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Journal articles on the topic 'Childrens' horror genre'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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4

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 monograph by Khrystyna Batalina entitled <em>The Child as the Embodiment of Evil in Horror Films of the Twentieth and Twenty- First Centuries. </em>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 carrie

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9

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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Marklund, Anders. "Editorial." Journal of Scandinavian Cinema 14, no. 3 (2024): 177–79. https://doi.org/10.1386/jsca_00123_2.

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This issue of Journal of Scandinavian Cinema features a diverse range of articles covering topics from early silent cinema to contemporary genre filmmaking. Highlights include discussions of digital restoration, cinematic influence, Sámi culture, horror in children’s cinema and film literacy. The issue also reviews new research on Carl Th. Dreyer that emphasizes the emotional aspects of his films.

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Anglickienė, Laimutė, and Jurgita Macijauskaitė-Bonda. "Multilingualism in Lithuanian Children’s Folklore." Sustainable Multilingualism 25, no. 1 (2024): 102–24. https://doi.org/10.2478/sm-2024-0014.

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Abstract Multilingualism and multiculturalism have always been phenomena present in folklore. Since the last decades of the 20th century, due to changes in lifestyle influenced by factors such as globalization, intense migration, development of social media, and information technologies, manifestations of multilingualism and multiculturalism have become even more noticeable and, in consequence, are becoming an important feature of contemporary folkloric creation. Focusing on a few genres, namely, counting-out rhymes, games, horror stories and horror verses, this article presents and discusses

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Mirvoda, T. A., and M. V. Stroganov. "FEARS AND SCARY NARRATIVES OF CHILDREN IN THE ERA OF THE INTERNET." Culture and Text, no. 44 (2021): 129–47. http://dx.doi.org/10.37386/2305-4077-2021-1-129-147.

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(Discussion based on the materials of the defense of T. A. Mirvoda’s PhD thesis “Poetics of a modern children’s “scary” narrative in oral tradition and the Internet”)Within the framework of the conversation, the article discusses psychological background of the emergence and existence of scary stories in the modern online space which are being accompanied with audio-visual objects and ritual practices, which on a par with the oral folk art of similar themes form the network mythology of horrors (the creepypasta). The principles of genre stratification of children’s «scary» narrative folklore a

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O'Malley, Andrew. "‘The Innocence Project’ – An Online Exhibition and Archive on Children and Comics in the 1940s and 1950s." International Research in Children's Literature 10, no. 1 (2017): 20–38. http://dx.doi.org/10.3366/ircl.2017.0216.

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The 1940s and 1950s saw a widespread outcry over children's reading of comic books, most pronouncedly the often violent, gory and erotic crime and horror genres. Concern and outrage over the assumed effects of the ubiquitous magazines on young minds was expressed in a deluge of newspaper editorials, magazine articles, professional and academic journals, and elsewhere. A grassroots movement to restrict children's access to comics led to a Senate Subcommittee hearing in the US investigating links to juvenile delinquency and to legislation in several countries prohibiting the sale of certain comi

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Sipkina, Nina Ya. "Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore." Proceedings of Southern Federal University. Philology 25, no. 3 (2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.

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In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before

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Завьялова, Мария Вячеславовна. "How Katyusha Turned into a Gorilla: Children’s Alterations of a Famous Song from a Semiotic Perspective." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2022): 86–98. http://dx.doi.org/10.26158/tk.2022.23.3.006.

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В последнее время набирает популярность изучение детского творчества. Издаются антологии, статьи и монографии, посвященные отдельным жанрам детского фольклора. Наиболее изучены такие специфически детские жанры, как считалки, страшилки, садистские стишки. Детскому песенно-поэтическому фольклору (ироническим стишкам и переделкам песен) уделяется незаслуженно мало внимания. Возможно, причина кроется в неспецифичности этих жанров: иронические пародии встречаются и во взрослой субкультуре. Тем не менее детские пародии существенно отличаются от взрослых. В статье анализируются детские переделки изве

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Kirkland, Ewan. "‘Boys and girls of every age. Wouldn’t you like to see something strange?’ Uncanniness and The Nightmare Before Christmas." Animation 20, no. 1 (2025): 8–24. https://doi.org/10.1177/17468477251316420.

