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Journal articles on the topic 'Horror films'
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Dappa, Debora, and Kalis Stevanus. "Analisis Pemahaman dan Perilaku Remaja Kristen Penyuka Film Horor Mengenai Setan dan Pekerjaannya." HARVESTER: Jurnal Teologi dan Kepemimpinan Kristen 9, no. 1 (June 30, 2024): 46–63. http://dx.doi.org/10.52104/harvester.v9i1.169.
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Teenagers are very fond of horror movies because they believe that watching horror films can test their bravery. Also, to satisfy their high curiosity about mystical things. However, horror films always present frightening and terrifying things that can have a negative impact on teenagers' understanding and behavior regarding demons and their work. This study aims to determine the understanding of Christian teenagers who like horror films and their influence on their behavior. To answer the research objectives, the author chose to use qualitative research methods. The results show that Christian teenagers who like horror films mostly do not have a correct understanding of demons and their work, and horror films tend to negatively influence teenage behavior.AbstrakRemaja sangat menyukai film horor karena beranggapan bahwa menonton film horor dapat menguji keberanian. Selain itu juga untuk memenuhi rasa ingin tahu yang tinggi terhadap hal-hal yang bersifat mistis. Meskipun demikian, film horor selalu menyuguhkan hal-hal yang bersifat menakutkan dan meneror sehingga dapat berdampak buruk terhadap pemahaman dan perilaku remaja mengenai setan dan pekerjaannya. Penelitian ini bertujuan mengetahui pemahaman remaja Kristen penyuka film horor dan pengaruhnya terhadap perilaku mereka. Untuk menjawab tujuan penelitian tersebut, penulis memilih menggunakan metode penelitian kualitatif. Hasilnya bahwa ternyata remaja Kristen penyuka film horor sebagai besar tidak memiliki pemahaman yang benar mengenai setan dan pekerjaannya serta film horor lebih cenderung memengaruhi perilaku remaja secara negatif.
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Weston, Gavin, Jamie F. Lawson, Mwenza Blell, and John Hayton. "Anthropologists in Films: “The Horror! The Horror!”." American Anthropologist 117, no. 2 (February 2015): 316–28. http://dx.doi.org/10.1111/aman.12233.
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Wijayanti, Sri. "Pengemasan Karakter Perempuan di Film Horor Indonesia Terlaris Periode 2017-2022." Jurnal Mahardika Adiwidia 3, no. 1 (January 11, 2024): 23–33. http://dx.doi.org/10.36441/mahardikaadiwidi.v3i1.2001.
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Horror films are a commercial and popular genre for Indonesian audiences. Female characters are often the main attraction of Indonesian horror films. In its development there are changes in the portrayal of female characters in Indonesian horror films in the 2000s. For this reason, this study aims to determine the packaging of female characters displayed in the 20 best-selling Indonesian horror films produced in 2017-2022. The research method used qualitative content analysis of the presentation of main and auxiliary female characters with a focus on the film's sub-genre, duration, role and characterization, and female image. The research findings show that females are starting to be represented as progressively formulated characters. This means that females are still used as prominent main characters in the story. However, in different packaging, among others, the role of females is transformed into fighters and protagonists. The characterization of female characters is made more substantive by raising new story standards, supported by an aesthetic cinematographic style. The mecca of content based on family issues, cultural myths, and social themes is a new standard of story quality in Indonesian horror films.
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Falvey, Eddie. "‘Art-horror’ and ‘hardcore art-horror’ at the margins: Experimentation and extremity in contemporary independent horror." Horror Studies 12, no. 1 (March 1, 2021): 63–81. http://dx.doi.org/10.1386/host_00029_1.
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The changing forms of contemporary horror have been the subject of much discussion, both in popular journalism and scholarship. Amid an on-going discussion on the arrival and characteristics of what has been contentiously termed ‘post-horror’, this article seeks to situate recent independent American horror within the context of the recent art film, in keeping with the work of Geoff King, as well as the traditions of ‘art-horror’ as it has been referred to by Joan Hawkins. Using a series of examples taken from recent independent horror – including A Ghost Story (David Lowery 2017) and The Lighthouse (Robert Eggers 2019), as well as the micro-budget independent films of Phil Stevens – Falvey makes use of King’s work to explore the textual characteristics of recent ‘art-horror’. Falvey argues that films iterative of this mode employ experimentation and extremity (in various forms) to discursively position the films away from more generically recognizable studio horror films in a bid for critical distinction.
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Millar, Becky, and Jonny Lee. "Horror Films and Grief." Emotion Review 13, no. 3 (July 2021): 171–82. http://dx.doi.org/10.1177/17540739211022815.
