Log in

Relevant bibliographies by topics / Horror films Horror films / Journal articles

To see the other types of publications on this topic, follow the link: Horror films Horror films.

Journal articles on the topic 'Horror films Horror films'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Horror films 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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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

2

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

3

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

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

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

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

Hulsing, Milan. "Pashto Horror films in Pakistan." Wasafiri 19, no. 43 (December 2004): 53–57. http://dx.doi.org/10.1080/02690050408589939.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Ryan, Mark David. "Whither Culture? Australian Horror Films and the Limitations of Cultural Policy." Media International Australia 133, no. 1 (November 2009): 43–55. http://dx.doi.org/10.1177/1329878x0913300109.

Full text

Abstract:

Cultural policy that attempts to foster the Australian film industry's growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by ‘runaway’ horror film Saw (2004), Wolf Creek (2005) and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by public subsidy and valuing ‘quality’ and ‘cultural content’ over ‘entertainment’ and ‘commercialism’, horror films have generally been antithetical to these objectives. Consequently, the recent boom in horror films has occurred largely outside the purview and subvention of cultural policy. This paper argues that global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy — a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry's financial limitations; they are a growth strategy for producers and a training ground for emerging filmmakers.

APA, Harvard, Vancouver, ISO, and other styles

12

Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.

Full text

Abstract:

Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film â€œPengabdi Setanâ€ made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.

APA, Harvard, Vancouver, ISO, and other styles

13

Bickenbach, Matthias. "Terror nicht Horror." Zeitschrift für Medien- und Kulturforschung, no. 1 (2009): 167–84. http://dx.doi.org/10.28937/1000107496.

Full text

Abstract:

Hideo Nakata's film version of THE RING sets up a remarkable constellation of technical and spiritualist media that has re-established the genre of psycho-horror films. The film is not just about a ghost story but, unlike the novels by Kôji Suzuki, about a primeval scene of the fear of media that initiates the eventuation of a "video curse", thereby raising the issue of the technology of fear as a history of media.

APA, Harvard, Vancouver, ISO, and other styles

14

Olney, Ian. "Haunted Fascination: Horror, Cinephilia and Barbara Steele." Film Studies 15, no. 1 (2016): 7–29. http://dx.doi.org/10.7227/fs.0006.

Full text

Abstract:

Regarded by fans and critics alike as the Queen of Horror, Barbara Steele stands as one of the few bona fide cult icons of the genre, whose ability to project an uncanny blend of deathliness and eroticism imbues her characters with a kind of necrophiliac appeal. Horror film scholars have tended to read Steele‘s films in feminist terms, as texts that play to our fascination with the monstrous-feminine. This article approaches them from a different standpoint – that of cinephilia studies. Steele‘s cult horror films are at their most basic level horror movies about cinephilia, presenting her as the very embodiment of the ghostly medium that cinephiles cherish. In so doing, they convert Steele into a necrophiliac fetish-object, an intoxicating fusion of death and desire. Considering Steele‘s work from this perspective reveals the fluidity of the boundary between horror and cinephilia, demonstrating that horror has something important to teach us about cinephilia and cinephilia has something important to teach us about horror.

APA, Harvard, Vancouver, ISO, and other styles

15

Rosen. "National Fears in Israeli Horror Films." Jewish Film & New Media 8, no. 1 (2020): 77. http://dx.doi.org/10.13110/jewifilmnewmedi.8.1.0077.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Knee, Adam. "Where got ghost movie?: The boundaries of Singapore horror." Asian Cinema 31, no. 1 (April 1, 2020): 55–76. http://dx.doi.org/10.1386/ac_00013_1.

Full text

Abstract:

While acknowledging that the horror film is generally not considered a major part of the ‘Singapore new wave’, this article makes the case that Singapore horror films nevertheless merit closer critical evaluation not only because of their sustained output in a very small industry, but also because of their articulation of a range of issues germane to Singapore nationhood and identity ‐ issues which obtain in other Singapore films as well. The discussion surveys the entirety of the Singapore horror output from the 1990s onwards and draws out a number of key distinctive themes and trends, such as the referencing of Chinese supernatural beliefs and regional Southeast Asian spirits, and also the distinctive preponderance of horror narratives involving military or police. The films are then read in relation to broad tropes of gender, geography and regulation.

