Relevant bibliographies by topics / Horror thriller

Contents

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

Academic literature on the topic 'Horror thriller'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Horror thriller"

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Nelson, John S. "Four Forms of Terrorism: Horror, Dystopia, Thriller, and Noir." Poroi 2, no. 1 (2003): 79–107. http://dx.doi.org/10.13008/2151-2957.1057.

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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.

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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Che Ab Adziz, Aselawati, Rohani Hashim, and Hasrina Mustafa. "THE INFLUENCE OF PSYCHOLOGY IN SUPERNATURAL BELIEFS THROUGH ENJOYMENT IN WATCHING HORROR MOVIES." International Journal of Education, Psychology and Counseling 7, no. 48 (2022): 536–61. http://dx.doi.org/10.35631/ijepc.748041.

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The Malaysian film industry in the 21st century is overwhelmed with the production of various genres of films with the horror genre was seen dominating other genres in the industry. Amidst concerns by both the public and leaders on the effect on horror movies to the society, audiences seem to continue to enjoy watching horror movies as seen from the movie ticket sales trend in the market. This has raised a question on the factors leading to the enjoyment of watching horror movies and the effect on supernatural belief. The basic model of Suspense Enjoyment Watching Horror Movies developed by Zillmann (1996) and Zillmann and Weaver (1996) was used to identify the relationship between big five personalities and psychology towards supernatural beliefs through the influence of enjoyment. Specifically the study looks into the effect of the psychology factors namely (i) empathy; (ii) negative feelings; and (ii) positive feelings on supernatural belief through the mediating role of enjoyment. In the first phase of the research, data was collected to explore on the preferred horror movie genre among the audience. 36.1% of the respondents were in favor of the psycho thriller genre compared to eight other genres, such as horror, crime thriller, horror, action horror, drama horror, comedy horror and romantic horror. Based on the results in the first phase of data collection, Jwanita (2015) film was chosen to prime stimulus for the research. Interviews with the experts in the film studies were also conducted to support the findings. The next phase involved 317 Muslim adolescent audiences aged 14 to 23 from Kedah, Malaysia who agreed to take part in the research. Structural Equation Modeling, together with SmartPLS 3.0 software were used to analyse 23-research hypotheses developed. The results showed that there is a significant correlation between the three variables in psychology (empathy, positive feelings and negative feelings) with enjoyment. Further findings indicate on the significant mediating effect of enjoyment on the relationships between positive feelings with supernatural beliefs. The importance of enjoyment as a mediating factor is proven from the full mediation result between with supernatural beliefs. The forecasting model through SEM analysis showed a high goodness of fit (GoF) value of 0.832. The findings of the study can be used to extend the Model of Suspense Enjoyment in watching horror movies through scientific evidences and analysis.
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Saunderson, Ian. "NARRATOLOGIESE VERKENNING VAN DIE GRUFILM- EN RILLER- SUBGENRES." Communicare: Journal for Communication Studies in Africa 16, no. 2 (2022): 75–93. http://dx.doi.org/10.36615/jcsa.v16i2.1924.

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This contribution was stimulated by a paper. ' Narrative In the news in the new South Africa • by David Wigston (UNISA). read at a seminar on aspects of popular culture held at RAU on May 311996. Wigston used the narrative model of Vladimir Propp to analyse the news content of Radio Moscow and Voice of America. Wigston did not arrive at final conclusions, and this contribution puts two popular film subgenres, the horror and the thriller. to the• test • of narrative theory.
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Adamski, Tomasz. "Jordskott. Las zaginionych, czyli przekraczanie granic Nordic noir." Panoptikum, no. 20 (December 17, 2018): 110–18. http://dx.doi.org/10.26881/pan.2018.20.07.