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Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.
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Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 139–59. http://dx.doi.org/10.1215/02705346-8085147.
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In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.
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Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (October 1, 2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.
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Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way we write our histories, and what this might say about our representation of personal, cultural and national identities. Ultimately, this essay is guided by the following question: what might a feminist historiography of horror cinema look like?
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Friedman, Susan Hatters, Fernando Espi Forcen, and John Preston Shand. "Horror films and psychiatry." Australasian Psychiatry 22, no. 5 (July 16, 2014): 447–49. http://dx.doi.org/10.1177/1039856214543087.
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Zhao, Guanhan. "Comparative Analysis of Female Images in Chinese and Korean Horror Films in the New Century." Highlights in Art and Design 4, no. 3 (December 20, 2023): 76–78. http://dx.doi.org/10.54097/s0kirtvi.
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As one of the main types of commercial films, horror films have developed rapidly in recent years, and the female characters in horror films often occupy the main part of the movie narrative. South Korea is very similar to China, as it is a country deeply influenced by Confucian culture. The two countries have more or less connections in shaping female images in horror films. This paper will conduct a comparative analysis of the female image characteristics in horror films between China and South Korea after the year 2000, in order to further investigate the multiple factors that affect film and television creation.
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Yana, Tsyrlina. "Non-Human Uncanny in Body Horror Movies." TECHNOLOGOS, no. 3 (2024): 37–48. http://dx.doi.org/10.15593/perm.kipf/2023.3.03.
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The article presents an attempt to theorize the modes of body transformation in body horror films, as well as their impact on the viewer's body experiences and, in a more complex perspective, on the understanding and conceptualization of the body. In doing so, the author includes the concepts of “horror body” and “non-human” in her research, considering new body horror films in a post-human and non-human perspective. In addition, the author turns to the concept of the “new flesh” by David Cronenberg to identify technological or specific mutations in body horror films. According to the author, body horror films have an impact on the viewers' body, forcing them to experience their body as deformed, going beyond its own boundaries. Therefore, the horror of the transformed body in these films is marked by a “shock identity”. The power of horror allows transcending the boundaries of human entity and, in this sense, horror unsettles the belief that this world is only created for human beings and their bodies. In the article, the author applies the concepts of “abjection” by Julia Kristeva, “grotesque body” by Barbara Creed and “unhuman” by Dylan Trigg to show that the holistic state of the human body is becoming more problematic, and the dominance and exclusivity of man is being questioned. The author makes the assumption that body horror films allow us to enter the context of a new posthuman era in which people and non-people form the “new flesh” (technological or specific). Thus, body horror visualizes the becoming of a new body connected to a new recombined or recomposed human flesh which may have to come in the future.
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Zikri, Afdal, Fitri Handayani, and Jamal Mirdad. "Analysis of Horror Film Content as Digital Media for Islamic Dakwah." Abdurrauf Journal of Islamic Studies (ARJIS) 3, no. 2 (June 30, 2024): 115–25. http://dx.doi.org/10.58824/arjis.v3i2.134.
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In the midst of today's increasingly sophisticated conditions, people's awareness of religious knowledge is increasingly decreasing. For this reason, there is a need for media that can be used as a medium for conveying da'wah messages. The rise in popularity of horror films nowadays can be used as a medium for preaching. However, debates often occur regarding the permissibility of watching horror films, which also leads to people's doubts about doing this. This research aims to find out horror films as an alternative medium for preaching and the law of watching horror films in Islam. This study uses a qualitative method. Qualitative methods are methods for interpreting a meaning. This research uses this analysis approach or content analysis with the type of library study research. The results of this research found that horror films can be used as a medium for Islamic da'wah because they are able to convey religious moral values. The law of watching horror films itself is actually not recommended because it can affect many things. However, it is permissible if the matter can have more positive impacts than negative impacts. [Abstrak: Di tengah kondisi zaman saat ini yang semakin canggih kesadaran umat tentang pengetahuan beragama pun semakin menurun. Untuk itu perlu adanya media-media yang dapat digunakan sebagai media penyampaian pesan dakwah. Naik daunnya film horror saat ini bisa dimanfaatkan sebagai salah satu media dakwah. Namun seringkali terjadi perdebatan mengenai kebolehan dalam menonton film horror juga menjadi keraguan umat dalam mengerjakan perkara tersebut. Penelitian ini bertujuan untuk mengetahui film horror sebagai alternatif media dakwah dan hukum menonton film horror dalam Islam. Penelitian ini menggunakan metode kualitatif. Metode kualitatif adalah metode untuk menginterprestasi suatu makna. Penelitian ini menggunakan pendekatan analisis ini atau analisis konten dengan jenis penelitian studi pustaka. Hasil penelitian ini menemukan bahwa film horror dapat dijadikan sebagai media dakwah Islam karena mampu mengantarkan nilai-nilai moral agama. Hukum menonton film horror sendiri sebenarnya adalah tidak disanrankan karena dapat mempengaruhi pada banyak hal. Namun di perbolehkan apabila perkara tersebut dapat memberikan lebih banyak dampak positif daripada dampak negatifnya.]
