Relevant bibliographies by topics / Horror films

Contents

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

Academic literature on the topic 'Horror films'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Horror films.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Horror films"

1

Dappa, Debora, and Kalis Stevanus. "Analisis Pemahaman dan Perilaku Remaja Kristen Penyuka Film Horor Mengenai Setan dan Pekerjaannya." HARVESTER: Jurnal Teologi dan Kepemimpinan Kristen 9, no. 1 (June 30, 2024): 46–63. http://dx.doi.org/10.52104/harvester.v9i1.169.

Full text
Abstract:
Teenagers are very fond of horror movies because they believe that watching horror films can test their bravery. Also, to satisfy their high curiosity about mystical things. However, horror films always present frightening and terrifying things that can have a negative impact on teenagers' understanding and behavior regarding demons and their work. This study aims to determine the understanding of Christian teenagers who like horror films and their influence on their behavior. To answer the research objectives, the author chose to use qualitative research methods. The results show that Christian teenagers who like horror films mostly do not have a correct understanding of demons and their work, and horror films tend to negatively influence teenage behavior.AbstrakRemaja sangat menyukai film horor karena beranggapan bahwa menonton film horor dapat menguji keberanian. Selain itu juga untuk memenuhi rasa ingin tahu yang tinggi terhadap hal-hal yang bersifat mistis. Meskipun demikian, film horor selalu menyuguhkan hal-hal yang bersifat menakutkan dan meneror sehingga dapat berdampak buruk terhadap pemahaman dan perilaku remaja mengenai setan dan pekerjaannya. Penelitian ini bertujuan mengetahui pemahaman remaja Kristen penyuka film horor dan pengaruhnya terhadap perilaku mereka. Untuk menjawab tujuan penelitian tersebut, penulis memilih menggunakan metode penelitian kualitatif. Hasilnya bahwa ternyata remaja Kristen penyuka film horor sebagai besar tidak memiliki pemahaman yang benar mengenai setan dan pekerjaannya serta film horor lebih cenderung memengaruhi perilaku remaja secara negatif.
APA, Harvard, Vancouver, ISO, and other styles
2

Weston, Gavin, Jamie F. Lawson, Mwenza Blell, and John Hayton. "Anthropologists in Films: “The Horror! The Horror!”." American Anthropologist 117, no. 2 (February 2015): 316–28. http://dx.doi.org/10.1111/aman.12233.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Wijayanti, Sri. "Pengemasan Karakter Perempuan di Film Horor Indonesia Terlaris Periode 2017-2022." Jurnal Mahardika Adiwidia 3, no. 1 (January 11, 2024): 23–33. http://dx.doi.org/10.36441/mahardikaadiwidi.v3i1.2001.

Full text
Abstract:
Horror films are a commercial and popular genre for Indonesian audiences. Female characters are often the main attraction of Indonesian horror films. In its development there are changes in the portrayal of female characters in Indonesian horror films in the 2000s. For this reason, this study aims to determine the packaging of female characters displayed in the 20 best-selling Indonesian horror films produced in 2017-2022. The research method used qualitative content analysis of the presentation of main and auxiliary female characters with a focus on the film's sub-genre, duration, role and characterization, and female image. The research findings show that females are starting to be represented as progressively formulated characters. This means that females are still used as prominent main characters in the story. However, in different packaging, among others, the role of females is transformed into fighters and protagonists. The characterization of female characters is made more substantive by raising new story standards, supported by an aesthetic cinematographic style. The mecca of content based on family issues, cultural myths, and social themes is a new standard of story quality in Indonesian horror films.
APA, Harvard, Vancouver, ISO, and other styles
4

Falvey, Eddie. "‘Art-horror’ and ‘hardcore art-horror’ at the margins: Experimentation and extremity in contemporary independent horror." Horror Studies 12, no. 1 (March 1, 2021): 63–81. http://dx.doi.org/10.1386/host_00029_1.