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This article explores The Nightmare Before Christmas through the critical framework of the Freudian uncanny, incorporating such issues as animation, authorship, audience, genre and seasonal holidays. The uncanny is initially identified in the film’s macabre cast of animated corpses and the stop-motion process which brings these puppets to life. More significantly, the uncanny is understood as the intellectual uncertainty implicated in blurring distinctions, whereby a quality shifts into its antithesis. The homely becomes unhomely, the familiar unfamiliar, the festive night transforms into a fr

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Zhang, Yanxiang. "Deep Analysis on the Color Language in Film and Television Animation Works via Semantic Segmentation Technique." Scalable Computing: Practice and Experience 26, no. 5 (2025): 1974–84. https://doi.org/10.12694/scpe.v26i5.4847.

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Color functions as a distinct type of ideographic symbol in animation for film and television, playing a crucial role in enhancing visual narratives and conveying emotions. In different types of animation, such as fantasy, horror, or children’s genres, color language influences audience perception and can convey meanings beyond the capabilities of image language alone. For instance, bright colors may symbolize innocence in children’s animation, while darker shades may evoke tension or fear in horror. However, current approaches to representing color in animation often fail to capture its full

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19

Greenhill, Pauline, and Steven Kohm. "“Hansel and Gretel” Films: Crimes, Harms, and Children." Dzieciństwo. Literatura i Kultura 2, no. 1 (2020): 11–34. http://dx.doi.org/10.32798/dlk.350.

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    A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are

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20

Yoon, Haeny S. "Stars, Rainbows, and Michael Myers: The Carnivalesque Intersection of Play and Horror in Kindergarteners’ (Trade)marking and (Copy)writing." Teachers College Record: The Voice of Scholarship in Education 123, no. 3 (2021): 1–22. http://dx.doi.org/10.1177/016146812112300303.

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Background Research on children's play asserts that children's identities are performed and (re)formed in peer groups where they try out identities and make sense of their social worlds. Yet there are kinds of play (e.g., violence, gore, sexuality, and consumer culture) that are often hidden and taken underground, deemed inappropriate for public spaces. These underground spaces are potentially revolutionary (#playrevolution) as children disrupt power hierarchies and regulatory boundaries in both subtle and overt ways. These spaces are important for children who are consistently marginalized by

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Ломакина, Марина Ильинична. "Повесть Анны Ремез «Кошка с Юпитера и позвоночные»: признаки соответствия жанровой формуле о «попаданцах» и авторское своеобразие". Tomsk state pedagogical university bulletin, № 1(237) (18 січня 2025): 103–10. https://doi.org/10.23951/1609-624x-2025-1-103-110.

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В статье отмечаются подходы к интерпретации «попаданческой» литературы и признаки одной из ее разновидностей – фантастической школьной/каникулярной повести о «попаданцах» в советское прошлое. Проведенный обзор написанных в первые десятилетия XXI в. текстов (Тамара Крюкова, Андрей Жвалевский, Евгений Пастернак и др.) о перемещении детей в советское прошлое позволяет говорить о сложении определенной жанровой формулы, которой так или иначе следуют все авторы. Повесть А. Ремез «Кошка с Юпитера и позвоночные» анализируется с точки зрения воплощения выделенных жанровых признаков и авторского своеобр

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Dovgaya, Natalia, Anna Malyh, and Ekaterina Garmashova. "Fears of modern preschool children in a sociocultural context." Vestnik of Saint Petersburg University. Psychology 14, no. 1 (2024): 49–61. http://dx.doi.org/10.21638/spbu16.2024.103.

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The study is devoted to the problem of exposure of the senior preschool age children to various kinds of fears in connection with the sociocultural context, which is understood as a factor of the macroenvironment. The beginning of the 2020s is associated with large-scale events that have a significant impact on the life and well-being of the population. This is the COVID-19 pandemic (2020–2021) and the aggravation of the socio-political situation in the world (2022–2023). The study involved 127 children aged 5–6 years attending preschool educational organizations, who were offered the “Fears i

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Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1033.