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Whittaker, Nicholas. "Towards a Definition of Black Cinematic Horror." Film and Philosophy 26 (2022): 23–40. http://dx.doi.org/10.5840/filmphil2021111812.
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In this essay, I sketch a preliminary, phenomenological definition of black horror cinema. I argue that black horror films are films in which blackness and antiblackness are depicted as unintelligible. I build this definition first by arguing that horror films generally evoke a mood of Heideggerian uncanniness, by which I mean that they create a global affective state in which the world is experienced as unintelligible. I then turn to the Afropessimist theorizing of Frank B. Wilderson, who proposes both that blackness and antiblackness are phenomenologically graspable as unintelligible, and that cinema resists this unintelligibility by warping blackness and antiblackness. However, I thus contend that black horror is an exception to this rule. Black horror films take advantage of horror’s uncanny mood to craft a filmic world in which blackness and anti blackness are unintelligible.
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Williams, Evan Calder. "Sunset with Chainsaw." Film Quarterly 64, no. 4 (2011): 28–33. http://dx.doi.org/10.1525/fq.2011.64.4.28.
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Looking back at three films (The Night of the Hunter, House, and The Texas Chainsaw Massacre), this essay proposes a new way to read horror politically, moving away from allegories of “horrible content” in favor of an attention to the horrors of form and how “secondary” background details assert themselves.
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Finta, Fadia, and Moh Atikurrahman. "THE ICONICITY OF WOMEN IN INDONESIAN HORROR FILMS: A SEMIOTIC RESEARCH OF POSTERS FROM 2022-2023." Matapena: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya 6, no. 2 (December 31, 2023): 384–94. http://dx.doi.org/10.36815/matapena.v6i02.2770.
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This article aimed to investigate the sign system in Indonesian horror film posters throughout the years 2022-2023. Over the past two years, an intriguing trend emerged in relation to horror films in Indonesia, wherein iconicity involving women became the representamen of the sign system within a film poster. The research methodology used was qualitative description, with Indonesian horror films from the years 2022-2023 serving as the data source. To comprehend the meanings encapsulated within the latest Indonesian horror film posters, Charles Sanders Peirce's paradigm on signs was adopted as a reference to understand the research material – the Indonesian horror film posters from 2022-2023. The research results showed that the representation of meaning in the Indonesian horror film posters from 2022-2023, which were employed as icons within their posters, centered around women. In terms of color selection for the letters in the posters, the use of red was notable, symbolizing the color of blood. Keywords: poster, women, Indonesian horror films, Peirce
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Bozkurt, Ferdi, and Mandana Kolahdouz Mohammadi. "A Corpus-Based Socio-Onomastic Analysis On Turkish And American Horror Film Naming." CINEJ Cinema Journal 11, no. 2 (December 20, 2023): 418–45. http://dx.doi.org/10.5195/cinej.2023.589.
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Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were investigated. The hypothesis was that Turkish horror film naming uses religious elements due to religious background. But according to the present study's findings, religious elements are also available in USA horror film naming. Yet, while making and naming their films, American horror film producers pay more attention to cultural events than Turkish filmmakers. On the other hand, the keywords used in naming Turkish and American horror films, regardless of their languages, were the same.
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., Ediantes, Hanggar Budi Prasetya, Koes Yuliadi, Iwan Pranoto, Marti Fauziah Ariastuti, and Desi Trisnawati. "Viralization of Mystic Stories and Lore in Horror Films Produced by Indonesia." International Journal of Religion 5, no. 11 (June 15, 2024): 1192–202. http://dx.doi.org/10.61707/c70kq287.
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This research aims to investigate the influence of social media influencers and title-naming on the success of the horror genre. Influencers are vital in promoting a film through social media. Engaging influencers’ reviews can reach a broader and more diverse audience. This ability becomes a unique appeal to introduce a film title to their followers so that the title can create curiosity among the enthusiasts on the depiction of the atmosphere. This research is conducted using a qualitative approach. The main data of this research is the influencer, horror films, and films synopsis released in 2023. The data are collected by tracking the internet. This research covers 1) The phenomena of horror film influencers 2) The use of titles in horror films 3) The criteria of horror films in cinemas. This research recommends film activists give some space for influencers as a strategy to uplift the appeal of a film.