APA, Harvard, Vancouver, ISO, and other styles

17

Hutchings, Peter. "Putting the Brit into Eurohorror: Exclusions and Exchanges in the History of European Horror Cinema." Film Studies 15, no. 1 (2016): 54–65. http://dx.doi.org/10.7227/fs.0001.

Full text

Abstract:

British horror cinema is often excluded from critical work dealing with European horror cinema or, as it is frequently referred to, Eurohorror. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative per- sonnel moving from country to country. In addition, British horror films have exerted influence on European horror cinema and vice versa. At the same time, the exclusion of British horror from the Eurohorror category reveals limitations in that category, particularly its idealisation of continental European horror production.

APA, Harvard, Vancouver, ISO, and other styles

18

Clasen, Mathias. "Monsters Evolve: A Biocultural Approach to Horror Stories." Review of General Psychology 16, no. 2 (June 2012): 222–29. http://dx.doi.org/10.1037/a0027918.

Full text

Abstract:

Horror fiction is a thriving industry. Many consumers pay hard-earned money to be scared witless by films, books, and computer games. The well-told horror story can affect even the most obstinate skeptic. How and why does horror fiction work? Why are people so fascinated with monsters? Why do horror stories generally travel well across cultural borders, if all they do is encode salient culturally contingent anxieties, as some horror scholars have claimed? I argue that an evolutionary perspective is useful in explaining the appeal of horror, but also that this perspective cannot stand alone. An exhaustive, vertically integrated theory of horror fiction incorporates the cultural dimension. I make the case for a biocultural approach, one that recognizes evolutionary underpinnings and cultural variation.

APA, Harvard, Vancouver, ISO, and other styles

19

Hudson, Seán. "A Queer Aesthetic: Identity in Kurosawa Kiyoshi's Horror Films." Film-Philosophy 22, no. 3 (October 2018): 448–64. http://dx.doi.org/10.3366/film.2018.0089.

Full text

Abstract:

Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components of this aesthetic include images of touch and performance, the transgression of bodily boundaries, and what Margrit Shildrick calls an “erotics of connection” between bodies.

APA, Harvard, Vancouver, ISO, and other styles

20

Parrish, Jordan. "Less is more: The horror of suggestion in Jacques Tourneur’s Cat People." Horror Studies 12, no. 1 (March 1, 2021): 83–95. http://dx.doi.org/10.1386/host_00030_1.

Full text

Abstract:

Someone, or something, is following Alice (Jane Randolph). In the famous scene from Jacques Tourneur’s Cat People (1942), Irena (Simone Simon), who is married to the man with whom Alice just went out, tails Alice as she walks home. While Irena appears to stop following her at one point, it is here that Alice notices she is being followed by something else. She sees and hears nothing, but somehow feels that something, invisible, unseen, is nevertheless in close proximity. Certainly a classic horror scene, Tourneur nevertheless takes here an unusual approach to scaring audiences. Instead of directly showing its horror element, Irena as a cat person, Cat People instead suggests its presence. The subtle way in which Tourneur films this horrific scene seems at odds with conventional definitions of the horror genre, frequently defined in scholarship by its depictions of excess. By reorienting our relation to the horror genre in this way, Tourneur creates a concept that forces us to rethink the genre’s parameters, aspects and definitions. This article argues that Tourneur’s films centre around a main concept, suggestion and that this conceptual creation makes him, in turn, a philosopher of horror who pushes our understandings of the genre into unconventional directions. Through a close analysis of suggestive horror in Cat People and his other films, I argue that this suggestive style of horror is just as effective and horrific as the excessive one, that it is neither better nor worse, but achieves similar ends through different means. The article proceeds with three main objectives: to define Tourneur’s concept of suggestion with the associated problem of caricature to which it responds, to delineate the formal ways that Tourneur’s horror philosophy appears in suggestion-images and to place Tourneur’s philosophy of suggestion in conversation with existing horror scholarship that defines the genre through excess. By doing so, I argue that Tourneur’s philosophy, as evidenced in Cat People, forces us to think differently about the horror genre than ways which posit excess as its defining feature, ultimately envisioning a heretofore untheorized aspect of the genre: the horror of suggestion.