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Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assume

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Antunes, Filipa. "Children and Horror after PG-13: The Case of The Gate." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 6, no. 4 (2014). http://dx.doi.org/10.31165/nk.2014.64.313.

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The paper analyses the tensions in the text, production and reception of the children’s horror film The Gate (Tibor Takács, 1987) relating to the sustained ambiguity around the Motion Picture Association of America's PG-13 classification. I suggest that the late 1980s was a moment of transition toward new attitudes about the horror genre and children. To develop this argument, the paper explores the main issues raised in critical opinion about the film at the time of its release: notions on what the horror genre is or should be; the changing assumptions about its audiences (namely the shift aw

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OLGA, RUKAVISHNIKOVA ET AL. "Evil Crystallizing in Children's Fiction as Cultural Echoes of the 20th Century." November 19, 2020. https://doi.org/10.5281/zenodo.4280094.

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  <strong><em>ABSTRACT</em></strong> <strong> </strong> The study examines the etiology of the Evil theme in the children's literature of the late 20<sup>th</sup> — early 21<sup>st</sup> century from the sociocultural perspective.The paper outlines some of the sociocultural effects of the children's horror literature, feeding on infantilism as an emerging subculture. The study’s particular emphasis is meant on key focus areas of the children’s literature, like genre peculiarities and stylistics, which need to be “sanitized”, upon the authors&rsqu

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Wulf, Tim, Daniel Possler, and Johannes Breuer. "Video game genre ((Online)Games)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/3f.

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The variable 'genre' aims to identify and compare different types of games, mainly in terms of gameplay differences (i.e., rules and players’ possibilities to interact with a game). Genre is usually coded by using external video game databases, such as those published on journalistic websites.  Field of application/theoretical foundation: The variable ‘genre’ is often used in content analyses of video games to identify and compare different types of games. Lynch et al (2016), for example, investigate whether the number of sexualized characters differ between various video gam

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De Vos, Gail. "Awards, Announcements, and News." Deakin Review of Children's Literature 4, no. 3 (2015). http://dx.doi.org/10.20361/g2hk52.

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New Year. In this edition of the news I am highlighting several online resources as well as conferences, tours, and exhibits of possible interest.First of all, I highly suggest you sign up at the Alberta School Library Council's new LitPicks site (aslclitpicks.ca). It is free, filled with promise, and includes only books recommended by the reviewers. The reviews are searchable by grade level and genre (e.g., animal, biographical fable, fantasy, humour, historical, horror, verse, realistic, mystery, myth) and include all formats. The reviews include curriculum connections and links to relevant

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Franks, Rachel, Simon Dwyer, and Denise N. Rall. "Re-imagine." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1050.

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To re-imagine can, at one extreme, be a casual thought (what if I moved all the furniture in the living room?) and, at the other, re-imagining can be a complex process (what if I adapt a classic text into a major film?). There is a long history of working with the ideas of others and of re-working our own ideas. Of taking a concept and re-imagining it into something that is similar to the original and yet offers something new. Such re-imaginations are all around us; from the various interpretations of the Sherlock Holmes stories to the adjustments made, often over generations, to family recipe

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Ajay, Amrita. "The Figuration of Art, History and Self: Art Spiegelman’s Maus as a Palimpsest." Samyukta: A Journal of Gender and Culture 6, no. 1 (2021). http://dx.doi.org/10.53007/sjgc.2021.v6.i1.12.

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The winner of the Pulitzer Prize in 1991, Art Spiegelman’s Maus is an iconic work of world art. Seldom does one come across a work that challenges the parameters of its own creation in such a radical way. A graphic novel that is both biographical and autobiographical, history and fiction, memoir and comic art, pushing generic integrities to collapse upon themselves, Maus has deserved the critical and popular success it has garnered worldwide. A testimonial to the never-ending horrors of the Holocaust, Maus has popularly been read as an attempt at exorcism of the author’s demons, and perh

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Brammer, Rebekah, Lisa J. Hackett, and Jo Coghlan. "From Noir to Neo-Noir." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3150.