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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.
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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.
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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.
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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 “Pengabdi Setan†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.
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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/jbn.vol2.no1.1712.
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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 “Pengabdi Setan†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.
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Sbravatti, Valerio. "Acoustic Startles in Horror Films." Projections 13, no. 1 (March 1, 2019): 45–66. http://dx.doi.org/10.3167/proj.2019.130104.
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The acoustic blast is one of the most recurrent sound devices in horror cinema. It is designed to elicit the startle response from the audience, and thus gives them a “jump scare.” It can occur both in the form of a diegetic bang and in the form of a nondiegetic stinger (i.e., a musical blare provided by the score). In this article, I will advance the hypothesis that silence plays a crucial role in contemporary horror films, both perceptually, since it leaves the sound field free for the acoustic blast, and cognitively, since it posits the audience in an aversive anticipatory state that makes the startle more intense. I will analyze the acoustic startle using a neurofilmological approach, which takes into account findings from experimental sciences in order to better understand the relationship between physiological and psychological factors that make such an effect possible during the filmic experience.
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Muzio, Gianluca Di. "The Immorality of Horror Films." International Journal of Applied Philosophy 20, no. 2 (2006): 277–94. http://dx.doi.org/10.5840/ijap200620222.
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Kreider, S. Evan. "The Virtue of Horror Films." International Journal of Applied Philosophy 22, no. 1 (2008): 149–57. http://dx.doi.org/10.5840/ijap200822111.
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Hulsing, Milan. "Pashto Horror films in Pakistan." Wasafiri 19, no. 43 (December 2004): 53–57. http://dx.doi.org/10.1080/02690050408589939.
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Iktia, Garcia. "INTEPRETASI TRADISI ADAT JAWA RUWATAN DALAM FILM PRIMBON KARYA RUDI SOEDJARWO." Jurnal Budaya Nusantara 6, no. 3 (March 30, 2024): 376–83. http://dx.doi.org/10.36456/jbn.vol6.no3.8893.
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The increasingly rapid growth of the Indonesian film industry has experienced big leaps to date with many themes and film genre variants emerging for entertainment and conveying messages to its target audience. One of the films that always has a special audience and its own audience is films with the horror genre, and the horror film genre in Indonesian films has experienced a lot of rapid progress apart from the cinematography, setting, and content and stories from discussing religion and myths circulating in the world. society and currently there are more and more horror films highlighting Indonesian culture which is indeed diverse and interesting to discuss in a film's narrative. The aim of this research is to describe the interpretation of 'Ruwatan' from the horror film PRIMBON by director Rudi Soedjarwo. This qualitative research uses content analysis and historical analysis regarding the exact role of 'Ruwatan' in this film which has a big impact on Javanese culture in Indonesia. with the results of the analysis that the film 'Primbon' succeeded in introducing the ruwatan procession as a Javanese culture and custom that is very essential and cannot be replaced, because it is used as an important procession in salvation to eliminate disasters, a wider audience can understand this with the media films and film directors do not need to change the narrative or context to a more cinematic one, the actual procession can be shown as it is. Culture and customs are very relevant as narratives in films not only because of trends or market accommodation but for the broader purpose of introducing culture and customs by using film as a mass medium that can reach a wider audience.
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Ancuta, Katarzyna. "Lost and Found: The Found Footage Phenomenon and Southeast Asian Supernatural Horror Film." Plaridel 12, no. 2 (August 30, 2015): 149–77. http://dx.doi.org/10.52518/2015.12.2-08ancta.
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This article offers a brief historical and theoretical overview of found footage films and their contribution to the horror genre, and focuses in more detail on four Southeast Asian productions of the kind made between 2009-2012: Keramat/Sacred (Servia & Tiwa, 2009), Seru/Resurrection (Asraff, Pillai, Andre & Jin 2011), Haunted Changi (Kern, Woo & Lau, 2010), and Darkest Night (Tan, 2012), all of which can be viewed as an alternative to the mainstream local horror cinema. The paper argues that the two most common strategies used by found footage horror films (including the four films in question) are the techniques that effectively authenticate the horror experience: inducing a heightened perception of realism in the audience and a contradictory to it feeling of perceptive subjectivity.
