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Dissertations / Theses on the topic 'Horror films'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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This thesis studies American studio feature films whose narratives are inspired by the Bible’s Book of Revelation. I identify these films as belonging to a subgenre of supernatural horror I have named ‘eschato-horror’. American eschato-horror films reflect Christian eschatology and its violent visions of cosmic war between divine and satanic forces. While supernatural horror films exploit our fear of death and evil, American Eschato-horror ups the cultural stakes through its representations of pseudo Catholic and other Christian ritual, scripture, and iconography in its mission to frighten the

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2

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

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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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4

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

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector co

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

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After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector co

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6

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

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Thesis (M.A.)--University of Kentucky, 2002.<br>Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).

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7

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

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8

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

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9

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

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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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10

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

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The tragedy and aftermath of the 9/11 terrorist attacks are reflected in American apocalyptic horror films that have been produced since 2001. Because the attacks have occurred only within the past ten years, not much research has been conducted on the effects the attacks have had on the narrative and technological aspects of apocalyptic horror. A survey of American apocalyptic horror will include a brief synopsis of the films, commentary on dominant visual allusions to the 9/11 attacks, and discussion of how the attacks have thematically influenced the genre. The resulting study shows that

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11

Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.

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This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideol

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12

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<br>Banca: Ana Sílvia Lopes Davi Médola<br>Banca: José Carlos Marques<br>Banca: Laura Loguercio Cânepa<br>Banca: Valquiria Michela John<br>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 p

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13

Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.

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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans

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14

Sutandio, Anton. "Historical Trauma and the Discourse of Indonesian-ness in Contemporary Indonesian Horror Films." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1395861044.

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15

Burn, Andrew Nicholas. "Pleasures of the spectatorium : young people, classrooms and horror films." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/10020307/.

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This thesis is an ethnographic study of Year 9 school pupils' responses to horror films, and, in particular, The Company of Wolves (Jordan, 1984). It employs social semiotic theory to analyse both film texts and audience engagements with such texts, exploring how such engagements involve transformations of subjectivity, particular kinds of competence in reading visual codes, and certain types of affective response to horror texts. It explores, briefly, histories of elements of the horror genre, especially the figures of the werewolf and the folktale heroine, in the period from the Enlightenmen

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McDougald, Melanie. "Where I am, There (Sh)it will be: Queer Presence in Post Modern Horror Films." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-07162009-154006/.

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Thesis (M.A.)--Georgia State University, 2009.<br>Title from file title page. Margaret Mills Harper, committee chair; Calvin Thomas, Mary Hocks, committee members. Description based on contents viewed Oct. 14, 2009. Includes bibliographical references (p. 47-48); filmography (p. 49-51).

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Tso, Wing-bo, and 曹穎寶. "Representation of female vampires in Bram Stoker's "Dracula" and horror films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29940412.

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18

Vermaak, Janelle Leigh. "Part one: "Horror versus terror in the body genre" : part two: "Silent planet"." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/636.

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This article seeks to investigate this balance and to interrogate the difference between horror and terror in an attempt to contribute to the development of a systematic genre typology. A brief history of the genre will be given, after which the focus will fall on contemporary Horror film, paying specific attention to the relationship between violence and horror, the theme of sacrificial violence, and the transgression of ‘natural’ laws. An eclectic approach is followed, drawing from literary theory, theology, psychology, and, of course, film theory.

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19

Collard, Jessica Michelle. "Can You Believe She Did THAT?!:Breaking the Codes of "Good" Mothering in 1970s Horror Films." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4301.

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The threats found in horror films change with time, each decade consisting of threats that were most frightening for the time period. Horror film scholars, such as Andrew Tudor, determined that in 1970s horror films the threat has migrated from external forces into the home and the family. Invading aliens and monsters were thrown replaced by psychosis and evil children. This notion of making the familiar unfamiliar and threatening is paralleled in concerns addressed during the second-wave of feminism; women were making the normative and familiar idea of mother unfamiliar as they migrated from

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20

Camargo, Sandy. "Once more with feeling : film genre and emotional experience /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988650.

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21

Trento, Paola <1995&gt. "Contemporary Black Horror Films: Reinventing Representations of Blackness to Question Post-Racial America." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21646.