Full text
Abstract:
The changing forms of contemporary horror have been the subject of much discussion, both in popular journalism and scholarship. Amid an on-going discussion on the arrival and characteristics of what has been contentiously termed ‘post-horror’, this article seeks to situate recent independent American horror within the context of the recent art film, in keeping with the work of Geoff King, as well as the traditions of ‘art-horror’ as it has been referred to by Joan Hawkins. Using a series of examples taken from recent independent horror – including A Ghost Story (David Lowery 2017) and The Lighthouse (Robert Eggers 2019), as well as the micro-budget independent films of Phil Stevens – Falvey makes use of King’s work to explore the textual characteristics of recent ‘art-horror’. Falvey argues that films iterative of this mode employ experimentation and extremity (in various forms) to discursively position the films away from more generically recognizable studio horror films in a bid for critical distinction.
APA, Harvard, Vancouver, ISO, and other styles
5

Millar, Becky, and Jonny Lee. "Horror Films and Grief." Emotion Review 13, no. 3 (July 2021): 171–82. http://dx.doi.org/10.1177/17540739211022815.

Full text
Abstract:
Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.
APA, Harvard, Vancouver, ISO, and other styles
6

Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 139–59. http://dx.doi.org/10.1215/02705346-8085147.

Full text
Abstract:
In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.
APA, Harvard, Vancouver, ISO, and other styles
7

Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (October 1, 2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.

Full text
Abstract:
Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way we write our histories, and what this might say about our representation of personal, cultural and national identities. Ultimately, this essay is guided by the following question: what might a feminist historiography of horror cinema look like?
APA, Harvard, Vancouver, ISO, and other styles
8

Friedman, Susan Hatters, Fernando Espi Forcen, and John Preston Shand. "Horror films and psychiatry." Australasian Psychiatry 22, no. 5 (July 16, 2014): 447–49. http://dx.doi.org/10.1177/1039856214543087.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Zhao, Guanhan. "Comparative Analysis of Female Images in Chinese and Korean Horror Films in the New Century." Highlights in Art and Design 4, no. 3 (December 20, 2023): 76–78. http://dx.doi.org/10.54097/s0kirtvi.

Full text
Abstract:
As one of the main types of commercial films, horror films have developed rapidly in recent years, and the female characters in horror films often occupy the main part of the movie narrative. South Korea is very similar to China, as it is a country deeply influenced by Confucian culture. The two countries have more or less connections in shaping female images in horror films. This paper will conduct a comparative analysis of the female image characteristics in horror films between China and South Korea after the year 2000, in order to further investigate the multiple factors that affect film and television creation.
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Horror films"

1

Hauka, David Phillip. "Eschato-horror films." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50296.

Full text
Abstract:
This thesis studies American studio feature films whose narratives are inspired by the Bible’s Book of Revelation. I identify these films as belonging to a subgenre of supernatural horror I have named ‘eschato-horror’. American eschato-horror films reflect Christian eschatology and its violent visions of cosmic war between divine and satanic forces. While supernatural horror films exploit our fear of death and evil, American Eschato-horror ups the cultural stakes through its representations of pseudo Catholic and other Christian ritual, scripture, and iconography in its mission to frighten the viewer. Other national cinemas produce their own eschatology inspired films, but the American rendering of the genre as produced and exported by major Hollywood studios and distribution companies dominates screens world-wide. In order to better understand the cultural importance and usefulness of American Eschato-horror for film fans as well as self-identifying American Christian audiences, this thesis will study three examples of the genre, Constantine (Lawrence, 2005), Knowing (Proyas, 2009) and Legion (Stewart, 2010), all of which were produced by or for major American motion picture companies and distributors. Demonstrating that the version of eschatology found in their narratives reflects an identifiable American Protestant Christianity will be accomplished though an historical overview tracing Christianity from its roots as the marginalized, millennially-inspired “Jesus Cult,” to its evolution into one of the most powerful forces shaping American history and culture. The narrative elements associated with eschato-horror (monstrous women, self-sacrificing heroes, faithless priests, etc.), will be seen to be as much an expression of our collective fear of death and evil – forces James Carse associates with religion – as the Biblical illiteracy and confused understanding of Christianity identified by Stephen Prothero and Richard T. Hughes so central to contemporary America’s view of itself as being “a Christian Nation.” The reception of American Eschato-horror films as seen on film fan and Christian websites, especially in light of discourse similarities identified in film fan cults and religious cults, will be considered through the work of Matt Hills, Ernest Mathijs, Jamie Sexton and Jeff Hunter.
Arts, Faculty of
Theatre and Film, Department of
Graduate
APA, Harvard, Vancouver, ISO, and other styles
2

Yau, Suk-ying Shirley. "Where has all the horror gone? : a study of horror in contemporary cinema /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B42575175.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18351/1/Thesis.pdf.