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Fa, Jong Li, Dwi Leyli Ningsih, Wahyu Rismayuda Dwitama, and M. Aries Taufiq. "Language Style of Horror Movies and Audiences’ Psychological Response." Modality Journal: International Journal of Linguistics and Literature 3, no. 2 (January 16, 2024): 107. http://dx.doi.org/10.30983/mj.v3i2.8003.
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<p class="abstrak" align="center"><strong>Abstract</strong></p><p class="abstrak">The development of technology in Indonesia has an impact on the development of the entertainment world, including movies. Movies consist of various genres, one of which is horror. Among Indonesians, horror is a popular genre, especially highlighting customs, rituals, and traditions. Horror movies aim to cause fear and disgust in the audience by providing entertainment. This study aims to determine whether horror genre movies are the favorite movies of Indonesian people. The method used in this research is qualitative research by interviewing respondents and distributing questionnaires online on social media. The results in the study reveal that the horror films use material and attributive processes in delivering dialog. In terms of psychological aspect, the horror genre in Indonesia is one of the genres favored by the audience. The large population in Indonesia and the culture and customs inherent in Indonesia such as belief in mystical or supernatural things in horror movies can be said to have various impacts. Impacts such as adrenaline, fear, and so on are what make it interesting so that the audience likes it.</p><p class="abstrak" align="left"><strong>Keywords:</strong> fans, horror, movie</p><p class="abstrak" align="center"><strong>Abstrak</strong></p><p> </p><p><em>Perkembangan teknologi di Indonesia berdampak pada perkembangan dunia hiburan, termasuk film. Film terdiri dari berbagai macam genre, salah satunya adalah horor. Di kalangan masyarakat Indonesia, horor merupakan genre yang banyak digemari, terlebih mengangkat adat istiadat, ritual, dan tradisi. Film horor bertujuan untuk menimbulkan rasa takut dan jijik pada penonton dengan sifat memberi hiburan. Penelitian ini bertujuan untuk mengetahui apakah film bergenre horor menjadi film favorit masyarakat Indonesia. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan cara mewawancarai responden dan menyebarkan kuesioner secara online di media sosial. Hasil dalam penelitian mengungkapkan bahwa </em><em>f</em><em>ilm-film horor menggunakan proses material dan atributif dalam menyampaikan dialog.</em><em> Dari sisi psikologis, </em><em>genre horor di Indonesia menjadi salah satu genre yang digemari para penonton . Banyaknya jumlah penduduk di Indonesia dan budaya serta adat istiadat yang melekat di Indonesia seperti kepercayaan akan hal-hal mistis atau supranatural dalam film horor dapat dikatakan memberikan berbagai dampak. Dampak-dampak seperti memacu adrenalin, rasa takut, dan lain sebagainya inilah yang membuatnya menarik sehingga disukai penonton.</em></p><p><em> </em></p><p class="abstrak"><strong><em>Kata Kunci: </em></strong> <em>fans, horor, </em><em>film</em></p>
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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.
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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.
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Nair A S, Aswathy, and LaxmiDhar Dwivedi. "Modern Horror Thrillers: A Traumatic and Linguistic Study of the Movies The Little Stranger and The Boy." World Journal of English Language 13, no. 8 (September 4, 2023): 76. http://dx.doi.org/10.5430/wjel.v13n8p76.
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Emerging as an exhilarating genre in the current film industry, horror thrillers are a new genre alongside science fiction. These genre forms captivate the audience because they offer a brief but exhilarating break from daily life and serve as an escape from reality. In these films, William Brent Bell and Lenny Abrahamson, directors of The Boy and The Little Stranger, respectively, demonstrated the modern horror thriller technique. This research intends to demonstrate how splendidly traumatic events are utilised in contemporary films, along with the ideal discourse change in those people who are suffering from mental trauma, which has inspired the current interest in horror thrillers. This study was based on two perspectives: the first was the destructive power of trauma and its impact on one’s language, which can ruin or bring about disaster in one's life, and the second was how the film industry makes use of this trauma for the commercial success of horror films. In both of these films, horror is portrayed through unusual settings and occurrences. Through discourse analysis and descriptive methods, this study can conclude with the idea that conventional belief in spirits and other supernatural beings was irreparably damaged in today’s films. These films may be compelled to depict the reality that each individual's suffering induces fear, resulting in the emergence of fantastical, eerie concepts and a change in their language.
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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.
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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.
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Baumgärtel, Tilman. "Asian Ghost Film vs. Western Horror Movie: Feng Shui." Plaridel 12, no. 2 (August 30, 2015): 1–13. http://dx.doi.org/10.52518/2015.12.2-01tbmgtl.