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The aim of this thesis is exploring four contemporary Black Horror films in which African American filmmakers reinvent 20th century horror stereotypes of Blackness, to address an active critique of the “Post - Racial” myth and affirm the inclusion of Black life within American society. The first section draws on R. Means Coleman’s Horror Noire and historically outlines the problematic involvement that Blackness has endured in 20th century horror cinema. Indeed, monstrous depictions of Blackness originated in the 19th century Blackface minstrelsy, and became evident in 1930s Hollywood films I

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Green, Jr Alan Edward. "the post- 9/11 aesthetic: repositioning the zombie film in the horror genre." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4798.

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This dissertation explores a body of films produced after the events of 9/11, and while examining this specific point of departure, the author presents the argument on the vast cultural relevancy of the omnipresent zombie. These films are interrogative and complex, offering the viewing audience a rich tapestry of interwoven meanings. Furthermore, the author suggests that the zombie trope has, in fact, left the genre altogether, reinserted into a style of films he labels as "non-zombie appropriation." Chapter 1 introduces the zombie genre as both part of the larger horror genre aesthetic and a

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23

Cupp, Lauren. "The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/958.

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Carol Clover defined a Final Girl as a stereotype of the pure, virginal sole survivor in 1980’s slasher films such as Texas Chainsaw Massacre and Halloween. But does this representation hold up in 2016 films? Because the horror genre is so broad today, it’s almost impossible to nail down a certain stereotype of the genre, if there even is one. Films like the 1996 slasher parody Scream historically subverted the slasher genre, and since then there has been little to no iconic Final Girls. I argue that this trope is one very much set inside the confines of the 1980’s slasher genre, and instead i

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24

Hubber, Duncan. "Diegetic wounds : the representation of individual and collective trauma in found footage horror films." Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/179533.

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The type of horror film known as “found footage” was prominent in the 2000s and early 2010s. The term refers to films that aim to scare their audience, and which are primarily shot diegetically, with handheld and surveillance cameras that exist within the world of the film. The thesis identifies conceptual, aesthetic, and thematic links between found footage horror films and psychological trauma theory. For example, in each film the premise of the characters and viewers finding footage of a frightening event evokes the victim’s belated recollection of a traumatic experience. Additionally, the

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Alley, Timothy D. "Gamers and gorehounds the influence of video games on the contemporary horror film /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180049224.

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Wilson, Alison E. "Hannibal Lecter v. Immanuel Kant : an application of Kantianism to graphic horror film /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/221.pdf.

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27

Ng, Hei Tung. "The representation of the mothers in J-horror." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/836.

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28

Stull, Gretchen Brinson Susan L. "It's a man's world representations of gender and competing ideologies in ""Shaun of the Dead /." Auburn, Ala., 2008. http://hdl.handle.net/10415/1542.

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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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30

Bound, Keith. "'Terror & tension' psychophysiological suspense : defining a framework to measure cinematic suspense in 21st century horror films." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38100/.

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The construction of suspenseful sequences has been a crucial component for filmmakers to engage the viewer, especially within the thriller and horror genres. This thesis takes a new approach to understanding cinematic suspense by creating a psychophysiological model to measure cinematic suspense and subsequently viewer experience. To date, film scholars and media psychologists have defined the process of suspense in terms of specific story case studies, rather than first independently identifying the components of suspense. Such theories become selective and open to subjective interpretation a

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Clayton, George Wickham. "Bearing witness to a whole bunch of murders : the aesthetics of perspective in the 'Friday the 13th' films." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/bearing-witness-to-a-whole-bunch-of-murders(3b4e4093-9711-49f6-808f-ba55852871bd).html.

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With twelve films released over the last thirty years, the Friday the 13th series has proved a popular mainstay of the slasher sub-genre of horror, in spite of negative critical reception and minimal academic engagement. The academic discourses that do address the series often frame their arguments based on socio-political function, socioeconomic platforms, psychoanalytic traditions, and cultural relevance. While there is some work that attempts to understand the generic positioning and function of the Friday the 13th films, little work has engaged with the film texts in order to understand an

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Boer, Raphael Albuquerque de. "Who is going to save the final girl? the politics of representation in the films halloween and the silence of the lambs." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/129422.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014<br>Made available in DSpace on 2015-02-05T21:04:30Z (GMT). No. of bitstreams: 1 329053.pdf: 1341507 bytes, checksum: d00163e78ad924bf591e9c3fd8125b5d (MD5) Previous issue date: 2014<br>Abstract: This dissertation aims at analyzing female representations in two film productions of the North American horror cinema, specifically of its subgenre slasher films, namely Halloween, directed by John Carpenter (1978) a

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Tyrrell, Kimberley English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "???The monsters next door???: representations of whiteness and monstrosity in contemporary culture." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/35639.

