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Journal articles on the topic 'Horror in art'
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1
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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Hanscomb, Stuart. "Existentialism and Art-Horror." Sartre Studies International 16, no. 1 (January 1, 2010): 1–23. http://dx.doi.org/10.3167/ssi.2010.160101.
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Pascale, Marius A. "Art Horror, Reactive Attitudes, and Compassionate Slashers." International Journal of Applied Philosophy 33, no. 1 (2019): 141–59. http://dx.doi.org/10.5840/ijap201981116.
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In “The Immorality of Horror Films,” philosopher and film scholar Gianluca Di Muzio proposes an analytic argument that aims to prove horror narratives, particularly slashers, unethical. His Argument from Reactive Attitudes contests slashers encourage pleasurable responses towards depictions of torture and death, which is possible only by suspending compassionate reactions. Doing so degrades sympathy and empathy, causing desensitization. This article will argue Di Muzio’s ARA, while valuable to discussion of art horror and morbidity, fails to meet its intended aim. The ARA contains structural flaws in its logic, compounded by reliance on insufficient evidence. Additionally, Di Muzio does not adequately consider or rebut prominent aesthetic concerns, including ontological and moral distance of representations. Lastly, the argument utilizes a flawed classificatory schema that undermines its primary goal. Even narrowly confined to slashers, the ARA cannot explain alternative reasons for engaging with horror, nor does it account for those nuanced slasher works designed to foster compassion. The project concludes by offering a modified ARA with greater potential to accurately analyze the interrelation between art horror and morality.
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Contesi, Filippo. "Carroll on the Emotion of Horror." Projections 14, no. 3 (December 1, 2020): 47–54. http://dx.doi.org/10.3167/proj.2020.140304.
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Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond).
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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.
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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. There are also reports of some peoples that allegedly also consider the soul to be closely bound to photography and in consequence abhor photography, as the film is supposedly capable of capturing and depriving the photographed person of their soul. Films like The Ring, The Others, Peeping Tom, and The Invisible Man demonstrate how frequently uncanny photography appears in the horror film genre and open questions about the reasons of such depictions. While the theory of horror claims that horror uses specific iconography of fear to reflect the common fears of the time (e.g. an invasion of giant insects and carnivorous plants in the 50s as a consequence of American fear of a communist invasion), the article explores the issue of photography as the main antagonist in the horror genre of the 21st century and whether this means that it appears as the universal fear of digital identity, surveillance, and identity theft.
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Oeler, Karla. "Eisenstein and Horror." Journal of Visual Culture 14, no. 3 (December 2015): 317–31. http://dx.doi.org/10.1177/1470412915608138.
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‘Eisenstein and Horror’ places Eisenstein’s unfinished work, Method (2002 [1932–46]) in dialogue with key concepts that have been brought to bear on cinematic horror: ambivalence, excess, affect, and abjection. It argues that in Method, Eisenstein, largely through the astounding range of his examples, de-emphasizes the difference between narrative and non-narrative in favor of a broader compositional perspective that can only strengthen accounts of horror as reflex, and of self-referential horror. In Method, Eisenstein develops the idea that foundational structures of art (metaphor, metonymy, pars pro toto, and rhythm) are also those of thinking: thinking in art and life proceeds along, and undoes, associative pathways of similarity and contiguity that are variously calculable and unpredictable. In building its argument, this article offers an extremely condensed, but intensive reading of Method.
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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (December 2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.
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This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.
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Yang, Yang. "An analysis of the Aesthetics in Horror Artworks." International Journal of Education and Humanities 12, no. 1 (January 15, 2024): 73–75. http://dx.doi.org/10.54097/akerqg54.
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Aesthetics in horror art works is also an important field of aesthetic research. The study of color, image, emotion, music and so on of horror art works also collide with unexpected sparks and make people feel the unique charm. This paper takes one of Lin Zhengying's masterpieces, "New Mr. Zombie", as an example, and analyzes it from multiple dimensions and levels of the film to explore the aesthetics in horror artworks and the unique artistic charm it gives.
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Tchernyavskaya, Y. O., and D. E. Tubolztceva. "ART ORIGINALITY OF “HORROR STORIES” BY RONSHIN." Tomsk State Pedagogical University Bulletin, no. 6 (2019): 77–86. http://dx.doi.org/10.23951/1609-624x-2019-6-77-86.
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Andresen, Christer Bakke. "Thelma: Empathic engagement and the Norwegian horror cinema." Journal of Scandinavian Cinema 9, no. 2 (June 1, 2019): 227–33. http://dx.doi.org/10.1386/jsca.9.2.227_1.
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Genre filmmaking has become very important in Norwegian cinema in the years since 2000, even to the point of certain art cinema directors like Joachim Trier creating types of horror movies. I argue that Trier’s intimate, subtle approach to the main character in his psychological horror film Thelma deepens and expands the experience of Norwegian horror.
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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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Vorobej, Mark. "Monsters and the Paradox of Horror." Dialogue 36, no. 2 (1997): 219–46. http://dx.doi.org/10.1017/s0012217300009483.