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In this essay I will examine the question to what extent the Philippine production Feng Shui (Roño, 2004) is a horror film according to the well-established (Western) definitions of the genre. This seems to be a pertinent question as many Filipino horror films are based on ghost stories and folklore from the archipelago, that are often a lived reality and believed in by many people in the Philippines. The fact that Feng Shui as well as other horror films from Southeast Asia are produced for an audience that actually believes in ghosts seems to me to be very relevant for the analysis of these films. I will argue that Feng Shui shares a good number of traits with other Asian ghost films, but that it also features “the return of the repressed” that according to the late film critic Robin Wood is one of the defining features of Western horror movies.
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Ainslie, Mary. "Thai Horror Film in Malaysia: Urbanization, Cultural Proximity and a Southeast Asian Model." Plaridel 12, no. 2 (August 30, 2015): 55–82. http://dx.doi.org/10.52518/2015.12.2-04ansli.
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This article examines Thai horror films as the most frequent and visible representation of Thai cultural products in Malaysia. It outlines the rise of Thai horror cinema internationally and its cultivation of a pan-Asian horrific image of urbanization appropriate to particular Malaysian viewers. Through a comparison with Malaysian horror film, it then proposes a degree of “cultural proximity” between the horrific depictions of these two Southeast Asian industries which point to a particularly Southeast Asian brand of the horror film. Despite such similarity however, it also indicates that in the changing and problematic context of contemporary Malaysia, the ‘trauma’ that is given voice in these Thai films can potentially offer the new urban consumer an alternative depiction of and engagement with Southeast Asian modernity that is not addressed in Malaysian horror.
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Baako, Logan. "The Evolution of Horror Films: From Classic Monsters to Psychological Terrors." Art and Society 2, no. 5 (October 2023): 1–10. http://dx.doi.org/10.56397/as.2023.10.01.
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This paper delves into the fascinating journey of the horror film genre, tracing its evolution from classic monster themes to the emergence of psychological terrors. Through an exploration of key trends, shifts in audience preferences, and the cultural impact of horror films, this review provides insights into how the genre has transformed over time. From the foundational classic monsters to the rise of supernatural horror and the exploration of the human psyche, this paper offers a comprehensive analysis of the dynamic progression of horror cinema.
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Bickenbach, Matthias. "Terror nicht Horror." Zeitschrift für Medien- und Kulturforschung, no. 1 (2009): 167–84. http://dx.doi.org/10.28937/1000107496.
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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.
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Baglay, Valentina. "The horror genre in the world art. Iberian and Western folklore motifs." Latinskaia Amerika, no. 1 (2023): 96. http://dx.doi.org/10.31857/s0044748x0023819-9.
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Modern cinema, including horror films, in search of artistic and commercial success, is persistently looking for successful projects, where the right path is certainly the right choice of characters and plots. The article deals with horror in game cinema, based on the motives of folklore and post-folklore. As an example, the use of images of monsters from the Iberian ethno-folklore, as well as other similar characters in other cultures, is analyzed. The advantage of such scenarios is their originality. Films based on them are guided by traditions, the artistic images of which develop organically in the collective memory of ethnic groups. In addition, invariants are formed that differ in a greater variety than those generated by the imagination of individual cinematographers. Such a direction of horror development is a possible way to overcome cliches in horror films as an essential direction of modern Western cinema.
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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.
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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.
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Jancovich, Mark. "Beyond the slasher film: History, seriousness and the problem of the children’s audience in the critical reception of big-budget horror in the late 1970s and early 1980s." Horror Studies 13, no. 2 (October 1, 2022): 161–76. http://dx.doi.org/10.1386/host_00052_1.
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An analysis of the horror films of late 1970s and early 1980s argues that although this period is usually understood as one that was dominated by the slasher film, it was actually one defined by a wave of big-budget horror films. Furthermore, through an analysis of the reception of these films in mainstream publications such as the New York Times, the article not only explores features and trends that these films were understood as exhibiting but also the broader discourses through which films were either championed or condemned by reviewers.
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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.
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Rosen, Ido. "National Fears in Israeli Horror Films." Jewish Film & New Media: An International Journal 8, no. 1 (March 2020): 77–103. http://dx.doi.org/10.1353/jfn.2020.0003.
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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.
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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.
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Lu, Yan. "Analysis on Horror Genre Films - Taking Us as an Example." Communications in Humanities Research 3, no. 1 (May 17, 2023): 451–58. http://dx.doi.org/10.54254/2753-7064/3/20220409.