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Though the ‘official’ film noir period ended more than 60 years ago, the enigmatic allure of noir endures, lingering like the smoke from a femme fatale’s cigarette. IMDB defines the classic film noir period of American cinema as beginning with the film Underworld (1927) and ending with Touch of Evil (1958), while many consider that John Houston’s The Maltese Falcon (1941), an adaptation of Dasheill Hammett’s hard-boiled detective novel, as launching the classic noir cycle. Classic noir is immediately recognisable for its characters: the brooding detective and sultry femme fatale; its themes of

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Ezzy, Tess. "Black Widow." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3144.

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Introduction “First,” said Charlotte, “I dive at him.” She plunged headfirst toward the fly. As she dropped, a tiny silken thread unwound from her rear end. “Next, I wrap him up.” She grabbed the fly, threw a few jets of silk around it, and rolled it over and over, wrapping it so that it couldn’t move. Wilbur watched in horror. He could hardly believe what he was seeing, and although he detested flies, he was sorry for this one. “There!” said Charlotte. “Now I knock him out, so he’ll be more comfortable.” She bit the fly. “He can’t feel a thing now,” she remarked. “He’ll make a perfect breakfa

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Mills, Brett. "Those Pig-Men Things." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.277.

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Since its return in 2005 the science fiction series Doctor Who (BBC1) has featured many alien creatures which bear a striking similarity to non-human Earth species: the Judoon in “Smith and Jones” (2007) have heads like rhinoceroses; the nurses in “New Earth” (2006) are cats in wimples; the Tritovores in “Planet of the Dead” (2009) are giant flies in boilersuits. Yet only one non-human animal has appeared twice in the series, in unrelated stories: the pig. Furthermore, alien races such as the Judoon and the Tritovores simply happen to look like human species, and the series offers no narrative

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Gray, Emily Margaret, and Deana Leahy. "Cooking Up Healthy Citizens: The Pedagogy of Cookbooks." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.645.

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Introduction There are increasing levels of concern around the health of citizens within Western neo-liberal democracies like Britain, the USA, and Australia. These governmental concerns are made manifest by discursive mechanisms that seek to both survey and regulate the lifestyles, eating habits and exercise regimes of citizens. Such governmental imperatives have historically targeted schools with school food ranking high in the priorities of public health policy, particularly in regards to the fears around childhood obesity and related health problems (Gard and Wright, Rich, Vander Schee and

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Green, Lelia, Kelly Jaunzems, and Harrison See. "Porno." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3092.

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Is what constitutes pornography in the mind of the beholder? This issue of M/C Journal sought articles on “porno”: a deliberately informal, almost friendly, playful term for a content category which evokes many complex responses. Indeed, the categories of materials deemed to be “pornographic” offer rich insights into the cultures that classify, create, and circulate the materials that key publics consume, overtly or – more commonly – covertly. The clandestine dynamic is further heightened when the people consuming and discussing such content include those who are deemed too young to do so. The

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Kimberley, Maree. "Neuroscience and Young Adult Fiction: A Recipe for Trouble?" M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.371.

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Historically, science and medicine have been a great source of inspiration for fiction writers. Mary Shelley, in the 1831 introduction to her novel Frankenstein said she was been inspired, in part, by discussions about scientific experiments, including those of Darwin and Galvani. Shelley states “perhaps a corpse would be re-animated; galvanism had given token of such things: perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth” (10). Countless other authors have followed her lead, from H.G. Wells, whose mad scientist Dr Moreau takes a

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Brien, Donna Lee. "Demon Monsters or Misunderstood Casualties?" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2845.

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Over the past century, many books for general readers have styled sharks as “monsters of the deep” (Steele). In recent decades, however, at least some writers have also turned to representing how sharks are seriously threatened by human activities. At a time when media coverage of shark sightings seems ever increasing in Australia, scholarship has begun to consider people’s attitudes to sharks and how these are formed, investigating the representation of sharks (Peschak; Ostrovski et al.) in films (Le Busque and Litchfield; Neff; Schwanebeck), newspaper reports (Muter et al.), and social media

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