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RésuméL'horreur en art vise à effrayer, bouleverser, dégoûter et terroriser. Puisque nous ne sommes pas normalement attirés par de ielles expériences, pourquoi quiconque s'exposerait-il délibérément a la fiction d'horreur? Noel Carroll soutient que le caractère constant du phénomène de l'horreur en art tient à certains plaisirs d'ordre cognitif, qui résultent de la satisfaction de notre curiosité naturelle à l'ègard des monstres. Je soutiens, quant è moi, que la solution cognitive de Carroll auparadoxe de l'horreur est profondément erronée, étant donné la façon dont les monsters sont représentés dans la fiction d'horreur; j'explore brievement une approche plus prometteuse, qui traite les monstres comme des moyens pour acquerir la connaissance de soi.
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Booker, M. Keith. "Robert Eggers’s The Lighthouse: Art horror, alienated labour and capitalist routinization." Horror Studies 15, no. 1 (April 1, 2024): 41–54. http://dx.doi.org/10.1386/host_00079_1.
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Horror films often feature lone individuals stranded in strange, remote locations, threatened both by mysterious, unknown forces and by the reactions of their own minds. On the other hand, Robert Eggers’s The Lighthouse (2019) suggests that it might be even more terrifying to be stranded with someone else, who might be a source, less of companionship and support, than of additional threat. Moreover, The Lighthouse is a horror film in which the principal danger might not come from spectacular, supernatural monsters so much as from sheer, mind-numbing tedium, exacerbated by growing tensions between the two central characters. While this film might (or might not) involve such things as mermaids or animals inhabited by the spirits of dead sailors, it is probably ultimately best read as a film about the horror of gruelling, repetitive, menial labour performed without any hope of genuine accomplishment, reward or appreciation.
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Vladimir, Zheleznyak. "The Mythologem of Horror in the Structure of Musical Time." TECHNOLOGOS, no. 3 (2024): 7–22. http://dx.doi.org/10.15593/perm.kipf/2023.3.01.
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The topic of the article is music and time. But the problem posed is not limited to musical time. Music is associated with the Dionysian principle (as a cultural and historical archetype). Time is understood as the highest existential characteristic of being . The question, therefore, is: how can the fullness of being be expressed and what role can music play in this process, understood in the ultimate mythological-symbolic sense? The material presented in the article is significantly transformed by a side topic – the one of existential horror. The theoretical plot of the work in this case looks like this: horror (fear) is a state that reveals itself to a person facing the fullness of existence in the world, all of time, including the past (what has happened), the future (the possible, the fate of things being ) and the present (reality, disappearing in the rush of moments); Dionysian art is able to tame universal, cosmic horror and transform it into a kind of delight in falling into the abyss of existence; time carries within itself the key to the cognizing power of art and, above all, music – a temporary art that goes beyond visual images and verbal semantics. The structure of time coincides with the temporal scheme of modality (Kant), implemented in music as a procedural phenomenon. Time has colossal negative energy, erasing all certainty and stability. It is precisely this that explains the presence of existential horror in great musical creations. The article also touches on the issues of the antithetics of horror, the nature of the cleansing (cathartic) delight that accompanies the experience of beauty, and the presence of existential boundaries in the temporal dimension of the future (all of this also relates to the phenomenology of horror).
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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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Sengupta, Sarada, and Dr Anindita Chowdhury. "Distorted Reflections: Gender and Horror in ‘Black Swan’." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 085–88. http://dx.doi.org/10.22161/ijels.92.14.
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In Black Swan, the themes of gender and horror are intricately woven into the fabric of the narrative. The film delves into the psychological nuances of its protagonist, Nina, as she navigates the demands of her art and the pressures of perfection. The exploration of gender identity and the inherent horror within the competitive world of ballet converge to create a compelling and thought-provoking cinematic experience. This paper aims to dissect the manifestations of gender dynamics and horror elements within the film, shedding light on their significance in shaping the narrative and character development. The analysis will encompass the contemporary ballet, femininity, Irigarayan horror, character interactions, and overarching themes that contribute to the film’s exploration of gender and horror. By examining these aspects, this study seeks to provide a deeper understanding of the complexities and nuances present in “Black Swan” while also showcasing the film’s prowess in challenging traditional tropes and expectations within the realm of both gender representation and horror storytelling.
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Pavlov, Alexander. "Post-Horror? Review of a Book by D. Church." Philosophy. Journal of the Higher School of Economics V, no. 2 (July 11, 2021): 294–313. http://dx.doi.org/10.17323/2587-8719-2021-2-294-313.
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Hein, Cathrin, Wanja Wellbrock, and Christoph Hein. "Hype oder Horror." Zeitschrift für Medien- und Kulturforschung 10, no. 2 (2019): 137–54. http://dx.doi.org/10.28937/1000108358.