APA, Harvard, Vancouver, ISO, and other styles

21

Sen, Aditi. "‘I Wasn’t Born with Enough Middle Fingers’: How low-budget horror films defy sexual m orality and heteronormativity in Bollywood." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 75–90. http://dx.doi.org/10.15388/aov.2011.1.3931.

Full text

Abstract:

Queen’s UniversityIn the early 1980s the Ramsay Brothers gave Bollywood a new genre of monster flicks with blockbusters like Purana Mandir, Hotel, and Veerana. Following the work of the Ramsay Brothers, low-budget horror films that were made exclusively for the small towns and rural market increased in the decades of 1980s and 1990s. These films are primarily known for their unintentional humor owing to poor production and acting, but they have never been acknowledged for their actual content. This article argues that Bollywood low-budget films fulfilled the basic function of horror movies—that is, they subverted mainstream moral order and sexual morality. These films opened up space for dialogues that the mainstream cinema had totally neglected; particularly, in the areas of incest, female lust, ‘othering’ of male sexuality, and transgendered identities. On a different register, the relationship between low-budget horror films and mainstream Bollywood can be compared to folklore and canonical literature, where folklore repeatedly resists the conformities endorsed by the mainstream prescriptive texts.

APA, Harvard, Vancouver, ISO, and other styles

22

Starnes, Bobby Ann. "On Nerds, Science Education, and Horror Films." Phi Delta Kappan 87, no. 8 (April 2006): 634–35. http://dx.doi.org/10.1177/003172170608700827.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Black, Art. "Nobuo Nakagawa: Master Director of Horror Films." Asian Cinema 18, no. 1 (March 1, 2007): 238–47. http://dx.doi.org/10.1386/ac.18.1.238_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Brophy, Philip. "Horrality— The Textuality of Contemporary Horror Films." Screen 27, no. 1 (January 1, 1986): 2–13. http://dx.doi.org/10.1093/screen/27.1.2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

TERR, LENORE C., and ANDRE DERDEYN. "Resolved: Horror Films Are Good for Children." Journal of the American Academy of Child & Adolescent Psychiatry 31, no. 1 (January 1992): 165–69. http://dx.doi.org/10.1097/00004583-199201000-00025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Miller, Cynthia J., and A. Bowdoin Van Riper. "Marketing, Monsters, and Music: Teensploitation Horror Films." Journal of American Culture 38, no. 2 (June 2015): 130–41. http://dx.doi.org/10.1111/jacc.12303.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Benshoff, Harry M. "Blaxploitation Horror Films: Generic Reappropriation or Reinscription?" Cinema Journal 39, no. 2 (2000): 31–50. http://dx.doi.org/10.1353/cj.2000.0001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Hauke, Christopher. "Horror films and the attack on rationality." Journal of Analytical Psychology 60, no. 5 (October 26, 2015): 736–40. http://dx.doi.org/10.1111/1468-5922.12181.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Camilla, Lauren De. "LGBTQ+ female protagonists in horror cinema today: The Italian case." Journal of Italian Cinema & Media Studies 8, no. 2 (March 1, 2020): 221–35. http://dx.doi.org/10.1386/jicms_00018_1.

Full text

Abstract:

Abstract This article examines representations of LGBTQ+ female protagonists in three recent Italian horror films: La terza madre (The Mother of Tears) by Dario Argento (2008), A Pezzi: Undead Men by Alessia Di Giovanni and Daniele Statella (2013) and The Antithesis by Mirabelli (2017). As homosexuality traditionally falls within the realm of the abject (that which is expelled) in horror films, the genre serves as a medium through which we may assess national and global sensibilities about LGBTQ+ identities. Filmic textual analysis and a consideration of horror and melodrama conventions reveal how these protagonists expose cultural anxieties about non-normative sexual orientations in Italy today. While these films include minority protagonists and offer some resistance to discrimination, they ultimately represent homosexuality as a threat to mainstream Italian culture.