Full text
Abstract:
After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
APA, Harvard, Vancouver, ISO, and other styles
5

Ryan, Mark David. "A dark new world : anatomy of Australian horror films." Queensland University of Technology, 2008. http://eprints.qut.edu.au/18351/.

Full text
Abstract:
After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.
APA, Harvard, Vancouver, ISO, and other styles
6

Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S." Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.

Full text
Abstract:
Thesis (M.A.)--University of Kentucky, 2002.
Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).
APA, Harvard, Vancouver, ISO, and other styles
7

Zhang, Qian. "Women's Time and Reproductive Anxiety in Contemporary Horror Films." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532349287122159.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hutchings, Peter. "The British horror film : an investigation of British horror production in its national context." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329537.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Wessinger, Alyssa L. "A Deconstruction of Horror, Fear and Terror: Using Horror Films as Didactic Tools in Art Education." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/85.

Full text
Abstract:
This arts-based study discusses using the horror film and monsters as a means of exploring the personification of fear in contemporary society. The paper incorporates the viewing and dissection of horror films into an artistic process to explore fears in order to further artistic expression. It additionally shows how this process can be used in an art classroom within the context of contemporary art to empower students and facilitate art criticism discussions.
APA, Harvard, Vancouver, ISO, and other styles
10

Williams, Colby D. "Reading 9/11 in 21st Century Apocalyptic Horror Films." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/116.

Full text
Abstract:
The tragedy and aftermath of the 9/11 terrorist attacks are reflected in American apocalyptic horror films that have been produced since 2001. Because the attacks have occurred only within the past ten years, not much research has been conducted on the effects the attacks have had on the narrative and technological aspects of apocalyptic horror. A survey of American apocalyptic horror will include a brief synopsis of the films, commentary on dominant visual allusions to the 9/11 attacks, and discussion of how the attacks have thematically influenced the genre. The resulting study shows that the terrorist attacks of September 11, 2001, have shaped American apocalyptic horror cinema as shown through imagery, characters, and thematic focus of the genre.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Horror films"

1

Nottridge, Rhoda. Horror films. Hove: Wayland, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Nottridge, Rhoda. Horror Films. New York: Crestwood House, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Price, Michael H. Forgotten horrors 2: Beyond the horror ban. Baltimore, Md: Midnight Marquee Press, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Tony, Nourmand, and Marsh Graham, eds. Horror poster art. London: Aurum, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

1974-, Schneider Steven Jay, ed. 100 European horror films. London: British Film Institute, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Anthony, Timpone, ed. Fangoria's best horror films. New York: Crescent Books, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Volker, Jansen, ed. Lexikon des Horror-Films. Bergisch Gladbach: Bastei-Verlag Lübbe, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

1974-, Schneider Steven Jay, ed. 100 European Horror Films. London: British Film Institute, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Hardy, Phil. Horror. London: Aurum Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Paul, Willemen, and Hardy Phil, eds. Horror. London: Aurum, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Horror films"

1

Horrocks, Roger. "Horror Films." In Male Myths and Icons, 83–100. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1057/9780230389397_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Sharman, Jim. "The Rocky Horror Picture Show." In 100 Cult Films, 171–72. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-571-8_75.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Walter, Brenda S. Gardenour. "House of Horror." In Critical Readings on Hammer Horror Films, 125–36. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003458609-12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Grossman, Andrew. "Let Horror Speak." In Critical Readings on Hammer Horror Films, 107–24. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003458609-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"Horror's Effect on Social Perceptions and Behaviors." In Horror Films, 189–208. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Frightening Entertainment: A Historical Perspective of Fictional Horror." In Horror Films, 11–24. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"A Model of Empathy and Emotional Reactions to Horror." In Horror Films, 113–34. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"Content Trends in Contemporary Horror Films." In Horror Films, 43–58. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Sensation Seeking and the Taste for Vicarious Horror." In Horror Films, 157–70. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Developmental Differences in Responses to Horror." In Horror Films, 73–90. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Horror films"