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Horror movies are usually regarded as empty calories for audiences to watch. The film industry did not pay much attention to horror genre movies. But since Get Out (2017) and Hereditary (2018) was released, horror films begin a new era. They have respect from the studios and their audiences and contain many cultural things and become more thought provoking. The paper, through a method of literature analysis, explores some deep meanings behind nowadays horror movies and how they achieve these by using cinematography, color elements and metaphors, especially in Us (2019), which is directed by Jordan Peele. In the film Us, us vs. them mentality is presented. Duality is also a significant idea in the film. Jordan Peele employs visual design like red clothes and gold scissors and uses low key lighting, diverse colors and a lot of props. The paper also emphasizes the political issues that are revealed in the film. The paper finds that horror movies can help people relax themselves and at the same time, reveal humanities, realistic problems and social situations.
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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.
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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.
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Permatasari, Shita Dewi Ratih, and Ni Made Widisanti. "Hantu Perempuan sebagai “Produk Gagal” dalam dua Film Horor Indonesia: Pengabdi Setan (2017) dan Asih (2018)." Media Bahasa, Sastra, dan Budaya Wahana 25, no. 1 (July 22, 2019): 86–97. http://dx.doi.org/10.33751/wahana.v25i1.1220.
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AbstractAs a product of popular culture, films are mostly utilized as propaganda to convey certain ideologies. Therefore, the cultural phenomena and reality portrayed in films cannot be separated from the dominant ideology. “Pengabdi Setan” 2017 (Satan’s Slave) and “Asih” 2018 are two Indonesian horror films serving as media to represent the cultural phenomena through female ghost characters. In many Indonesian horror movies, women are mostly represented as ghosts associated with negative social attributes. The purpose of this research is to dismantle the hidden ideologies behind the representation of female ghosts in these two films. The qualitative method and cultural studies perspective are utilized to reveal and unearth the dominant ideology inserted in a film as a cultural text. The research findings posit that the characters of female ghosts are represented as a ‘failed product” excluded from the constructions of “ideal” female in patriarchal sense. The image of mother as a ghost in Pengabdi Setan implies that to become ‘ideal”, women must be able to give birth and raise children, while in Asih a woman is claimed to keep their virginity until she officially gets married. In this context, marriage and procreative sexuality are acknowledged by the state. Both female characters in these films have failed to meet these qualifications. Through these two Indonesian horror films, patriarchy as a dominant view in Indonesia is again conformed and exercised in the society to define the female ‘ideal’ construction.Keywords: horror films, representation, female ghost, patriarchy.
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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.
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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.
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Wang, Zicheng. "Research on the filming techniques and promotion strategies of Youtube's popular horror short movies." BCP Social Sciences & Humanities 20 (October 18, 2022): 49–52. http://dx.doi.org/10.54691/bcpssh.v20i.2154.
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In terms of film genres, horror is a very specific one that requires some very specific lighting techniques. This paper analyzed some determining elements in some successful horror short videos that helped to win ideal number of views, and proposed a promotion strategy that could be used to boost the wide spread of YouTube horror short films. The research can contribute to discussions on how to integrate shooting techniques and desired promotion strategies in terms of online short horror videos.
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Sutandio, Anton. "The Return of the Repressed: Pemuda and the Historical Trauma in Rizal Mantovani and Jose Purnomo’s Jelangkung." Plaridel 12, no. 2 (August 30, 2015): 131–48. http://dx.doi.org/10.52518/2015.12.2-06stndio.
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Being the first horror film produced after the Reformation period, Rizal Mantovani and Jose Purnomo’s Jelangkung (2001) played an important role in resurrecting the horror genre. As a commercially successful film, it became the blueprint for horror films produced afterwards. It challenged the New Order horror narrative pattern, introducing significant changes such as the shift towards pemudas or the youth as the central characters in the film, the absence of a patriarchal figure, and the open ending. These changes could well have been influenced by trends in global horror cinema, but for Indonesian films specifically, on the allegorical level, they have been able to effectively capture the anxiety and fear pemudas felt during the Reformation, especially about what it means to be a young Indonesian in post-Soeharto times. This study explores the allegorical function of this contemporary Indonesian horror film, focusing on how Jelangkung represents “the return of the repressed” through what Lowenstein (2005) calls “allegorical moments.” It also attempts to locate these moments in Jelangkung, contextualizing the return of the repressed as the fear and anxiety toward the unresolved May 1998 traumatic event in Indonesia and the existing patriarchal system.
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Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (February 2, 2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.
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ABSTRACT
Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to the formation of the devil Mahakali figure, the application of rules in film is also worked out in such a way as to produce a film work that can give the impression of horror to the audience. It is hoped that the works of secondhand horror puppet films will become an offer or a new style in the world of puppet creativity as well as being a useful contribution to the development of arts and sciences.
