Relevant bibliographies by topics / Horror films Horror films

Contents

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

Academic literature on the topic 'Horror films Horror films'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Horror films Horror films"

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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 (February 2015): 316–28. http://dx.doi.org/10.1111/aman.12233.

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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.

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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 psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.
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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.

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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 (March 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 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.
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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.

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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.
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Sbravatti, Valerio. "Acoustic Startles in Horror Films." Projections 13, no. 1 (March 1, 2019): 45–66. http://dx.doi.org/10.3167/proj.2019.130104.

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The acoustic blast is one of the most recurrent sound devices in horror cinema. It is designed to elicit the startle response from the audience, and thus gives them a “jump scare.” It can occur both in the form of a diegetic bang and in the form of a nondiegetic stinger (i.e., a musical blare provided by the score). In this article, I will advance the hypothesis that silence plays a crucial role in contemporary horror films, both perceptually, since it leaves the sound field free for the acoustic blast, and cognitively, since it posits the audience in an aversive anticipatory state that makes the startle more intense. I will analyze the acoustic startle using a neurofilmological approach, which takes into account findings from experimental sciences in order to better understand the relationship between physiological and psychological factors that make such an effect possible during the filmic experience.
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Hulsing, Milan. "Pashto Horror films in Pakistan." Wasafiri 19, no. 43 (December 2004): 53–57. http://dx.doi.org/10.1080/02690050408589939.

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Muzio, Gianluca Di. "The Immorality of Horror Films." International Journal of Applied Philosophy 20, no. 2 (2006): 277–94. http://dx.doi.org/10.5840/ijap200620222.

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Kreider, S. Evan. "The Virtue of Horror Films." International Journal of Applied Philosophy 22, no. 1 (2008): 149–57. http://dx.doi.org/10.5840/ijap200822111.

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Williams, Evan Calder. "Sunset with Chainsaw." Film Quarterly 64, no. 4 (2011): 28–33. http://dx.doi.org/10.1525/fq.2011.64.4.28.

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Looking back at three films (The Night of the Hunter, House, and The Texas Chainsaw Massacre), this essay proposes a new way to read horror politically, moving away from allegories of “horrible content” in favor of an attention to the horrors of form and how “secondary” background details assert themselves.
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Dissertations / Theses on the topic "Horror films 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 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
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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." 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 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.
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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.
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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Rech, Gisele Krodel. "Baseado em uma história real : o jornalismo como referência em Horror em Amityville /." Bauru, 2019. http://hdl.handle.net/11449/181331.

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Orientador: Marcelo Magalhães Bulhões
Banca: Ana Sílvia Lopes Davi Médola
Banca: José Carlos Marques
Banca: Laura Loguercio Cânepa
Banca: Valquiria Michela John
Resumo: Apesar de recorrente como referência de filmes dos mais variados gêneros, os textos jornalísticos nem sempre ganham a devida atenção no âmbito da pesquisa cinematográfica. Nesta tese, busca-se lançar um olhar ao tema, direcionando o trabalho para as narrativas jornalísticas usadas como referencial para cineastas, que transformam em narrativa audiovisual a representação da realidade de uma história que ganhou as páginas dos jornais ou de um livro-reportagem. O foco da pesquisa é no cinema de horror, que costuma não apenas valer-se deste material, como também se utilizar do vínculo com a não ficção como estratégia para atrair o espectador com a promessa da reprodução de um "caso verídico". Parte- se, pois, da hipótese de que a frase "baseado em uma história real" no início da película funciona como estímulo da curiosidade do espectador. Para o presente estudo, optou-se pelo clássico Horror em Amityville (The Amityville Horror, 1979), adaptado do livro-reportagem homônimo de Jay Anson, de 1977, que ganhou uma nova edição no Brasil neste ano, pela Darkside. O remake de 2005, cujo título é o mesmo, também faz parte da pesquisa. Como corpus de análise, também serão utilizadas reportagens do jornal Newsday, de Long Island, do período em que a história da casa supostamente mal-assombrada foi destaque e do crime que teria dado início à história de assombração. O objetivo desta pesquisa é analisar como se dá o entrelaçamento de narrativas jornalísticas, jornalístico- literária e cinema... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Although recurring as a reference of films of varied genres, journalistic texts do not always gain an attention in the space of film research. In this thesis, the aim is to take a look at the theme, to direct the work to narrate the news narratives as a reference for the filmmakers, who transform the audiovisual narrative into a presentation of the reality of a winning story as pages of a book or a book - reporting. The focus of the research is horror film, which is not only a didactic material, but also makes use of a link with a strategy to attract the viewer with the promise to replicate a true case. It is therefore hypothesized that the phrase "based on a true story" at the beginning of the film works as a stimulus for the spectator's curiosity. For the present study, we opted for the classic Amityville Horror (1979 and 2005), adapted from Jay Anson's eponymous book, which won a new edition in Brazil this year by Darkside. The remake of 2005, whose title is the same, is also part of the research. As a corpus of analysis, reports from the Newsday newspaper of Long Island will also be used for the period in which the story of the supposedly haunted house was highlighted and the crime that would have started the haunting story. The objective of this research is to analyze how the intertwining of journalistic, journalistic-literary and cinematographic narratives occurs, seeking in this work to point out how the process of translation from one medium to another was transformed... (Complete abstract click electronic access below)
Doutor
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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 the terrorist attacks of September 11, 2001, have shaped American apocalyptic horror cinema as shown through imagery, characters, and thematic focus of the genre.
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Books on the topic "Horror films Horror films"

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Horror films. Leicester: Admiral Bks., 1986.

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

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

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

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

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

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Horror. Milano: Electa, 2008.

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Horror show. New York: Tor, 1997.

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Horror show. New York: Tor, 1996.

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Cherry, Brigid. Horror. Abingdon, Oxon: New York, 2009.

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Book chapters on the topic "Horror films Horror films"

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Horrocks, Roger. "Horror Films." In Male Myths and Icons, 83–100. London: 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, 171–72. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-571-8_75.

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Turner, Peter. "Introduction." In Found Footage Horror Films, 1–37. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-1.

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Turner, Peter. "Genealogy." In Found Footage Horror Films, 38–53. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-2.

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Turner, Peter. "Narration and the Diegetic Camera." In Found Footage Horror Films, 54–78. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-3.

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Turner, Peter. "Priming the Viewer and Mediated Reality." In Found Footage Horror Films, 79–118. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-4.

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Turner, Peter. "Camera Operator Interaction with Viewers and Profilmic Subjects." In Found Footage Horror Films, 119–46. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-5.

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Turner, Peter. "Problematic Allegiance with Charismatic Killers." In Found Footage Horror Films, 147–74. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-6.

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Turner, Peter. "Conclusion." In Found Footage Horror Films, 175–85. London; New York: Routledge, 2018. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-7.

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Sopuck, Forrest Adam. "Horror and Its Dark Witnesses." In The Aesthetics of Horror Films, 97–125. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84346-5_5.

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Conference papers on the topic "Horror films Horror films"

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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.

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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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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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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.

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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.

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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.
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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.

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“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.
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