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The TV crime drama is one of the most popular genres for European audiences and arguably also the most culturally sensitive and nuanced. The author in his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics while characterizing this concept. In the course of analyzes, however, he notices that the Jordskott series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: Nordic noir, ecological thriller, horror or fairy tale.
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Goren, Lilly J. "Review ofPolitics in Popular Movies: Rhetorical Takes on Horror, War, Thriller, and Sci-Fi Films." Journal of Political Science Education 11, no. 4 (2015): 494–95. http://dx.doi.org/10.1080/15512169.2015.1068645.

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Jets, Kairi. "How is Fear Constructed? A Narrative Approach to Social Dread in Literature." Interlitteraria 23, no. 2 (2019): 427–41. http://dx.doi.org/10.12697/il.2018.23.2.16.

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Fear-inducing narratives can be divided into two subtypes of horror and dread. While horror stories concentrate on a concrete visible object such as a monster, in dread narratives the object of fear is abstract or absent altogether. Pure forms of either are rare and most narratives mix both types, usually with dominant in one or the other. An interesting subtype of dread narratives is the narrative of social dread, where the fear is social in nature.
 One of the few narratologists to study construction of fear in arts, Yvonne Leffler suggests a variety of narrative techniques often used in horror fiction. Adjusting Leffler’s list of techniques for tales of dread instead of horror helps analysing the nature and amount of dread present in a range of different narratives from light reading and literary fiction to non-fiction. A narrative approach helps to reveal how non-fiction texts use similar techniques, and sometimes more extensively than fictional texts. Lionel Shriver’s We Need to Talk About Kevin (2003) is an excellent example of social dread in fiction, where societal failures are a big part of the fears induced, and the questions raised in the narrative are denied definite answers. Kanae Minato’s Confessions (2008) is closer to a thriller, because despite raising issues of societal failure, the work gives conclusive answers to all of the questions raised during the narrative. Although Haruki Murakami’s Underground (1997–98) is a nonfiction compiled from interviews of terror attack survivors, it nevertheless has the hallmarks of a social dread narrative, such as question-answer structure and abstractness of the source of fear. More importantly, Murakami’s work alternates between identifying and anticipatory readings, gives no definitive answers to the questions it poses, and the fear it conveys is social in nature.
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Bowman, Durrell. "Dark Mirrors and Dead Ringers: Music for Suspense Films about Twins." Articles 27, no. 1 (2012): 54–74. http://dx.doi.org/10.7202/1013161ar.

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This paper compares the modernist musical-narrative separations of The Dark Mirror (Robert Siodmak, 1946), Dead Ringer (Paul Henreid, 1964), and Sisters (Brian De Palma, 1973) with the postmodernist musical-narrative fusions of the Canadian film Dead Ringers (David Cronenberg, 1988). The two earlier films (starring Olivia de Havilland and Bette Davis, respectively) mainly conform to the aesthetic of film noir or "suspense-thriller," whereas the two later films (starring Margot Kidder and Jeremy Irons, respectively) also contain substantial elements of "horror." The musical scores of these four films (by Dimitri Tiomkin, André Previn, Bernard Herrmann, and Howard Shore) feature, in varying degrees, the meaningful placement and development of leitmotifs and titles music, changes in meaning by altering instrumentation and/or mode, gender representations, and issues of cultural hierarchy and class distinctions.
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Megela, Ivan, and Kateryna Mehela. "Psychological Profile of a Serial Killer (Based on the Novel “Silence” by Thomas Raab)." Postmodern Openings 13, no. 4 (2022): 335–45. http://dx.doi.org/10.18662/po/13.4/520.