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"Dieser Beitrag fasst den aktuellen Stand der rechtlichen Herausforderungen der Blockchain-Technologie kurz und prägnant zusammen. Blockchain stellt, ähnlich dem World Wide Web, eine Art Grundlagentechnologie dar, auf deren Basis neue Plattformen und Geschäftsmodelle geschaffen werden können. Es stellt sich jedoch die Frage, ob das deutsche Rechtssystem grundsätzlich in der Lage ist, die Herausforderungen, die eine solch dezentrale Technologie mit sich bringt, zu bewältigen. Insbesondere hinsichtlich strafbarer Handlungen oder der neuen Datenschutzgrundverordnung. Fraglich ist dabei, wie sich die derzeitigen Negativschlagzeilen (beispielsweise Silk Road) langfristig auf Kryptowährungen und infolgedessen wo- möglich auch auf die Blockchain-Technologie, nicht nur im Hinblick auf die rechtswidrigen Inhalte wie Kinderpornographie, auswirken. This article summarizes the current status of the legal challenges of blockchain technology. Similar to the World Wide Web, Blockchain represents a kind of basic technology on the basis of which new platforms and business models can be created. However, the question arises as to whether the German legal system is fundamentally capable of mastering the challenges posed by such a decentralized technology. In particular with regard to criminal offences or the new Basic Data Protection Ordinance. The question is how the current negative headlines (e. g. Silk Road) will affect crypto currencies in the long term and, as a result, blockchain technology, not only with regard to illegal content such as child pornography. "
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Berchez, Amanda. "Tal como uma visita à galeria do sinistro: The art of pulp horror." Literartes 1, no. 18 (December 20, 2023): 256–64. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2023.205939.
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Briata, Ilaria. "Repentance through Fear: Cosmic and Body Horror in Sheveṭ Musar." European Journal of Jewish Studies 14, no. 2 (June 29, 2020): 264–84. http://dx.doi.org/10.1163/1872471x-bja10016.
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Abstract One of the most notorious early modern musar compilations, Sheveṭ Musar, challenges its readers with an obscure and gory imagery that can be classified as horror. This article proposes an exploration of these horrific images of death, decomposition, and hell. In order to contextualize a selection of passages from Sheveṭ Musar, a state of the art concerning research on Jewish horror will be provided and integrated with references to horror scholarship in areas of literature where this topic has received more investigation. What characterizes horror in Sheveṭ Musar appears to be the didactic functionality of exciting negative emotions such as fear and disgust. This moralizing rhetorical mechanism will be illustrated through four different topics appearing throughout the tractate: (1) the literary strategy of terror; (2) the description of the physical and metaphysical processes of death; (3) a memento of the caducity of human life; and (4) anticipation of infernal damnation.
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Holcombe, Cassandra. "The Horror of Serenity." Journal of Anime and Manga Studies 4 (December 3, 2023): 31–60. http://dx.doi.org/10.21900/j.jams.v4.1198.
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The sublime is a common subject in European literary studies, particularly in Victorian and Romantic period literary scholarship. The Greek writer Longinus proposed the concept in the 1st century in On the Sublime (first printed in 1554), and Edward Burke later popularized it in his work A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The sublime is less discussed in anime studies due to its European origins, but it has a robust history in Japanese literature and philosophy. Recently, scholars have begun discussing its presence in anime. This paper examines European and Japanese definitions of the sublime and then applies the European Romantic definition to Psycho-Pass. Psycho-Pass’s focus on horror, self-knowledge, and European philosophy makes it an ideal subject for examining the sublime in anime. Rikako Oryo is a schoolgirl who murders her classmates and is hunted by the protagonists in one of the show’s side arcs. Her art emphasizes how the sublime's "horror" element can stimulate critical thought and concurs with the Kierkegaardian theory of the sublime. The primary antagonist, Shogo Makishima, represents the more transcendent aspects of the sublime and its role in self-knowledge and identity. After examining Rikako and Makishima, the paper takes a step back and apply the principles of the sublime to anime as a medium and Psycho-Pass as a whole. Psycho-Pass reminds viewers that violent media like horror anime and crime stories can use the sublime as a catalyst for critical thinking without endorsing violence.
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Konior, Bogna. "Contemporary Malaysian Horror: Relational Politics of Animism and James Lee’s Histeria." Plaridel 12, no. 2 (August 30, 2015): 83–109. http://dx.doi.org/10.52518/2015.12.2-05konr.
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According to Malaysia’s former Prime Minister, Dr. Mahathir bin Mohamad, local horror cinema is counterproductive to building a progressive society. While the genre is now at the peak of its popularity, it was banned throughout the 1990s and accused of tainting modernity with ‘backwards’ ways of thinking. Modernity’s progress through erasure has already been conceptualized as a repression of various cultural contexts, religious practices, and pre-colonial epistemologies, yet its ontological implications are rarely investigated. Nonmodern ontologies, such as animism, are aesthetically, narratively, and theoretically embedded in a number of contemporary horrors, especially those created by independent or art-house directors, who see in the genre the possibility of discussing the ontological taboos of modernity, such as the personhood of the nonhuman. In contrast to an ethnographic approach to animism, I here read it as a method of disruption: a negation of the idea that cinema is the quintessential modern medium. Animism, as a practice of relational personhood (Bird-David, 1999) renegotiates ontological boundaries modernity claimed to have set in stone: between self and other, nature and culture, humans and nonhumans, belief and practice, religion and play. By taking animism as a theoretical framework rather than a cultural trace, I highlight various points of intersection between James Lee’s gory slasher horror Histeria (2008) and this nonmodern ontology, positing it as a template for animistic slasher horror, where humans and nonhumans connect and disconnect on the axis of personhood, and the transition from relationality to individuality is depicted as a threat.
