Relevant bibliographies by topics / Horror films Pornography

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

Academic literature on the topic 'Horror films Pornography'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Horror films Pornography"

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Herawati, Erni. "Pornografi dalam Balutan Film Bertema Horor Mistik di Indonesia." Humaniora 2, no. 2 (2011): 1408. http://dx.doi.org/10.21512/humaniora.v2i2.3209.

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The film industry in Indonesia has been through ups and downs. As an industry, thus there are usual things the film creators done to take financial benefit from the film industry. Some researches show that messages brought by mass communication media is no more that political and economic efforts from media to get much more benefits. Therefore, it is acknowledged that Indonesian films lately put horror and mystic theme beneath in order to get closer with Indonesia culture as the consumers. However, it is issued when the mystic theme influenced along with pornography. Ethics development efforts
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Kronja, Ivana. ""Social horror": A critical analysis of ideological and poetic function of the motive of victim in the contemporary Serbian film." Temida 19, no. 2 (2016): 309–29. http://dx.doi.org/10.2298/tem1602309k.

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This paper analyses achievements of Serbian cinematography after 2000, which narrative strategies and visual aesthetics are focused on the issues of violence and victims in the context of social despair, post-communist transition and ongoing global value crisis. Films made by Mladen Djordjevic Life and Death of a Porn Gang (2009), Srdjan Spasojevic A Serbian Movie (2010), and Marko Novakovic Menagerie (2012) integrate these complex characteristics of disintegration of Serbian community and dysfunctional state system into their cinematic poetics. These films present examples of radical film aes
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Panuju, Redi. "Hidden Moral Messages in Indonesian Horror Film (Analysis of Palasik Film)." International Journal of Social Sciences and Humanities Invention 6, no. 2 (2019): 5273–81. http://dx.doi.org/10.18535/ijsshi/v6i2.03.

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This article discusses implicit moral messages in the Palasik film. This film is based on a myth from West Sumatra society as a creature invented by someone who is a Black magician looking to live long in the world. At night, while looking for food, Palasik let’s go of his head and floated in the air. Palasik food is a fetus that is in the womb of his mother. Stories like this make film creators unable to avoid the element of violence in visualization. As a result, many criticisms of this film consider it to be extreme, especially at the moment when Palasik is preying on a fetus in the womb an
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Циховська, Е. Д. "A spectacle of reality in the context of mass media resonance (on the example of Chuck Palaniuk’s “Snuff”)." Studia Philologica, 2018, 120–24. http://dx.doi.org/10.28925/2311-2425.2018.11.19.

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The article deals with a spectacle as an integral part of the modern mediatized world. The features of coverage of spectacles with mass media are analysed. It is noted that the most popular are spectacles, based on real events, because the effect of a reality enhances the emotion of the perception of the material. Real spectacles transmitted through the mass media acquire a remarkable resonance. Thus, the coverage of terrorist acts, mass and individual brutal killings in media news unintentionally advertises a spectacle of “terrible” in its real size. Such spectacles include news, extreme even
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Hand, Richard J. "Dissecting the Gash." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2389.

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Given that the new advances in technology in the 1980s had a major impact on the carefully constructed myth of authenticity in horror and pornography, ranging from flawless special effects at one extreme to the idea of the handheld voyeur movie at the other, it is rather ironic that the key progenitor to the erotic-grotesque form is a long-established and in some ways basic form: the pen and paper art of manga. This medium can be traced back to pillow books and the illustrated tradition in Japanese culture – a culture where even written language has evolved from drawings rather than alphabetic
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Sargeant, Jack. "Filth and Sexual Excess." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2661.

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 Pornography can appear as a staid genre with a rigid series of rules and representations, each video consisting of a specified number of liaisons and pre-designated sexual acts, but it is also a genre that has developed and focused its numerous activities. What was considered to be an arousing taboo in the 1970s would not, for example, be considered as such today. Anal sex, while once comparatively rare in pornographic films, is now commonplace, and, while once utterly unspoken in mainstream heterosexual culture it is now acknowledged and celebrated, even by female targete
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Beattie, Scott. "Extremity, Video Games and the Censors." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2669.

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 If Blake is right and the path of excess leads to the tower of wisdom then video games ought to provide plenty of shortcuts along the way. Wading through gore, dismemberment and the occasional bout of torture, violent games have pushed the limits of depiction of violence. While even video nasties pad the ‘money shot’ scenes of extremity with exposition and story (however flimsy), video games concentrate more carnage per minute than any other media form – so why are so many of us increasingly drawn to them as a leisure activity? Of course it is wrong to lump all video games
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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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 1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the
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9

Dutton, Jacqueline Louise. "C'est dégueulasse!: Matters of Taste and “La Grande bouffe” (1973)." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.763.