1

Lasseter, J., B. Kroyer, B. Reeves, L. Carpenter, E. Ostby, M. Wahrman, J. Blinn, C. Reynolds, C. Wedge, and G. Walters. "Bloopers, outtakes, and horror stories of SIGGRAPH films." In ACM SIGGRAPH 89 Panel Proceedings. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/77276.77289.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bannister, Sophie. "THE JOYS OF TEACHING HORROR - WHY THE GENRE OF HORROR CAN UNLOCK MORE THAN FILMS FOR STUDENTS." In 10th annual International Conference of Education, Research and Innovation. IATED, 2017. http://dx.doi.org/10.21125/iceri.2017.1924.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Widagdo, Muhammad. "Teen Audience and Fabrication of Fear in Indonesian Horror Films." In Proceedings of the 5th International Conference on Indonesian Social and Political Enquiries, ICISPE 2020, 9-10 October 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.9-10-2020.2304749.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ndoen, Sharon. "The ‘Monstrous-Feminine’ as Anti-Communist Propaganda Tool: Invisible State Violence and Psychological Warfare in Soeharto Era Folkloric Horror Films." In The Twelfth International Convention of Asia Scholars (ICAS 12). Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557820/icas.2022.058.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Campos, Letícia Badan Palhares Knauer de. "Atrações perversas: apontamentos sobre Macabro (1980) de Lamberto Bava." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4227.

Full text
Abstract:
Este texto parte da análise do filme Macabro (1980), de Lamberto Bava, procurando entendê-lo dentro da produção do cinema de horror, sobretudo dos anos de 1980 e sua relação com o universo da História da Arte, como o simbolismo e o decadentismo, nos quais o apreço pelo grotesco em correspondência com o prazer aparecem com evidência.
APA, Harvard, Vancouver, ISO, and other styles
6

Moncrieff, S., S. Venkatesh, and C. Dorai. "Horror film genre typing and scene labeling via audio analysis." In 2003 International Conference on Multimedia and Expo. ICME '03. Proceedings (Cat. No.03TH8698). IEEE, 2003. http://dx.doi.org/10.1109/icme.2003.1221586.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Nekita, Andrey. "School Idleness In Consumer Socialization Strategies According To American Horror Film." In International Scientific and Practical Conference Education in a Changing World: Global Challenges and National Priorities. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.07.02.70.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Campos, Letícia Badan Palhares Knauer de. "Entre corpos, esculturas, tintas e sangue: a representação do artista no cinema de horror." In Encontro da História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4298.

Full text
Abstract:
Não há dúvidas de que o cinema e artes plásticas possuem relações diretas. O universo artístico, independente de sua época, tornou-se um constituinte-chave na composição do imaginário cinematográfico, desde sua concepção. Como produções culturais, seus realizadores nutrem-se de imagens e ideias largamente trabalhadas nas artes plásticas, as quais, inseridas no filme, tomam novas formas. A vida do objeto artístico escolhido, seja ele pintura, escultura ou outra produção, é prolongada e ganha novos entornos quando inserida em diálogo com o cinema. Tanto uma, quanto a outra iluminam-se dessas relações. Ao aproximarmos tais produções, temos um dialogo estabelecido que nos remete à cada uma delas, mas que a partir de tal união, cria um terceiro olhar, existente apenas por conta de tal junção, e que nos atenta, concomitantemente, para outras questões.
APA, Harvard, Vancouver, ISO, and other styles
9

López-Villar, Rebeca. "La bruja que existe pero no se ve: la invisibilidad cinematográfica como estrategia generadora de terror, desde Rebeca hasta La bruja de Blair." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8965.

Full text
Abstract:
En un contexto audiovisual caracterizado por el exceso y el abuso figurativo, parece que funcionan mejor aquellas películas terroríficas en las que el elemento monstruoso no se muestra ante los ojos del espectador. La finalidad de este texto será entonces comprobar si, frente a las representaciones cinematográficas normativas, la no-presentación de la figura de la bruja favorece en la contemporaneidad audiovisual a los objetivos de las películas de terror. Consideraremos además los posibles motivos que propician la asiduidad del motivo brujesco femenino (invisible o no) en las producciones cinematográficas de terror, cuestión que parece deberse al hecho de que el horror subraya lo diferente, y la bruja puede ser entendida como ese otro monstruoso y terrible. La asociación de la mujer con la otredad parece ser lo que favorece que la bruja se convierta en el estereotipo terrorífico ideal según las normas del patriarcado. Partiremos del paradigma de la invisibilidad perversa asociada a lo brujesco, la señora de Winter (Rebeca, Alfred Hitchcock, 1940), para reflexionar sobre determinados filmes recientes, como La bruja de Blair (Adam Wingard, 2016). Realizaremos un estudio basado en la confrontación, estableciendo analogías entre estas películas sin brujas palpables y aquellas otras en las que lo brujeril se vuelve exagerado y cargado de estereotipos: Hansel y Gretel: Cazadores de brujas (Tommy Wirkola, 2013), Expediente Warren: The Conjuring (James Wan, 2013), La noche de la bruja (Alex Merkin, 2017), etc. Concluiremos observando si en los casos de estudio analizados encontramos diferencias notables deducidas del modo en que se presenta el monstruo; esto es, si se generan significados distintos en función del grado de visibilidad del elemento brujesco, y si los efectos producidos en el espectador varían.
APA, Harvard, Vancouver, ISO, and other styles
10