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The focus of this thesis is the examination of whiteness as a dominant identity and subject position. Whiteness has conventionally assumed a normative, monolithic status as the template of humanity. Recent theorising has attempted to specify and denaturalise whiteness. In order to participate in this fracturing of whiteness, I analyse examples in which it functions as a site of contested and ambiguous contradiction. To this end, I use contemporary monstrosity to examine whiteness. Monstrosity is a malleable and culturally specific category of difference that measures alterity, and by disp

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Janes, Jen. "The Texas chainsaw massacre: our collective nightmare." [Denver, Colo.] : Regis University, 2008. http://165.236.235.140/lib/JJanes2008.pdf.

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35

Willis, Andrew. "Violent exchanges : genre, national cinemas and the politics of popular films : case studies in Spanish horror and American martial arts cinema." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/13908/.

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This thesis argues that in order to understand the way in which films work one has to place them into a variety of contexts. As well as those of production, these include the historical and culturally specific moments of their creation and consumption. In order to explore how these contexts impact upon the textual construction of individual and groups of films, and our potential understanding of them, this study offers two contrasting case studies of critically neglected areas: Spanish horror cinema since the late-1960s; and US martial arts films since the late 1980s. The first places a range

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Ruben, Jennifer Lynn. "Illusionary Strength; An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1355753729.

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Walfridsson, Martina. "Now You See It, Now You Don’t. : The Interplay Between Cinematography and Creature-Subject in 1980’s American and British Horror Films." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-49026.

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Ponte, Charles 1976. "Indústria cultural, repetição e totalização na trilogia Pânico." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269972.

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Orientador: Fábio Akcelrud Durão<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-19T00:44:26Z (GMT). No. of bitstreams: 1 Ponte_Charles_D.pdf: 5158221 bytes, checksum: 021381a1dcdf598dfa5687c77fa4f959 (MD5) Previous issue date: 2011<br>Resumo: Ao longo do último século, o modus operandi da indústria cultural foi responsável por um movimento de padronização dos artefatos culturais, constituindo um eixo tensional entre repetição e inovação que abarca em todas as artes, mas especialmente no cinema, tendo este uma

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Sjöström, My. "Skräckfilmernas Sverige : En diskursanalys om reproduktionen av Sverige i skräckfilmer." Thesis, Umeå universitet, Institutionen för geografi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-183830.

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Visual images produce a version of the world, films do so by several images per minute. Films have power to choose who and what is represented and how. This can lead to misrepresentations and the reenforcing of stereotypes. From the outside, Sweden as a country is usually associated with health, safety and equality. However within Sweden another image is produced regarding its peripheral areas. A rural area which is seen mainly as an opposite of the urban city. This study aims to use a multimodal critical discourse analysis to explore de reproduction of the Swedish in two selected horror fi

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Tsang, Wai-ho, and 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.

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9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the

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Scales, Adam. "Logging into horror's closet : gay fans, the horror film and online culture." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59454/.

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Harry Benshoff has boldly proclaimed that ‘horror stories and monster movies, perhaps more than any other genre, actively invoke queer readings’ (1997, p. 6). For Benshoff, gay audiences have forged cultural identifications with the counter-hegemonic figure of the ‘monster queer’ who disrupts the heterosexual status quo. However, beyond identification with the monstrous outsider, there is at present little understanding of the interpretations that gay fans mobilise around different forms and features of horror and the cultural connections they establish with other horror fans online. In addres

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Ruggieri, Maria Cristina. "Le vampire : origines folkloriques et transpositions cinématographiques." Paris 3, 2007. http://www.theses.fr/2007PA030157.