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Dégueulasse is French slang for “disgusting,” derived in 1867 from the French verb dégueuler, to vomit. Despite its vulgar status, it is frequently used by almost every French speaker, including foreigners and students. It is also a term that has often been employed to describe the 1973 cult film, La Grande bouffe [Blow Out], by Marco Ferreri, which recounts in grotesque detail the gastronomic suicide of four male protagonists. This R-rated French-Italian production was booed, and the director spat on, at the 26th Cannes Film Festival—the Jury President, Ingrid Bergman, said it was the most “s
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Thompson, Jay Daniel, and Erin Reardon. "“Mommy Killed Him”: Gender, Family, and History in Wes Craven’s A Nightmare on Elm Street (1984)." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1281.

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Introduction Nancy Thompson (Heather Langekamp) is one angry teenager. She’s just discovered that her mother Marge (Ronee Blakley) knows about Freddy Krueger (Robert Englund), the strange man with the burnt flesh and the switchblade fingers who’s been killing her friends in their dreams. Marge insists that there’s nothing to worry about. “He’s dead, honey,” Marge assures her daughter, “because mommy killed him.” This now-famous line neatly encapsulates the gender politics of Wes Craven’s A Nightmare on Elm Street (1984). We argue that in order to fully understand how gender operates in Nightma
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Dissertations / Theses on the topic "Horror films Pornography"

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Gartside, William Stanley. "Young Love can be Torture: An Autoethnography Exploring the Making of "High School Sweethearts"." [Milwaukee, Wis.] : e-Publications@Marquette, 2009. http://epublications.marquette.edu/theses_open/3.

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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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Fulfs, Patricia Ann. "The horror of feminism : understanding the second wave through the reception of controversial films." 2010. http://hdl.handle.net/2152/8999.

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Given feminists’ longstanding concerns about the ideological effects of media images, and prompted by the lack of, but continued need for, feminist activism today, some feminist scholars have become increasingly interested in how popular media shape public understandings of feminism, represent its issues, and define its history. Communication scholars also appreciate that both media texts and social movements are produced and received within particular historical contexts, and that controversies over either are discursive sites in which cultural and political values clash and their meanings ar
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Chareyron, Romain. "Les emprunts au genre horrifique et pornographique à travers les images du corps dans le cinéma français contemporain." 2010. http://hdl.handle.net/10048/1178.

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Thesis (Ph. D.)--University of Alberta, 2010.<br>Title from PDF file main screen (viewed on July 23, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, French Language, Literatures and Linguistics, Department of Modern Languages and Cultural Studies. ... [University of Alberta,] Fall 2010." Includes bibliographical references.
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Books on the topic "Horror films Pornography"

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Luigi, Cozzi, ed. Erotismo, orrore e pornografia secondo Joe D'Amato. Mondo ignoto, 2004.

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2

Roland, Eckert, and Steinmetz Linda, eds. Grauen und Lust-- die Inszenierung der Affekte: Eine Studie zum abweichenden Videokonsum. Centaurus, 1991.

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3

Torture Porn Popular Horror After Saw. Palgrave Macmillan, 2013.

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4

Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.

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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industria
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5

King, Stephen. Full Dark, No Stars: featuring 1922, now a Netflix film. Scribner, 2010.

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Book chapters on the topic "Horror films Pornography"

1

Kerner, Aaron Michael, and Jonathan L. Knapp. "Extreme Cinema: Revisiting Body Genres." In Extreme Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402903.003.0001.

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This chapter outlines the topography of extreme cinema: what it is, and the films that are discussed in the book. The initial chapter outlines the existence of a trend in post-millennial international cinema toward extreme cinema, which in some cases turns away from conventional narrative structure and its appeal to our emotions, favoring instead a cinema of physical affect. The chapter situates these trends within the longer tradition of what Linda Williams termed “body genres”: films of genres such as horror, melodrama, and pornography that are designed to elicit a response in the bodies of spectators. Further, building off of Williams’ relation between the “numbers” in musicals and in pornography, this chapter argues that the structure of extreme cinema tends to be episodic. Its power lies not in narrative, but rather in episodes of great spectacle: in scenes of tremendous violence and explicit sex.
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