ABSTRAK
Bekasakan merupakan sebuah karya film horor dengan menggunakan media wayang kulit sebagai objek pemerannya. Karya ini bertujuan untuk menciptakan sebuah genre baru dalam dunia pewayangan terutama dalam mengemas tema-tema horor sebagai lakon pertunjukan secara khusus. Berpijak dari pertunjukan wayang yang kemudian diangkat ke dalam perspektif film menjadikan karya ini sebagai salah satu tawaran menarik bagi dunia pewayangan. Kebaruan dari karya ini adalah pembentukan sosok setan Mahakali yang direalisasikan dengan penggambaran anatomi tubuh yang aneh sekaligus memberi kesan seram bagi penonton. Selain terbentuknya sosok setan Mahakali juga penerapan kaidah-kaidah dalam perfilman digarap sedemikian rupa sehingga menghasilkan suatu garap karya film yang dapat memberi kesan horor bagi pernonton. Karya film wayang horor bekasakan diharapkan dapat menjadi tawaran atau gaya baru dalam dunia kreativitas pewayangan sekaligus dapat menjadi sumbangan berguna bagi perkembangan ilmu seni dan ilmu pengetahuan.
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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.
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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.
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Ha, Ju-Yong, and Joel David. "Alien Abjection Amid the Morning Calm: A Singular Reading of Horror Films from Beyond Southeast Asia." Plaridel 12, no. 2 (August 30, 2015): 178–200. http://dx.doi.org/10.52518/2015.12.2-09hadvd.
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Although Korean cinema managed to ride the crest of Western appreciation (and appropriation) of Asian horror, Korean horror films had to struggle for recognition within the nation. Horror film production, in fact, was downgraded so severely by the government that during certain years, including an extended period starting in the late 1980s, no horror film project was undertaken. This article seeks to look into the causes of the difficulties experienced by horror film production outside Southeast Asia (specifically in Korea), and to posit that a hybridic relation with other Asian cinemas—including, as a specialized case, the Philippines’—has contributed to the stabilization and mainstream acceptance of Korean horror film production since the genre’s revival in the late 1990s. It also attempts an answer to the useful question of the reciprocity of film influences in the larger Asian region i.e., that as much as East Asian horror has impacted other national film cultures, Southeast Asia, via the Philippines, has also managed to signify as a spectral presence in East Asian cinema.
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Br Sinulingga, Jesica Emarapenta, and Hizkya Cesar Kayika Sitorus. "Analisis Sentimen Opini Masyarakat terhadap Film Horor Indonesia Menggunakan Metode SVM dan TF-IDF." Jurnal Manajemen Informatika (JAMIKA) 14, no. 1 (February 3, 2024): 42–53. http://dx.doi.org/10.34010/jamika.v14i1.11946.
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In the digital era, public opinions regarding Indonesian horror films often receive significant attention on social media platforms. The objective of this study is to assess the perspectives and sentiments expressed by the public concerning Indonesian horror films. The Support Vector Machine (SVM) method along with Term Frequency-Inverse Document Frequency (TF-IDF) is utilized as the primary analytical tool in this research. Issues and public viewpoints regarding horror films are extracted from social media platforms to identify both pros and cons. Employing the SVM method in conjunction with text representation using TF-IDF is expected to provide comprehensive insights into the emotional responses of the public toward specific film genres. The analyzed dataset comprises 2281 entries. Subsequently, the application of the Support Vector Machine (SVM) algorithm is employed for text classification, coupled with word weighting using TF-IDF. The outcomes of this analysis exhibit an accuracy of 82.51%, a precision of 5.28%, a recall of 7.26%, and an F1 Score of 6.12%. This study demonstrates the efficacy of the SVM and TF-IDF methods in classifying public sentiment toward Indonesian horror films and has the potential to provide insights into the social impact and reception of film works within the entertainment industry.
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Redfern, Nick. "A Data Set for US Horror Film Trailers." Research Data Journal for the Humanities and Social Sciences 6, no. 1 (November 9, 2021): 1–12. http://dx.doi.org/10.1163/24523666-bja10017.
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Abstract This article presents a new data set comprising audio, colour, motion, and shot length data of trailers for the fifty highest grossing horror films at the US box office from 2011 to 2015. This data set is one of the few available for computational film analysis that includes data on multiple elements of film style and is the only existing data set for motion picture trailers suitable for formal analyses. Data is stored in csv files available under a Creative Commons Attribution 4.0 International license on Zenodo: www.doi.org/10.5281/zenodo.4479068.