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"L'"existence" du vampire est un leitmotiv récurrent dans des époques et des domaines très éloignés. Ses origines doivent être recherchées en partant de l'anthropologie, puisqu'elles sont étroitement liées aux croyances ancestrales et aux craintes ataviques de l'être humain. Mon étude se propose d'analyser les étapes et les éléments fondamentaux qui ont permis au non-mort d'exister depuis toujours et de s'adapter à chaque circonstance historique, géographique et culturelle. En particulier, en bâtissant un pont entre deux disciplines très éloignées, le folklore et le cinéma, je vise à cerner ce

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Haynes, Simon. "Narrating horror : the horror film as cultural construct." Thesis, Keele University, 1997. http://eprints.keele.ac.uk/3841/.

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This thesis examines horror films through an application of cultural analysis (primarily the work of Pierre Bourdieu) to selected texts in order to answer critics employing psychoanalytic perspectives to horror. It argues that psychoanalysis misses much of the heart of horror texts through its claims that textual 'meaning' lies within individuals rather than in the society in which horror texts were produced. Bourdieu's hypotheses are applied to films, along with the work of more specific horror analysts such as Mark Jancovich, amending and fusing these approaches in order to question psychoan

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Rogers, Alan. "The contemporary horror film." Thesis, Sheffield Hallam University, 1990. http://shura.shu.ac.uk/3121/.

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This thesis approaches the contemporary horror film from a number of directions. Firstly, it is considered in relation to the historical roots of horror fiction, the tradition of the literary Gothic which stretches back as far as the late eighteenth century. The same chapter elaborates the broad outline of a methodology, drawing upon an established body of genre theory in both literary and film studies, which is then applied to the gradual diffusion of the Gothic legacy into the related genres of detective stories/thrillers, horror, and science-fiction, the inter-relatedness of these three gen

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Harrington, Erin Jean. "Gynaehorror: Women, theory and horror film." Thesis, University of Canterbury. Cultural Studies, School of Humanities and Creative Arts, 2014. http://hdl.handle.net/10092/9586.

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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of th

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Roberts, Phillip Christopher. "Madeline Usher: An Opera in One Act." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395398280.

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Wise, Krista Michelle. ""I Won't Let Anyone Come Between Us" Representations of Mental Illness, Queer Identity, and Abjection in High Tension." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395416795.

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Downes, Sarah. "Bodily sensation in contemporary extreme horror film." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17114.

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Bodily Sensation in Contemporary Extreme Horror Film provides a theory of horror film spectatorship rooted in the physiology of the viewer. In a novel contribution to the field of film studies research, it seeks to integrate contemporary scientific theories of mind with psychological paradigms of film interpretation. Proceeding from a connectionist model of brain function that proposes psychological processes are underpinned by neurology, this thesis contends that whilst conscious engagement with film often appears to be driven by psychosocial conditions – including cultural influence, gender

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Ainslie, Mary Jane. "Contemporary Thai horror film : a monstrous hybrid." Thesis, Manchester Metropolitan University, 2012. http://e-space.mmu.ac.uk/556479/.

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Abstract:

This thesis aims to dispute derogatory and disdainful attitudes towards contemporary Thai film, ones that follow a long history of viewing Thailand and Thai culture as inferior. Through conducting a case study of the popular horror genre I illustrate that New Thai cinema follows a hybrid film form that has resulted in such condescending interpretations. This is an amalgamation of an earlier post-war 'characteristically Thai' film style that is a product of the lower-class rural context and the globally dominant EuroAmerican 'Natural Language' of horror. Furthermore, I illustrate that while Tha

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Christol, Florent. "Massacres et mascarades : « Hop-Frog » d'Edgar Poe (1849) et le film d'horreur américain contemporain (1964-1984)." Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5014.

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Le slasher est un sous-genre du film d'horreur reposant sur une figure de tueur masqué punissant en apparence la sexualité adolescente. Très populaire auprès du public adolescent de 1978 à 1984, il serait, selon de nombreux critiques, une expression de sadisme « gratuit ». Cependant, toute production culturelle possède une légitimité qui peut lui être conférée en trouvant une clé de lecture adéquate. Cette clé est selon-nous un archétype culturel que nous nommons foolkiller, et qui figure une victime marginale sanctionnant les actes irresponsables mettant en danger les membres les plus faibles

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