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The research deals with the issue of genre hybridization in the novel “Silence – Chronicle of a Killer” written by a contemporary Austrian writer Thomas Raab. An examination of the novel's composition and structure, as a text in motion, has been accomplished in the article. The novel “Silence” is an excellent illustration of how the genre of adventure has been adapted to include elements of science fiction. This novel is a love tale, a rural life saga, a formation narrative, and a psychological thriller all in one. As a fictionalized account of the life of a serial murderer with hypersensitive hearing who became a legend for his mental torment and suffering, it serves both as a biography and a thriller. Novelist Raab uses elements from classic horror novels like Frankenstein, German romantics, in particular, G. Kleist, the tale of Casper Hauser, and detective novels like Friedrich Durrenmatt's "Promise" to tell the story of Casper Hauser's disappearance in his book. A new aesthetic experience may be formed at various degrees of identification ranging from naive perception to higher levels of literary reception. Concentration is required for poetic and philosophical substance. Michel Focalut's nomadism, marginality, and authoritarian power rhetoric have been discussed in this article. The novel's ultimate content has been disclosed as the aphesis torment, emotional sublimation, as the birth of an artwork and, at the same time, death of the author, who exposes discourses, accountable for creating texts that are allocated to him.
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Scrivner, Coltan. "An Infectious Curiosity: Morbid Curiosity and Media Preferences during a Pandemic." Evolutionary Studies in Imaginative Culture 5, no. 1 (2021): 1–12. http://dx.doi.org/10.26613/esic.5.1.206.

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Abstract In this study conducted during the 2020 Coronavirus pandemic, I explored how trait morbid curiosity was related to interest in 1) factual information about Coronavirus that was specifically morbid; 2) general factual information about Coronavirus; 3) pandemic and virus genres of films and TV shows; and 4) genres of film and TV shows that center around threat more broadly. Participants (n = 125) who scored high in morbid curiosity reported increased interest, compared to usual, in pandemic/virus genres as well as horror and thriller genres. Morbidly curious participants were also more interested specifically in morbid information about Coronavirus. Furthermore, disgust sensitivity was unrelated to these preferences. These results provide initial evidence that trait morbid curiosity can predict particular media preferences in the face of a real threat, and that morbid curiosity may reflect an adaptive predisposition in some individuals toward learning about the dan­gerous and disgusting aspects of a threat.
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Dissertations / Theses on the topic "Horror thriller"

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Vines, Anthony C. "Remember." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_theses/87.

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REMEMBER is a film script that operates within the horror genre but touches upon the subgenre of body horror as well as the sub-subgenre of body modification/alteration. It examines psychological and sociological issues such as identity and acceptance, gender understanding and social assignment. The story follows five young women who live outside the norms of ‘acceptable’ society. After an accident near a small, isolated, rural town called Tantalus leaves them stranded with strangers, the girls soon find that something is amiss. Having arrived during a tornado just before the towns Founder’s Day festival, they discover there is more in Tantalus than meets the eye. The town is founded on a dark past which appears to be returning in a fashion. Now with a body count rising and no way to leave, the women find themselves connected to the murders. The only question that remains is how?
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Busse, Beate. "R. L. Stine Der Stephen King für Kinder Ausgewählte Untersuchungen zu seinen Gruselserien /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675507.

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Cliffe, David. "Thriller, horror, hacker, spy : the 'hacker' genre in film and television from the 1970s to the 2010s." Thesis, De Montfort University, 2018. http://hdl.handle.net/2086/16358.

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This thesis argues that hacking and surveillance have formed a ‘hacker’ genre in film and television that begins to emerge from the influences of 1970s films, forming between the 1980s and 1990s and continuing to develop through to the 2010s, grouping together computer hacking, surveillance and espionage as activities striving to achieve order over the ‘electronic frontier’. In particular, this thesis identifies how hacker genre films foreground and fetishise the technology of hacking and surveillance of the period of production, which inevitably leads to an in-built expiry date and limited shelf-life. Whilst these genre films draw on the crime, horror and thriller traditions to depict the tension and anxiety presented by the capabilities of this hacking and surveillance technology, as technology progresses and becomes more familiar to the audience, these films naturally lose their ability to elicit fear and terror from the viewer; instead these films become virtual parodies of their original intention. Moreover, the thesis maps the evolution and development of the generic features of the hacker film genre, charting the progression from passive observation to active intervention of the hacker figure; as the technology progresses, there is an increased sense of speed and mobility and the hacker emerges from small enclosed spaces to engage with the physical world. Similarly, the thesis considers the role of the ‘hacker figure’ in these films, using the viewer’s human connection to consider how this technology affects the user over time; considering the links to the thriller and horror traditions, this study considers the potential for the hacker to become dehumanised in using this technology.
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Armstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16446/1/Shayne_Armstrong_-_Monster_Business.pdf.