APA, Harvard, Vancouver, ISO, and other styles

30

Telotte, J. P. "Lewtonian space: Val Lewton's films and the new space of horror." Horror Studies 1, no. 2 (November 1, 2010): 165–75. http://dx.doi.org/10.1386/host.1.2.165_1.

Full text

Abstract:

During the 1940s the Val Lewton unit at RKO Studios produced a string of horror films that were highly lauded for their subtle approach to the genre, which represented a distinct break from earlier horror films that were characterized by their emphasis on monstrous figures and exaggerated, expressionist-influenced imagery. A significant element of that influence, however, has so far gone unexplored, particularly what we might term the space of horror. Drawing on architectural developments and theory in the late modernist period, particularly as articulated by Anthony Vidler, this article examines how the Lewton films drew on this new sense of space, a space that emphasized not structures or containment, but rather the emerging psychological and social dimensions of the era. Because of wartime restrictions and the economical practices of B-film production, the Lewton films (and as illustrations this article draws examples from each of the three directors who worked in this unit Jacques Tourneur, Mark Robson and Robert Wise) almost had to function in a different register than the earlier wave of horror films with their emphases on old dark houses and castles, on werewolves and vampires. The new spatial strategy that they evolved, however, not only accommodated those period and industrial limitations, but also opened up a new possibility for representing narratives of power and dread one that mobilized space as a placeholder for all of our psychic projections and fears.

APA, Harvard, Vancouver, ISO, and other styles

31

Dhusiya, Mithuraaj. "Shape Shifting Masculinities: Accounts of maleness in Indian man-to-animal transformation horror films." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 61–74. http://dx.doi.org/10.15388/aov.2011.1.3932.

Full text

Abstract:

University of DelhiUnlike the werewolf myth, on which there is a significant corpus of takes in Hollywood cinema, Indian horror films abound in snake-, tiger- and gorillatransformations. Most of these shape-shifting monsters represent aberrant subjectivities that set in motion a cycle of destruction and redemption within these narratives. This article will explore how the male body in Indian horror films acts as a site of different bodily discourses that permits a reading of socio-cultural crises within the societal framework. Although there are almost a dozen Indian horror films to date that deal with such shape-shifting monsters, this article will limit itself to studying one Hindi film Jaani Dushman (1979, dir. Raj Kumar Kohli) and one Telugu film Punnami Naagu (1980, dir. A. Rajasekhar). The following core questions will be explored: do these narratives challenge the constructions of hegemonic masculinity? What departures from normative masculinity, if such a thing exists at all, take place? How do these narratives use horror codes and conventions to map the emergence of different types of masculinities? How can these bodily discourses be correlated with various contemporary socio-political issues of India?

APA, Harvard, Vancouver, ISO, and other styles

32

Pająk, Patryk. "Zdarzenie – między horrorem a baśnią." Slavia Meridionalis 16 (October 21, 2016): 520–40. http://dx.doi.org/10.11649/sm.2016.025.

Full text

Abstract:

An Event – between horror and fairy taleAn Event (Događaj, 1969) is one of the few Croatian horror movies. In comparison to other examples of the use of the horror genre in Croatian cinema, the film is distinguished by its aesthetic sophistication and skilful use of fairy-tale elements. The director Vatroslav Mimica evokes the mood of horror primarily through a suitably chosen space (the movie takes place mainly in the forest and two homes) as well as the right dosage and gradation of scenes of violence. The topic of An Event is the child’s initiation into adulthood. To highlight the most important stages and milestones of the initiation process, Mimica uses the plot and symbolic elements taken from the fairy-tale convention, such as the figures of false mother and magical helper as well as the motif of fear of abandonment and the motif of incorporation. Presentation of the topic of initiation by means of fairy-tale horror allows the director to describe suggestively the key problem in horror films that is the traumatogenic interaction between the natural and cultural factors that shape human life. Zdarzenie – między horrorem a baśniąZdarzenie to jeden z niewielu chorwackich horrorów. Na tle pozostałych przykładów użycia tej konwencji w kinie chorwackim wymieniony film wyróżnia się estetycznym wyrafinowaniem oraz umiejętnym wykorzystaniem pierwiastków baśniowych. Reżyser – Vatroslav Mimica – wywołuje nastrój grozy przede wszystkim za pomocą odpowiednio dobranej przestrzeni (film rozgrywa się głównie w lesie i dwóch domach) oraz dozowania i stopniowania scen przemocy. Tematem Zdarzenia jest inicjacja dziecka w dorosłość. Aby uwydatnić najważniejsze etapy i punkty zwrotne procesu inicjacyjnego, Mimica wykorzystuje składniki fabularno-symboliczne zaczerpnięte z konwencji baśni, takie jak postacie fałszywej matki i magicznego pomocnika oraz motywy lęku przed opuszczeniem i inkorporacji. Prezentacja tematu inicjacji za pomocą baśniowego horroru pozwala reżyserowi sugestywnie nakreślić kluczowy dla kina grozy problem traumatogennej interakcji między naturalnymi a kulturowymi czynnikami kształtującymi ludzkie życie.

APA, Harvard, Vancouver, ISO, and other styles

33

Briefel, Aviva. "Monster Pains: Masochism, Menstruation, and Identification in the Horror Film." Film Quarterly 58, no. 3 (2005): 16–27. http://dx.doi.org/10.1525/fq.2005.58.3.16.

Full text

Abstract:

Abstract Aviva Briefel examines the ways in which the horror film's gendering of the monster's pain affects audience identification. Male monsters in these films are associated with acts of masochism that allow for a comfortable spectatorial distance. In contrast, female monsters precede their sadistic rampages with moments of menstruation, which claustrophobically draw their audiences to them.

APA, Harvard, Vancouver, ISO, and other styles

34

Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema." Film-Philosophy 21, no. 2 (June 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.

Full text

Abstract:

This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.

APA, Harvard, Vancouver, ISO, and other styles

35

Tobia, Anthony, Thomas Draschil, Domenick Sportelli, Maria Katsamanis, Stephanie Rosenberg, and Jill M. Williams. "The Horror!: A Creative Framework for Teaching Psychopathology Via Metaphorical Analyses of Horror Films." Academic Psychiatry 37, no. 2 (March 1, 2013): 131. http://dx.doi.org/10.1176/appi.ap.12070134.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Iskandar, Suhendra. "Pengaruh Perilaku Gemar Menonton Film Horor terhadap Gangguan Emosional Anak Menjelang Usia Baligh di SDN 11 Limboto." PEMBELAJAR: Jurnal Ilmu Pendidikan, Keguruan, dan Pembelajaran 4, no. 1 (May 1, 2020): 41. http://dx.doi.org/10.26858/pembelajar.v4i1.12310.

Full text

Abstract:

Research on the effect of watching horror films on emotional disturbances of early-adult (10 - 12 years old) was observed in four areas, sleep health, mind cleanliness, independence, and openness in trying new things. A total of 80 samples were divided into 3 groups, 36 samples in the horror movie maniac group, 11 samples in the horror movie audience group, and 33 samples in the non-horror movie audience group. Data for the analysis of sleep health, independence, and openness in trying new things was collected through questionnaire and observation methods, while for the analysis of mind hygiene was collected through the method of image psychology tests. Data for sleep health and mind cleanliness was analyzed through the chi-square method (λ2), while for independence and openness in trying new things was analyzed through the one-way ANOVA method. The results show that the behavior of watching horror films in children approaching baligh age causes emotional disturbances in the realm of sleep health and mind hygiene, but did not have a significant impact on the realm of independence and openness in trying new things.

APA, Harvard, Vancouver, ISO, and other styles

37

Fortuna Jr., Grzegorz. "Narrative Strategies in Contemporary Independent American Horror Movies." Panoptikum, no. 19 (June 30, 2018): 121–30. http://dx.doi.org/10.26881/pan.2018.19.09.