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Routt, William D. "Review: Cutting Edge: Art-Horror and the Horrific Avant-Garde." Media International Australia 98, no. 1 (February 2001): 198–99. http://dx.doi.org/10.1177/1329878x0109800132.
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El-Sayed, Wesam. "Language Performativity and Horror Fiction: A Cognitive Stylistic Approach." International Journal of Language and Literary Studies 2, no. 3 (September 30, 2021): 225–43. http://dx.doi.org/10.36892/ijlls.v2i3.647.
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This paper argues that horror fiction creates its effect through exploiting the workings of language in the minds of readers. As a genre that crosses many art forms, it might be tempting to analyze the multimodal vehicles of horror; the visual effects, the jump scares and the ominous music. However, studying the ability of language, on its own and without any audio-visual effects, to instill horror in its readers becomes even more enticing. The idea that words have the power to disrupt the reality of its readers is deeply rooted in the view of language as performative. The paper further argues that horror writers have manipulate linguistic structures in a peculiar way to serve the purpose of frightening their readers. To this end, an eclectic text-based cognitive stylistic approach is employed to analyze an excerpt from William Peter Blatty’s The Exorcist (1971), demonstrating how the process of horror creation is both a textual and a cognitive one, whereby the mental image of reality in the minds of readers is manipulated and distorted by means of linguistic structures, hence horrifying them. Results reveal that for horror to be achieved, layers of blending take place in readers minds in order to arrive to horrific meanings textually described. Additionally, manipulation of syntactic complexity and the morphology of verbs intensifies the horrific effect.
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Beardsworth, Sara. "Keeping it Intimate: A Meditation on the Power of Horror." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 127–31. http://dx.doi.org/10.5195/jffp.2013.579.
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The paper is a reading of Julia Kristeva, The Severed Head. It first interprets a dual historical element in Kristeva's text on "capital visions," her selection of exemplars of the artistic representation of severed heads. On the one hand, there are the aesthetic trajectories themselves, from skull art to artistic modernism. On the other hand, there is an implicit history of "horror" in psychoanalysis in this text, going from Freud through Lacan to Kristeva. The paper then indicates the tone of possibility and invitation that inhabits Kristeva’s treatment of horror in capital visions, which suggests that she does not divide aesthetics off from ethics. Finally, I underline the note of humor that enters into the psychoanalytic and aesthetic treatment of horror, once Kristeva has linked it to the feminine.
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Flint, Azelina. "A Marble Woman: Is the omen good or ill? Louisa May Alcott’s exposé of Nathaniel Hawthorne’s repressed individualism in her domestic horror fiction." Horror Studies 14, no. 1 (April 1, 2023): 9–27. http://dx.doi.org/10.1386/host_00059_1.
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This article reassesses the place of Louisa May Alcott’s pseudonymous domestic horror fiction in the wider canon of her work. Traditionally, Alcott’s domestic horror writing has been viewed as an expression of her repressed authorial individualism and desire for incorporation into a male literary tradition. Through examining Alcott’s allusions to Nathaniel Hawthorne, I argue that her domestic horror writing exposes the traumatic repercussions of male individualism for women in the work of her contemporaries. Her pseudonymous horror novella, A Marble Woman (1865), appropriates Hawthorne’s allusions to the Pygmalion myth in his earlier novel, The Marble Faun (1860), to demonstrate that the male artist’s preoccupation with a lifeless muse is contingent upon acts of psychological abuse. Alcott interrogates Hawthorne’s elevation of the female copyist to demonstrate that Hawthorne only endorses women’s art when it supports male traditions of creativity, thereby placing women in a subordinate role that stunts their creative power. In place of copyism, Alcott promotes an equal relationship between male and female artists that enables women to critique the work of men. Her domestic horror writing should therefore be read as satirical commentary on the elevation of male artists in the work of her contemporaries in the Concord circle.
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Glants, Musya. "The Challenger: Vadim Sidur and His Art." Experiment 18, no. 1 (2012): 240–63. http://dx.doi.org/10.1163/221173012x643125.
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Abstract This article introduces the art of the Russian sculptor Vadim Abramovich Sidur (1924-86), whose innovative sculptural style contrasted the canons of Socialist Realism. Different periods in Sidur’s work are united by universal themes: love and violence, death and birth, the horror of war and its deadly effects on human life. His sculptural heritage is a symbolic reflection of the troubling reality of people whose existence is blighted by hatred and oppression in different forms and shapes. His work combines an apparent lack of emotion with an inner emotional strength that is highly expressive.
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Evangelista Ávila, Iram Isaí. "El cuento de Juan José Arreola: entre el arte y el horror = Arreola’s short-stories: between art and horror." Signa: Revista de la Asociación Española de Semiótica 25 (January 1, 2016): 543. http://dx.doi.org/10.5944/signa.vol25.2016.16933.
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Distianto, Nathaniel, Jeanny Pragantha, and Darius Andana Haris. "DESIGNING HORROR SURVIVAL MYSTERY GAME ”REMEMBER THE DAYS” COMBINING 2D AND 3D ELEMENTS." International Journal of Application on Sciences, Technology and Engineering 1, no. 3 (August 31, 2023): 1147–56. http://dx.doi.org/10.24912/ijaste.v1.i3.1147-1156.
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“Remember The Days” is a survival horror single player game for Windows, that combines 2D and 3D elements with a pixelated and low poly art style. As a detective trapped in an old abandoned haunted house, players must solve puzzles, and be able to manage limited resources to survive and escape. The game’s immersive storytelling is told through environmental cues and artifacts, complemented by a haunting soundtrack and ambient sounds that add to the eerie atmosphere. This game will bring a spine-tingling horror experience of exploration, puzzle solving, and survival. The game will be develop using Unity Engine and C as the main programming language.
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Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 85. http://dx.doi.org/10.25038/am.v0i19.316.
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This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.Accordingly, the elements of this performance that can incite feelings of pleasure in the observer such as the resistance of black women and their political representation are analyzed in the field of art and culture. Lastly, to conclude, this paper argues about the possibilities of the performance’s fruition. This argument is based on the artist's text and certain constituent arguments of the feeling of the sublime’s concept, as presented by Edmund Burke, Immanuel Kant and Jean-François Lyotard.Considering an analogy with the aesthetics of the sublime, it is argued that Merci Beaucoup Blanco! gravitates in the atmosphere of horror, pain and shock, recalling/suggesting feelings of racial violence and discrimination still existing in Brazil. This performance of a black woman against racist oppression also constitutes an act of resistance of the artist, capable of awakening feelings of pleasure in their watchers. The public then moves from shock, pain and horror to contentment of the political consciousness of race, gender, and class. Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019. Original scholarly paperHow to cite this article: Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies 19 (2019): 85-99. doi: 10.25038/am.v0i19.316
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Sarkar, Anik. "Modern Anxieties and Traditional Influence in Horror Anime." Humanities 12, no. 5 (October 13, 2023): 118. http://dx.doi.org/10.3390/h12050118.
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Japan has a longstanding tradition of horror narratives that feature a variety of macabre embodiments. They draw upon ancient folklore, thereby providing a unique perspective on spirits specific to Japanese culture. The influence of these countless supernatural beings from Japanese mythology and folklore has molded many incarnations seen in popular culture, which have been commonly deemed “strange” and “weird”. This study seeks to demystify the ambiguity and “strangeness” surrounding three Japanese anime series, Another, Yamishibai, and Mononoke. It attempts to analyze how each of these anime employs folklore and traditional art-styles to portray a modern society plagued with sociocultural complications.
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Macero, Melissa C. "The Structure of Scares: Art, Horror, and Immersion in Marisha Pessl's Night Film." Genre 54, no. 2 (July 1, 2021): 245–64. http://dx.doi.org/10.1215/00166928-9263091.
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Is immersion merely a subjective response to a work, or can it be an objective formal feature of the work itself? This article examines the unique situation of horror as a genre that demands a substantial level of immersion in order to be successful and will begin to answer this question through a close reading of Marisha Pessl's Night Film (2013). Through the novel's intricate staging of different forms of immersion that is made possible by its extended length, this article argues that Pessl and the horror genre more generally seek to establish a difference between something like literal immersion, which requires the engrossment of a reader or viewer in the world of the story, and immersion as a formal technique, which is for the most part indifferent to the actual engagement of the audience and instead produces a claim immanent to the work itself.
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Crisóstomo Gálvez, Raquel. "La lucha contra la inefabilidad: el caso de Art Spiegelman." CuCo, Cuadernos de cómic, no. 2 (April 30, 2014): 78–91. http://dx.doi.org/10.37536/cuco.2020.2.1324.
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Art Spiegelman lleva toda su vida artística luchando con como expresar lo inexpresable. El Horresco Referens, el horror a la referencia es uno de los ejes narrativos de su obra gráfica. En el caso de Maus (1986), el autor se enfrentó a muchos dilemas representativos: en cuanto a la capacidad explicativa del trauma paterno; los problemas que conlleva la autobiografía; pero sobre todo, la problematica de la representabilidad de la magnitud del Holocausto, tratada por primera vez en este cómic.
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Osowiecka, Małgorzata. "An Artist Without Wings? Regulation of Emotions Through Aesthetic Experiences." Creativity. Theories – Research - Applications 3, no. 1 (June 1, 2016): 94–103. http://dx.doi.org/10.1515/ctra-2016-0007.
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AbstractArt can help handle difficult experiences. Art therapy sessions (healing through art) have been recognised for years as a well-known and efficient method of treatment. At the same time, one can observe people’s tendencies – apparently inefficient in terms of their well-being (emotions, mood) – to create or experience art (e.g. watching horror movies, listening to sad songs, expressive writing about one’s ordeals). Many authors have described the way negative emotions are regulated. Their research has not, however, exhausted the subject in relation to art. In this paper I discuss the regulation of emotions through art. I am interested in the process of regulating affective experiences, particularly through expressive writing, and in the impact this way of regulation has on task-oriented functioning, especially cognitive functioning.
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Hidayah, Lintang Ruhil, and Hutomo Setia Budi. "Designing Horror-Themed Animated Content Titled "What Awaits in The Darkness" to Introduce Ruhilism Studio's Style." Jurnal Vicidi 13, no. 2 (December 1, 2023): 142–55. http://dx.doi.org/10.37715/vicidi.v13i2.4355.
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Ruhilism is an animation studio that presents horror and thriller-themed animated content as entertainment for fans of both genres. Ruhilism is unique in its creepy and eerie art style. However, Ruhilism does not have a portfolio to show its uniqueness in order to be recognized by the public. The purpose of this design is to show the uniqueness of Ruhilism Studio's distinctive style to the public through a portfolio in the form of animated content uploaded on Instagram and Youtube media. The design method used is a combination of qualitative and quantitative, namely interviews and surveys conducted online. The results of the design are in the form of horror and thriller-themed animated content uploaded on the Ruhilism Youtube Channel and Ruhilism Instagram as supporting media.
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Wagner, Sandra Aline. "Post-Horror: Art, Genre and Cultural Elevation. By David Church." Gothic Studies 23, no. 3 (November 2021): 357–59. http://dx.doi.org/10.3366/gothic.2021.0112.
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Dern, John A. "Horror Art: A review of The Great Illustrators of Edgar Allan Poe." Studies in the Fantastic 12, no. 1 (December 2021): 99–105. http://dx.doi.org/10.1353/sif.2021.0013.
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Aziz Bawazir, Lujain Abdul, and Mellisa Florentina Daniel. "THE INFLUENCE OF IMDb RATINGS FOR KKN FILM IN DANCING VILLAGE ON STUDENTS' WATCHING INTERESTS (STUDENTS OF STIKOM INTERSTUDI JAKARTA)." JOURNAL OF HUMANITIES SOCIAL SCIENCES AND BUSINESS (JHSSB) 3, no. 2 (January 24, 2024): 431–40. http://dx.doi.org/10.55047/jhssb.v3i2.960.
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Film is a work of art, audiovisual culture, film is a medium that can convey messages to society or a group of individuals can receive audiovisual communication through the use of film. Horror films in Indonesia were chosen as research objects because Indonesian audiences seem to enjoy getting their adrenaline pumping when watching horror films full of special effects, such as horror films with characters that are similar to figures from the invisible world, regardless of the good or bad quality of the horror film itself. This research focuses on the IMDb website because IMDb is the most famous film website, IMDb users in Indonesia reach 57 million people. This is proven by the many users who make IMDb useful for many people, especially for those who want to watch films. This research aims to find out whether there is a significant influence on the IMDb rating of the KKN film in Penari Village on interest in watching STIKOM InterStudi students. And find out how much influence ratings have on STIKOM InterStudy students' interest in watching. This research uses a quantitative approach with descriptive research type. This research uses 2 variables,namely the IMDb rating and interest in watching STIKOM InterStudi students from 2022-2023. The sampling technique uses non-probability sampling, namely purposive sampling. with a total sample of 90 Stikom interstudi students class 2022-2023. The data collection technique used was a questionnaire.
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Maguire-Rosier, Kate, Naoko Abe, and Fiona Andreallo. "What Other Movement Is There?" TDR: The Drama Review 68, no. 1 (March 2024): 87–103. http://dx.doi.org/10.1017/s1054204323000552.
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The way robots move often evokes horror. Dance—as an embodied, movement-based art form open to possibility—can expand motion-based Human-Robot Interaction (HRI) beyond popular approaches based on anthropomorphism and late-capitalist efficiency. The “super-machinic” robotic system coopts human-centered movement and perpetuates neoliberal capitalist agendas. Dance offers a provocation for HRI and an invitation to reimagine how we move.
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Benson-Allot, Caetlin. "Review: Post-Horror: Art, Genre and Cultural Elevation, by David Church." Film Quarterly 75, no. 3 (2022): 92–94. http://dx.doi.org/10.1525/fq.2022.75.3.92.
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Gasser, Gabrielle. "Between Horror and Art Cinema: Using the Giallo Film to Bridge the Gap." Film Matters 11, no. 1 (March 1, 2020): 74–86. http://dx.doi.org/10.1386/fm_00048_1.
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Malenko, Sergey A., and Andrey G. Nekita. "ANTHROPOLOGY PROLETARIAN PHYSICALITY: THE IDEOLOGICAL STRATEGY OF CONSUMPTION OF SUFFERING AND DEATH IN THE CULTURAL TRADITIONS OF THE AMERICAN HORROR FILM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 66–78. http://dx.doi.org/10.17223/22220836/39/7.
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Purpose. The article analyzes the strategy of sublimation of the corporeality of bourgeois pro-duction into the artistic tradition of the American horror film as a specific, visual mythology and psy-chosomatic consumer ideology of modern mass culture. Theoretical basis. The key methodology is the principle of interdisciplinary and cross-cultural, psychoanalytic research, developed and tested by the team of authors in a number of scientific papers. The applied scientific and practical approach made it possible to carry out an original, complex, com-parative analysis of symbolic interpretations of the tradition of American horror films in various spheres of socio-cultural practice. Carried out interdisciplinary study of the phenomenology of horror, makes it possible to isolate ideologically significant images sublimated in more than a century of the tradition of American horror films. Originality. The anthropological mechanism of sublimation of the proletarian physicality formed in a bosom of classical capitalist production is opened. Its essence is the unconscious attitude to the perception of bodily suffering and death as inevitable and “natural” companions of the worker's production image and guarantee of its demand in the labor market. At the same time, intensive tech-nologization of production is accompanied by a sharp inflation in the value of physical labor. At the same time, the persisting attitude to bodily suffering requires the appearance of its new forms, displac-ing the “physical” into the “visual”. It was the American horror movies most adequately perform the social order of government and business, subliming bodily suffering in the most profitable art forms. This is how the figurative and symbolic mythology of horror films is constructed, which commercial-izes the artificially formed psychosomatic dependence of the layman on the consumption of bodily suffering and death. The active popularization of horror mythology visualizes the ideology of the “American way of life”, lobbies the practice of ousting competing cultural genres and traditions, and lays the foundations of westernized post – industrial civilization – post-human, post-teles and digital world. Conclusions. Under the conditions of widespread degradation of the production type of civiliza-tion, the technology of sublimation of active attitude to the world into visual forms of its consumer destruction was formed, the driving forces of which (collective in form and individual in ways of expe-rience) were American horror films. They most adequately represent a new artistic and anthropological reality, the contours of which are so clearly drawn by the human body, the exhausted profile of power and production standards.
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Malenko, S. A., and A. G. Nekita. "Sublime sacrifice or total revenge: images of science and the scientist in an American horror film." Philosophy of Science and Technology 26, no. 2 (2021): 131–43. http://dx.doi.org/10.21146/2413-9084-2021-26-1-131-143.
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Hollywood horror films, which belong to a special genre of cinema, have been extremely sensitive to the topic of scientific and technological progress and the role of research scientists in shaping and promoting the technological picture of the world since their inception. The steadily increasing popularity of visual images of science and scientists in popular culture sets the tone for the development of themes and storylines of this genre. They became the immediate fabric of horror films, but unlike politics, art, and religion, Hollywood cinema first looked at the situation from the point of view of its existential dimension. And if the leading social institutions were interested in science only from the point of view of its social utility and pragmatism, then Hollywood horror cinema managed to reveal the existential emptiness and tragedy of the researcher, whom the government plunges into a continuous and mad race for scientific discoveries. It is in this genre that the destinies of human and the nature represented by human mind, enclosed in the narrows of technological civilization, are most clearly drawn. The image of a scientist in an American horror film is outlined in two main trends, negative and positive. Negative visualization is associated with the image of a mad researcher who uses the potential of his intelligence for sophisticated revenge on the social environment. The positive model, due to the demonstration of outstanding achievements of scientists, involves a nightmarish visualization of all possible deviations of power and defects of the social system that are not able to adequately operate with the achievements of science.
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Mondal, Subarna. "Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In." Humanities 10, no. 1 (March 19, 2021): 54. http://dx.doi.org/10.3390/h10010054.
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The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodóvar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodóvar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured and replenished in “Talk to Her” (2002), patched up and stitched in “The Skin I Live In”, becomes a key ingredient in Almodóvar’s films that celebrate the fluidity of human anatomy and sexuality. The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. In “The Skin I Live In” the destruction of Vicente’s body and its recreation into Vera follow a mad scientist’s urge to dominate an unattainable body, but this ghastly assault on the body has the onscreen appearance of a routine surgical operation by an expert cosmetologist in a well-lit, sanitized mise-en-scène, suggesting that the uncanny does not need a dungeon to lurk in. The exploited body on the other hand may be seen not as a passive victim, but as a site of alterity and rebellion. Anatomically a complete opposite of Frankenstein’s Creature, Vicente/Vera’s body, perfect, beautiful but beset with a problematized identity, is etched with the history of conversion, suppression, and the eternal quest for an ephemeral object. Yet it also acts as an active site of resistance.
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Newman, Kaitlyn. "“Feasting During a Plague”." Levinas Studies 13 (2019): 191–208. http://dx.doi.org/10.5840/levinas2019138.
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In his early essay, “Reality and Its Shadow,” Levinas appears to take a strong position against art, and while the strength of his admonitions against aesthetics has been questioned, the fact remains that Levinas refers to art (post-Holocaust) as an act that is like “feasting during a plague.” Art becomes offensive. However, is it possible that we could imagine the artwork as a site where the encounter with the Other becomes possible? That is, when we encounter certain artworks, do we not also encounter the radical alterity of one whose experiences and very existence cannot possibly be assimilated to the Same, or to our own experiences? In this paper, I argue that art marks a site where the encounter with the Other is made possible by examining the post-genocide and post-war photographs of Simon Norfolk. I maintain that art thus contains ethical possibilities that actually align with Levinasian ethics, rather than run counter to it, as Levinas seemed to believe. This art cannot be understood through the lens of enjoyment—as “feasting during a plague”—but rather must be understood as an experience which throws us outside of ourselves and our interiority and, in so doing, forces us to confront an alterity and a horror that awakens responsibility and awareness of the Other.
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Egan, Kate. "The criterion collection, cult-art films and Japanese horror: DVD labels as transnational mediators?" Transnational Cinemas 8, no. 1 (November 28, 2016): 65–79. http://dx.doi.org/10.1080/20403526.2017.1260866.
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Davis, Ms Bob. "Glamour, Drag, and Death." TSQ: Transgender Studies Quarterly 8, no. 1 (February 1, 2021): 113–20. http://dx.doi.org/10.1215/23289252-8749638.
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Abstract In the art of three San Francisco drag queen painters we find their highly personal responses to HIV/AIDS and their own mortality. Doris Fish's commitment to glamour wouldn't allow the disease to intrude on her paintings, though she was able to write about her illness's progress in her weekly newspaper column. Jerome Caja made art from the disease's horror by incorporating the ashes of deceased artist Charles Sexton, who died of AIDS, into her works, her way of mastering the carnage. Miss Kitty confronted the disease in an even more personal way, creating art from her own illness by incorporating her prescription for Prozac into one painting and using her emaciated, AIDS-ravaged body as the subject of a photographic portrait by Daniel Nicoletta in which her physical body fades, white on white, into an angel with wings.
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De Farias, Francisco Ramos. "Imagens de violência no campo da criação: Body Art e contemporaneidade." Revista Memória em Rede 7, no. 12 (September 20, 2016): 123–47. http://dx.doi.org/10.15210/rmr.v7i12.9405.
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Aborda-se determinados tipos de modificações corporais em suas expressões de rituais, marcadores de identidade, signos de pertencimento, memórias de acontecimentos e postura decisiva do sujeito em transformar o corpo, a partir de um projeto no qual prevaleçam sua vontade e seu desejo. Para tanto, são apresentados indicadores históricos em termos de comparação para sinalizar que cada estilo artístico é produção de uma época, sendo a Body Art a incidência do acoplamento Arte e Tecnologia com fins de transformação corpórea. Nessa arte indaga-se: o que mobiliza um artista a dispor de seu corpo para múltiplas transformações, no sentido de produzir um espetáculo que faz irromper, no expectador, angústia e horror? As produções artísticas desse campo nos introduz no mistério que faz o artista transformar-se em seu próprio carrasco, num oferecimento do corpo como objeto que desconhece limites, numa busca de satisfação.
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Moroșanu, Elena-Mirabela. "Theatre, in Ionescu’s Vision: “The Eternal Need for Miracle and Horror”." Theatrical Colloquia 7, no. 1 (June 1, 2017): 289–97. http://dx.doi.org/10.1515/tco-2017-0011.
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Abstract A subject the phenomenological modernity of which imposes itself, regardless of the time of the debate and the critic-literary orientation of the messmate, which burned in profile magazines pages and specialist meetings, and the conclusions of which are still expected, is represented by the dilemma: Eugen Ionescu or Eugene Ionesco? The Romanian by birth (and formation, some say) or Frenchman by adoption? As it was already used to, according to the formula that opposites are attracted to cancel each other, Ionescu refused widely known theories about the purpose of theatre, annihilated them and replaced them with his own ideal concept of what theatre means to the public and, especially, what is the purpose of its mission. Theatre has, like any other art, a mission of knoweledge. You don’t silly around to discover, but deepening, separating, purifying realities. (...) Theatre is a presence, Ionescu says.
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Poznin, Vitaly F. "The Formation of Russian Genre Cinema at the Beginning of the 21st Century." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 535–56. http://dx.doi.org/10.21638/spbu15.2023.308.
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The problem of genre formation in cinema constantly causes controversy and discrepancies among art historians, since this type of creativity is synthetic, using the creative possibilities of other types of art. Сommon in the definition of the term “genre” is only the provision that a genre is a way of embodying a certain concept of reality in a work, creating an artistic picture or an artistic model of the world, perceived from a certain angle, which implies a limitation in the choice of means of artistic embodiment of the theme of the work. Like any complex concept, a genre should be considered in a system of several coordinates, among which the dominant features inherent in a particular genre play the most significant role. These two dominants are: 1) the emotion that the film should evoke in the viewer (laughter, horror, sympathy, etc.); 2) the theme of the film (historical, military, sci-fi, etc.). When investigating the problem of genre formation, one should also not forget that the genre is a historical category, i. e. the specific period in which it was created plays an important role in determining the genre characteristics of a particular film. Over the past 30 years, Russian cinema has undergone significant changes in the aesthetic and ethical paradigm, including changes in the themes and genre palette of films. This article is the first attempt to analyze the process of mastering by Russian cinematography new genres for it, which were not previously in the repertoire of Russian cinema (fantasy, disaster film, horror, biopic, musical). Having considered the problem of interaction between cultural globalization and national mentality, the author comes to the conclusion that, having survived the period of imitation of foreign models, Russian genre cinema at the present stage has the opportunity to gain self-identification and become an art that is in demand by a wide audience.