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Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.
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Armstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16446/.

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Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.
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Tolliver, Staci. "Hurting the Ones They Love: Character Analysis and Original Screenplay Crimes of Passion." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/honors_theses/22.

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The thesis is a ten-page analysis on two films, Fatal Attraction and Lakeview Terrace. The thesis begins with a brief introduction to the horror genre and its subgenre in which the two films and original screenplay are categorized, psychological horror. It covers all the important elements of a film and screenplay: conflict, arc, goal, structure and plot. The thesis also consists of feminists’ reactions to Fatal Attraction, and examines whether the original 60- page screenplay helps or worsens the image of women. The screenplay also raises the question if having the villains need to be insane to prove a point. Further in the thesis is a description of the original screenplay Crimes of Passion and its main characters Jennifer, Alex and Keith. Jennifer, the heroine, becomes the target of scorned lover and police officer Keith. Alex, Keith’s rival, must protect Jennifer. The analysis ends with the restated questions the audience must have in mind and answer while reading the screenplay.
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Wallman, Bengt. "Il thrilling Italiano: : Opening up the giallo." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7035.

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<p>This study is a conscious attempt at opening up the discussion on the Italian giallo film of the 1960’s & 1970’s. Part of its mission is examine views and writings currently available on the giallo and using these to analyse the body of films known as the giallo. It is also an attempt at the generic definition seeing the giallo as a series of thriller films according to Tzvetan Todorov’s model and in depth discussing the influence of the horror story and the whodunit. Beyond that it is a close look upon the form and devices of giallo narration, with focus upon the role of the eyewitness, focalization and point of view as first person narration. The study also traces the giallo’s influences interdisciplinary including placing it in the cultural context of the Italian adult comics known as fumetti neri. The study also includes a close look upon the idea of the eroticised violent set piece tracing it to the French theatre of horror – the Grand Guignol. Furthermore the study addresses the concept of seriality as understood in reference to the giallo. Finally the study examines the role of the giallo hero and suggests that the giallo is posing existential questions, and can be understood as existential suspense thrillers. The findings are exemplified through a wide scope of films including brief references and longer analytic examples elaborating on topical discussions in this developing field of study.</p>
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Lafferty, Sarah. "Holding Out For A Female Hero: The Visual And Narrative Representation Of The Female FBI Agent In Hollywood Psychological Thrillers From 1991-2008." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237405595.

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Wiley, Antoinette Marchelle. "The Familiar Stranged." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513009183178476.

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Björnström, Lovisa. "Vampyr och nagelbitare : En genre- och diskursanalys av barn- och ungdomsrysare och deras ämnesord." Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253494.

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This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.
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Books on the topic "Horror thriller"

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Hohlbein, Wolfgang. Video-Kill: Horror-Thriller. Goldmann, 1992.

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Piprell, Collin. Yawn: A thriller. Published and distributed by Asia Books, 2000.

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Murshid, Ramlee Awang. Mandat[o]ri: Sebuah novel thriller. Alaf 21, 2000.

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Moss, Roger S. Nightmare: The fright of your life : a horror thriller. French, 1993.

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Hohlbein, Wolfgang. Im Netz der Spinnen: Thriller. Lingen, 1994.

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Krell, Stefan. Tödliches Territorium: Horror-Thriller. Independently Published, 2017.

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Penney, John, and Brian Yuzna. Pope: A Horror Thriller. Gremese Editore, 2019.

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F, T. Tanja Feiler. Amazing Horror: Dark Thriller. Createspace Independent Publishing Platform, 2016.