Full text

Abstract:

The main aim of the article is to paint a picture of contemporary American horror film and mark the division between its mainstream and independent sides. The first part focuses on topics, subgenres and strategies connected with mainstream American horror films; the second part is dedicated to the renaissance of low-budget, but original and artistically fulfilled horror movies produced outside Hollywood and directors that achieved commercial success thanks to following their vision and thinking outside the box. In the article, Grzegorz Fortuna Jr. uses methods connected with production studies research to discover how the economy, changing tastes of audiences and artistic ideas influence contemporary independent American horror film.

APA, Harvard, Vancouver, ISO, and other styles

38

Benson-Allott, Caetlin. "Wes Craven: Thinking Through Horror." Film Quarterly 69, no. 2 (2015): 74–76. http://dx.doi.org/10.1525/fq.2015.69.2.74.

Full text

Abstract:

Wes Craven (1939–2015) wrote and directed horror films that changed the genre for audiences and filmmakers. The Last House on the Left (1972) and The Hills Have Eyes (1977) engage savage violence to critique a self-satisfied complacent culture, while A Nightmare on Elm Street (1984) and Wes Craven's New Nightmare (1994) uncover new philosophical significance in the slasher subgenre. Craven has often been dismissed as merely a genre filmmaker, yet his effect on his genre was profound, precisely because he established genre conventions instead of following them.

APA, Harvard, Vancouver, ISO, and other styles

39

Martens, Emiel. "The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’." Humanities 10, no. 2 (March 29, 2021): 62. http://dx.doi.org/10.3390/h10020062.

Full text

Abstract:

In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s as a colonial expression of tropical savagery and jungle terror. Then, combining historical newspaper research with content analyses of these films, I present my exploration into the three low-budget horror films in two parts. The first part contains a discussion of Ouanga, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. In this early horror adventure, which was made in the final year of the U.S. occupation of Haiti, zombies were portrayed as products of evil supernatural powers to be oppressed by colonial rule. In the second part, I review Obeah and The Devil’s Daughter, two horror adventure movies that merely portrayed African-Caribbean religion as primitive superstition. While Obeah was disturbingly set on a tropical island in the South Seas infested by voodoo practices and native cannibals, The Devil’s Daughter was authorized by the British Board of Censors to show black populations in Jamaica and elsewhere in the colonial world that African-Caribbean religions were both fraudulent and dangerous. Taking into account both the production and content of these movies, I show that these 1930s horror adventure films shot on location in Jamaica were rooted in a long colonial tradition of demonizing and terrorizing African-Caribbean religions—a tradition that lasts until today.

APA, Harvard, Vancouver, ISO, and other styles

40

Ghosh, Bishnupriya. "The Security Aesthetic in Bollywood’s High-Rise Horror." Representations 126, no. 1 (2014): 58–84. http://dx.doi.org/10.1525/rep.2014.126.1.58.

Full text

Abstract:

This essay theorizes a constellation of “high-rise horror” films from contemporary Bollywood as a cinema of apprehension. I elaborate an emergent “techno-aesthetic of security” that plunges spectators into an immersive experience of horror, orienting them to the violence of acute dispossession (of lands and livelihoods) catalyzed by current speculative financial globalization.

APA, Harvard, Vancouver, ISO, and other styles

41

Jancovich, Mark. "‘It’s About Time British Actors Kicked Against these Roles in “Horror” Films’: Horror stars, psychological films and the tyranny of the Old World in classical horror cinema." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 214–33. http://dx.doi.org/10.1080/01439685.2013.798077.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Hunter, Russ. "Horrifically Local? European Horror and Regional Funding Initiatives." Film Studies 15, no. 1 (2016): 66–80. http://dx.doi.org/10.7227/fs.0008.