Cohen, Alan S., Shawn Worster, and Michael Brown. "Back to the Future: Lesson Learned in Implementing Emerging Technologies." In 17th Annual North American Waste-to-Energy Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/nawtec17-2318.

Full text
Abstract:
“Energy cost increases are expected to continue.... The impact of these energy cost increases on attractiveness of energy recovery could be significant.” “A number of new technological developments have been underway over the past few years that are now becoming available as full-scale systems and that are greatly expanding the opportunities for energy recovery from mixed municipal waste.” These sound like statements from today’s headlines or the latest marketing brochures reflecting the promise of emerging waste management technologies. The reality is that these statements were made over thirty years ago. Communities planning on implementing any new technology as part of their solid waste management program should proceed with caution. After all, the second quote above was followed by the following statement. “These systems have generally been developed by firms in private industry as new business ventures. Monsanto, Union Carbide, Devco, Garrett Research and Development (a division of Occidental Petroleum), Hercules, Black-Clawson, Horner-Schiffrin and Combustion Equipment Associates have been some of the most active firms.” Although many communities relied upon performance and financial guarantees offered by these companies, none of projects developed by them were successful. Similarly, there was a wave of optimism and projects that were implemented in the 1990’s involving numerous mixed municipal waste biological (i.e., composting) projects that also failed for economic or technical reasons. From these prior experiences, lessons can be drawn to assist communities evaluate the risks and rewards in procuring and contracting for today’s emerging technologies. The waste being delivered to these failed projects, unlike some of the salespersons, did not go away. These failed projects had to be redeveloped and replacement projects implemented to deal with the daily tide at the curb. A number of consultants, including the authors, started in the solid waste business redeveloping some of these failed initial efforts. From these prior experiences, lessons can be drawn to assist communities evaluate the risks and rewards in procuring today’s emerging technologies. New thermal conversion, pyrolysis, gasification, and bioconversion technologies are being proposed for projects throughout the U.S. based on experience in North America, Europe, the Middle East and Asia. Many communities have issued RFP’s to include emerging technologies in their integrated solid waste management systems. To successfully procure and finance a project involving one of these emerging technologies, the project sponsor or developer will need to: • Locate a politically suitable site for the project; • Acquire waste supply commitments; • Develop energy and material sales approaches and agreements; • Arrange for residue disposal; • Obtain permits to operate; and • Arrange for the financing. In addition to the above components, the efficacy of the technology and the financial backing provided by the technology supplier are critical to a successful project. Not unlike the early 1970’s and 1990’s companies are promoting the advantages and successful applications of new approaches to solid waste management. In doing so, some companies are asking communities to provide a suitable site (usually adjacent to or near an exiting permitted landfill or other solid waste management facility), supply waste, dispose of any residue, and assist in the permitting of a new project. The company may take the responsibility to arrange for energy and material markets, obtain the permits, and finance the project. The company’s objective is to develop a demonstration of their technology using mixed municipal solid waste, or a portion of the waste stream, in a U.S. community from which it can build its business. Before entering into long term obligations associated with such arrangements, it is important that a community consider the following: • How much will it cost to deliver waste to the new facility? • What impact will it have on the balance of the solid waste management system? • If the new system does not work, is there an alternative location, both in the short- and long-run to process/dispose of the waste? • If there are odor or other environmental problems that cannot be mitigated, is there a way to terminate the operation of the facility? • If the project does not succeed, will the company be responsible for razing the facility and returning a clean site? What other obligations will the company have? • What are the obligations of the community if the project does succeed? • What is the definition of success? • How long must the project be successfully demonstrated before it is converted into a fully commercial operation? • If this involves an expansion of the project, is the community obligated to proceed? This presentation compares and contrasts the experiences of the past with the current approaches being taken by firms promoting these technologies and communities implementing them in the hope of learning from our past.. Case studies will be discussed to support the conclusions and recommendations presented.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Horror films' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography