Relevant bibliographies by topics / Horror films

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  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: 25 July 2025

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Journal articles on the topic "Horror films"

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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 (2024): 46–63. http://dx.doi.org/10.52104/harvester.v9i1.169.

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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 Christi
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Celep, Ödül. "The Politics of David Cronenberg’s Cinema of Body Horror." Eklektik Sosyal Bilimler Dergisi 2, no. 2 (2024): 216–41. https://doi.org/10.61150/eklektik.2024020202.

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The genre of horror film was invented with the production of Dracula (1931). Since then, a large number of horror films have been made. Even though horror has often been considered an inferior film genre, the 20th Century witnessed several filmmakers, directors and films that have contributed to the elevation of the horror film genre. The scope of horror films has extended, and the types of horror have diversified over time, especially during the 1970s and 1980s. Body horror is a peculiar sub-genre of horror film genre. Though its history is not too long, a significant number of body horror fi
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Wijayanti, Sri. "Pengemasan Karakter Perempuan di Film Horor Indonesia Terlaris Periode 2017-2022." Jurnal Mahardika Adiwidia 3, no. 1 (2024): 23–33. http://dx.doi.org/10.36441/mahardikaadiwidi.v3i1.2001.

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

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Yulia, V. VETOSHKINA, and K. GAVRILOV Lev. "Systematic film analysis of the films «The Witch» and «The Lighthouse» directed by Robert Eggers." Service plus 17, no. 2 (2023): 3–15. https://doi.org/10.5281/zenodo.8232307.

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The main subject of the research of this article is horror or horror films. The films of the American director and screenwriter Robert Eggers – «The Witch» (2015) and «The Lighthouse» (2019) were selected as the films under study. These films are recognized by the community of film critics and viewers, and have been awarded high awards. The horror or horror genre has been developing throughout the XX century and currently occupies a special place in modern culture. The interest in horror films lies not only in the fact that they have a strong impact on the viewer,
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Falvey, Eddie. "‘Art-horror’ and ‘hardcore art-horror’ at the margins: Experimentation and extremity in contemporary independent horror." Horror Studies 12, no. 1 (2021): 63–81. http://dx.doi.org/10.1386/host_00029_1.

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

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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 psycholog
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Zhang, Yifei, Boyu Fan, Yuchen Bai, Kexin Sun, and Zifeng She. "The Horror of Gender: Revamping Horror Films in US Indie Cinema through The Case of A24 Productions since 2010." Lecture Notes in Education Psychology and Public Media 101, no. 1 (2025): 76–84. https://doi.org/10.54254/2753-7048/2024.24362.

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Gender in traditional horror films is often portrayed between male and female opposition and inequality, reinforcing the male perspective and marginalizing female audiences. Since the 2010s, A24, an independent film production company, has transformed U.S. indie cinema with its distinctive cultural values and aesthetics. A24s horror films are notable for their innovative approach to gender issues and audio-visual techniques, differentiating them from traditional genres. This article examines A24's contributions to the genre, focusing on films such as Hereditary(2018), Pearl(2022), and Men(2022
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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 (2023): 76–78. http://dx.doi.org/10.54097/s0kirtvi.

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

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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
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Dissertations / Theses on the topic "Horror films"

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

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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
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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.

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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.

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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.

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

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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 co
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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.

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Thesis (M.A.)--University of Kentucky, 2002.<br>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).
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Zhang, Qian. "Women's Time and Reproductive Anxiety in Contemporary Horror Films." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532349287122159.

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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.

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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.

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

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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
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Books on the topic "Horror films"

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Nottridge, Rhoda. Horror films. Wayland, 1991.

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Nottridge, Rhoda. Horror Films. Crestwood House, 1992.

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

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

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

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

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

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

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Hardy, Phil. Horror. Aurum Press, 1996.

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

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Book chapters on the topic "Horror films"

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

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

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

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

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"Genre Trouble: Horror." In Feminism and the Cinema of Experience. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478060215-004.

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The films that are discussed in this chapter—Mati Diop’s Atlantics (2019), Audrey Diwan’s Happening (2021), and Julia Ducournau’s Titane (2021)—take up key aspects of Chantal Akerman’s style to reinvent horror by focusing on what should really scare us. The feelings that these films invite arise from viewer encounters with women’s collective experience rendered through discrete moments in the lives of characters experienced as body horror. The films experiment with the horror genre to pinpoint horror’s source in women’s experiences of patriarchal, colonial, racial, and capitalist forms of expl
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"Horror's Effect on Social Perceptions and Behaviors." In Horror Films. Routledge, 2013. http://dx.doi.org/10.4324/9780203812129-16.

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

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

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

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

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Conference papers on the topic "Horror films"

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Kane, R. D., and D. A. Eden. "Electrochemical Monitoring of Corrosion in Sour Systems: Fact and Fiction of Electrode Bridging, Fouling and Other Horror Stories." In CORROSION 2005. NACE International, 2005. https://doi.org/10.5006/c2005-05637.

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Abstract A series of experiments was conducted in simulated sour service environments comprising brine saturated with CO2, H2S/CO2 mixture or H2S at elevated temperature. In one test a supersaturation of FeS was added to the test environment. A real-time, field/plant corrosion monitoring apparatus was used with multi-technique capabilities incorporating LPR, HDA and EN techniques. The findings showed that the determination of accurate LPR corrosion rates required the use of actual B value measurements determined by the HDA technique. With such an approach, measured electrochemical corrosion ra
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Prasandy, Teguh, Ekky Imanjaya, and Rosidah. "Indonesia’s Thriving Film Industry: Horror & Drama Lead, but Can Innovation Outlast Saturation?" In 2024 Ninth International Conference on Informatics and Computing (ICIC). IEEE, 2024. https://doi.org/10.1109/icic64337.2024.10956403.

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Quoc, Liem Bui. "Cultural Symbolism in Vietnamese Horror Films." In The Asian Conference on Media, Communication & Film 2024. The International Academic Forum(IAFOR), 2024. https://doi.org/10.22492/issn.2186-5906.2024.11.

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Lasseter, J., B. Kroyer, B. Reeves, et al. "Bloopers, outtakes, and horror stories of SIGGRAPH films." In ACM SIGGRAPH 89 Panel Proceedings. ACM Press, 1989. http://dx.doi.org/10.1145/77276.77289.

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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.

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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.

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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.

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Lisić, Dragana S. "CHILD AND AUSCHWITZ ON FILM: LA VITA È BELLA (1997) AND THE BOY IN THE STRIPED PYJAMAS (2008)." In The International Scientific Conference "Children, culture, education". University of Kragujevac, Faculty of Education in Užice, Serbia, 2024. http://dx.doi.org/10.46793/dko24.09dl.

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The paper deals with the films La vita è bella by R. Benigni and The Boy in the Striped Pyjamas by M. Herman, in which the main roles are played by children, and both deal with the Holocaust and Auschwitz. While Benigni's film follows the Jewish boy Giosué and his parents through the struggle for survival in the camp, Herman's film presents a contrasting picture – the Jewish boy Shmuel, separated by a wire from Bruno, the son of a Nazi, who is worried about the lack of friends in his new home next to the camp. The element that connects these two films, characteristic of children, is play – Gio
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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.

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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.
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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.

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