Full text

Abstract:

European horror films have often been characterised by a tendency towards co-production arrangements. Recent developments within regional European funding bodies and initiatives have led to a proliferation of films that combine traditional co-production agreements with the use of both regional and intra-regional funding sources. This article examines the extent to which the financial structuring of Creep(Christopher Smith, 2004), Salvage (Lawrence Gough), and Trollhunter (André Øvredal, 2010) informed the trajectory of their production dynamics, impacting upon their final form. Sometimes, such European horror films are part of complex co-production deals with multiple partners or are derived from one-off funding project. But they can also utilise funding schemes that are distinctly local.

APA, Harvard, Vancouver, ISO, and other styles

43

Malenko, S. A., and A. G. Nekita. "HORROR FILMS IN UNCONSCIOUS ANTHROPOLOGICAL STRATEGIES OF BIOPOWER." Anthropological Measurements of Philosophical Research, no. 13 (June 5, 2018): 41–51. http://dx.doi.org/10.15802/ampr.v0i13.122984.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Esfandari, Diah Agung. "MAGIC AND WITCHCRAFT IN CURRENT INDONESIAN HORROR FILMS." Jurnal Ilmiah LISKI (Lingkar Studi Komunikasi) 2, no. 1 (August 3, 2016): 52. http://dx.doi.org/10.25124/liski.v2i1.54.

Full text

Abstract:

During the former President Soehartoâ€™s regime (or the New Order) in 1966-1998, films were vehicles for the creation of a national culture intended to implement its development policies and more generally its authoritarian rule.Â There were guidelines on what to say, what not to say and who could speak in which medium.Â Every film produced during the New Order, had a narrative structure that moved from order through disorder to a restoration of the order.Â However, since the fall of the New Order, there is a re-emergence of Javanese cultural identity (known as kejawen or kebatinan) through the second boom of Indonesiaâ€™s horror film in cinemas.Â As Mulder (2005) explained, the revival and vitality of â€˜kebatinanâ€™ mysticism in the immediate post-independence period can best be seen as a search for cultural expression and identity in a time of transition and change.Â One of the examples of Indonesiaâ€™s current horror film is Jelangkung (2001) which is based on a Javanese folklore, and has reawakened once again the overall Indonesiaâ€™s film industry that has been stagnant since the monetary crisis in 1996.Â This paper aims to find out how Indonesian horror films (2001-2008) more specifically: Jelangkung (2001), Kuntilanak (2006) and Titisan Naya (2008) have provided a significant means for the reassertion of Javanese cultural identity.Â It is a part or chapter of a bigger paper or dissertation that is still an ongoing process.

APA, Harvard, Vancouver, ISO, and other styles

45

Terry, Katelyn. "Contorted Bodies: Women’s Representation in Japanese Horror Films." Film Matters 9, no. 2 (September 1, 2018): 57–68. http://dx.doi.org/10.1386/fm.9.2.57_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Lasseter, J., B. Reeves, L. Carpenter, E. Ostby, M. Wahrman, J. Blinn, C. Reynolds, C. Wedge, G. Walters, and B. Kroyer. "Bloopers, outtakes, and horror stories of SIGGRAPH films." ACM SIGGRAPH Computer Graphics 23, no. 5 (December 1989): 223–39. http://dx.doi.org/10.1145/77277.77289.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Nelson, John S. "Horror Films Face Political Evils in Everyday Life." Political Communication 22, no. 3 (July 1, 2005): 381–86. http://dx.doi.org/10.1080/10584600591006654.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Woodcock, Scott. "Horror Films and the Argument from Reactive Attitudes." Ethical Theory and Moral Practice 16, no. 2 (February 3, 2012): 309–24. http://dx.doi.org/10.1007/s10677-012-9338-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Fuanda, Nofiyanti. "REFORMULATING DRACULA IN THE EARLY 21ST CENTURY: GENRE ANALYSIS OF 24 VAMPIRE FILMS." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 46. http://dx.doi.org/10.22146/rubikon.v3i2.34269.

Full text

Abstract:

The vampire is a phenomenon in western literature and culture. As many literary works featuring vampire are produced every year and continue to interest of the audiences, the creature becomes even embedded in the heart of not only western people, but also most people in the world. Currently, the researches on the creature either as a part of the myth or a character in literary works is so booming. They conclude that there is transformation of vampire both in myth and literary work. The research on literary works mostly generalizes vampire and Dracula as similar terms referring to blood sucker in general. In fact, those two terms actually refer to different signifieds. Therefore, this research aims to discuss specifically the development of literary works, especially films featuring the Dracula character since Stoker’s story is still adapted in the current era. The discussion focuses on the conventions and inventions of Dracula films in the early twenty first century and how those new formulas are related to the social background. This research is qualitative research and data are collected from the library. In addition, the basic theory used is genre analysis which situates texts within textual and social contexts. In the field of American Studies, such analysis is relevant to McDowell’s theory of “past, present and future” which supports interdisciplinary studies of time development.As the finding of the research on twenty four films produced during 2000 to 2014 the researcher concludes that most of them mix the elements of some genres. There are eleven pure horror Dracula films, eight horror action, two horror drama, one horror adventure, one horror sci-fi, and one horror romance. Furthermore, the researcher found five formula inventions including: 1. the shifting themes which include the emergence of science and the blurring of sexuality; 2. the variation of the stereotypical characters which includes the turn of the villain into hero and the challenge of women as heroes; 3. the changing motive; 4. the variation of setting, and 5. the replacement of properties. In the further analysis, the development of the formulas is certainly the result of the mixing genres, and also the response to two major issues flourishes in today’s era such as the issue of modernity and rationality and the phenomenon of ‘New Women’ and ‘Now Women.’Keywords: vampire, Dracula, formula, convention, invention

APA, Harvard, Vancouver, ISO, and other styles

50

Malenko, Sergey A., and Andrey G. Nekita. "ANTHROPOLOGY PROLETARIAN PHYSICALITY: THE IDEOLOGICAL STRATEGY OF CONSUMPTION OF SUFFERING AND DEATH IN THE CULTURAL TRADITIONS OF THE AMERICAN HORROR FILM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 66–78. http://dx.doi.org/10.17223/22220836/39/7.

Full text

Abstract:

Purpose. The article analyzes the strategy of sublimation of the corporeality of bourgeois pro-duction into the artistic tradition of the American horror film as a specific, visual mythology and psy-chosomatic consumer ideology of modern mass culture. Theoretical basis. The key methodology is the principle of interdisciplinary and cross-cultural, psychoanalytic research, developed and tested by the team of authors in a number of scientific papers. The applied scientific and practical approach made it possible to carry out an original, complex, com-parative analysis of symbolic interpretations of the tradition of American horror films in various spheres of socio-cultural practice. Carried out interdisciplinary study of the phenomenology of horror, makes it possible to isolate ideologically significant images sublimated in more than a century of the tradition of American horror films. Originality. The anthropological mechanism of sublimation of the proletarian physicality formed in a bosom of classical capitalist production is opened. Its essence is the unconscious attitude to the perception of bodily suffering and death as inevitable and “natural” companions of the worker's production image and guarantee of its demand in the labor market. At the same time, intensive tech-nologization of production is accompanied by a sharp inflation in the value of physical labor. At the same time, the persisting attitude to bodily suffering requires the appearance of its new forms, displac-ing the “physical” into the “visual”. It was the American horror movies most adequately perform the social order of government and business, subliming bodily suffering in the most profitable art forms. This is how the figurative and symbolic mythology of horror films is constructed, which commercial-izes the artificially formed psychosomatic dependence of the layman on the consumption of bodily suffering and death. The active popularization of horror mythology visualizes the ideology of the “American way of life”, lobbies the practice of ousting competing cultural genres and traditions, and lays the foundations of westernized post – industrial civilization – post-human, post-teles and digital world. Conclusions. Under the conditions of widespread degradation of the production type of civiliza-tion, the technology of sublimation of active attitude to the world into visual forms of its consumer destruction was formed, the driving forces of which (collective in form and individual in ways of expe-rience) were American horror films. They most adequately represent a new artistic and anthropological reality, the contours of which are so clearly drawn by the human body, the exhausted profile of power and production standards.

APA, Harvard, Vancouver, ISO, and other styles

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!