside a local supermarket plagued by what might be supernatural beasts outside and, perhaps even more dangerously, religious extremism
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Bléourt, Willem de. "Witches on Screen." In The Oxford History of Witchcraft and Magic. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192884053.003.0009.

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Abstract It is often from films and television that people today get their visual stereotypes of witches, particularly from programmes for children, which in turn, often derive from children’s books. The deeply ingrained stereotype of the ‘old hag’ is still influential, but film and television have portrayed modern manifestations of witchcraft in diverse ways that reflect other themes explored in this book. The influence of Wicca shaped cinematic portrayals of covens. The Wicker Man is a good example of this and other such Wiccan motifs. Fascination with African traditions fed into the 1966 Br
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Lindop, Samantha. "Stepford Sequels." In The Stepford Wives. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800859364.003.0006.

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Chapter Five explores the film’s three made-for-television sequels: Revenge of The Stepford Wives (Robert Fuest, 1980), The Stepford Children (Alan J. Levi, 1987), and The Stepford Husbands (Fred Walton, 1996). The plotlines of these overlooked productions may be unsophisticated and follow predictable horror genre trajectories, but there is much to be gained from analysing these texts, especially from a socio-cultural perspective. Revenge of The Stepford Wives speaks back to Valium panic and the over subscription of psychotropic drugs as a solution to women’s supposed neurotic tendencies and h
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Alpatov, Sergey. "The Concept of Family in Traditional Narratives of Tale Type ATU 1343* “The Children Play at Hog-Killing”." In Slavic & Jewish Cultures Dialogue Similarities Differences. Sefer; Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/2658-3356.2020.14.

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The article is devoted to the study of the problem of verbal representation of the real experience of family tragedies in the cultural baggage of European oral and handwritten traditions, which is becoming particularly relevant in modern conditions of the growth of information flows, a change in communicative paradigms and the transformation of social roles and value hierarchies. The object of study is the popular tales of the plot ATU 1343* “The Children Play at Hog-Killing”, considered in terms of motive structure, genesis, as well as genre forms of its implementation (rumor, short story, ba
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Germanà, Monica. "The ‘Inverse Uncanny’: Humour and Tim Burton’s Gothic Parodies." In Comic Gothic. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781399505758.003.0014.

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Building on existing theories of laughter and humour (Richter 1804; Freud 1927; Borch-Jacobsen 1987) and the Gothic comic (Horner and Zlosnik 2004), this chapter will explorethe destabilizing effect of playful and comic intrusions in the Gothic parodies of Tim Burton. Interrogating the Freudian understanding of humour as a strategy to endorse the ego’snarcissism and the stability of self, the chapter will draw attention to the ambiguous politics of humour whilst establishing links with the Gothic’s propensity for the dismantlement of stable categories of meaning and hierarchy.The works of Tim
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