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Wood, Rick. Rick Wood Horror and Thriller Omnibus: Three Non-Stop Horror Thriller Novels. Independently Published, 2019.

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Ronn, Jim. Luzie: Ein Paranormaler Horror-Thriller. Independently Published, 2018.

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Book chapters on the topic "Horror thriller"

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Labanyi, Jo, Antonio Lázaro-Reboll, and Vicente Rodríguez Ortega. "Film Noir, the Thriller, and Horror." In A Companion to Spanish Cinema. Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch9.

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Peele, Jordan. "Get Out (Horror/Mystery/Thriller), 2017." In Script Analysis. Routledge, 2022. http://dx.doi.org/10.4324/9781003138853-18.

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Jancovich, Mark. "“Psychological Thriller”: Dead of Night (1945), British Film Culture, and the 1940s Horror Cycle." In Speaking of Monsters. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_6.

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Pickles, Katie. "Thrills of Horror and Waves of Outrage: Diffusing Propaganda." In Transnational Outrage. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230286085_4.

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Shoos, Diane L. "Sleeping With the Enemy, Victim Empowerment, and the Thrill of Horror." In Domestic Violence in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65064-7_3.

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Deighan, Samm. "The Pleasure to End All Pleasures." In M. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.003.0006.

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This chapter looks into the legacy of Fritz Lang's M. It examines how Lang's portrayal of a serial killer as protagonist went on to influence subsequent horror films and serial killer thrillers. It also describes how Lang innovatively used abnormal psychology as a source of monstrosity in place of the supernatural or mad science, which was popular with horror cinema in the 1930s, 1940s and 1950s. The chapter outlines ways M influenced everything from the emerging serial killer thriller subgenre to film noir through titles like Stranger on the Third Floor (1940) and Hangover Square (1945). It discusses how Lang continued to explore M's themes in his own later films and how they influenced more contemporary depictions of serial killers in both art-house cinema and mainstream horror films.
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"Chapter Four. Horror, Thriller, Suspense: “Who Are You?”." In The Crisis of Identity in Contemporary Japanese Film. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004171381.i-226.10.

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Ercolani, Eugenio, and Marcus Stiglegger. "The Wandering Demon: Cruising as a Horror Film." In Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.003.0009.

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This chapter defines Cruising as a horror film directed in the modus of a cop thriller. When analysed closely it becomes clear that not one but several killers roam the Meatpacking District of New York, and in the end even the protagonist might be infected by the killer virus. Friedkin uses the idea of a wandering demon from The Exorcist to place disturbing uncertainty in his film.
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Taylor, Alison. "Faith and Chance." In Possession. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800857056.003.0001.

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There really is no other film quite like Possession. Its unwieldy and complicated plot is difficult to reduce to summary. It offers familiar genre markers—the horror film; spy thriller; monster movie—while defying the expectations of these genres at every turn. This chapter considers the challenges that approaching Possession poses. It contextualises the film within Polish cinema, Żuławski’s greater oeuvre, as well as in the horror landscape of the period more broadly. Finally, chapter one presents a brief overview of the terrain the remaining book will cover, underscoring Possession’s significance and longevity.
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Carr, Jeremy. "Conclusion." In Repulsion. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859326.003.0006.

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An open ending and Polanski’s intended ambiguity make Repulsion a psychological thriller that exceeds the norms of what he deemed a “cheap horror film.” But while the movie was greeted with generally positive appraisal, Polanski himself still viewed the production as “an artistic compromise,” deriding its technical quality in particular. Still, there can be no denying Repulsion’s reputation within the horror genre, as a unique feature in its own right and as it aligns with related horror precursors. However much he may have looked down upon the horror film generally, Polanski knew the rules of the game, and in Repulsion, he managed to adapt his unique sense of scenic configuration, tension, timing and characterization to form one of the genre’s most unique and outstanding entries. In doing so, Polanski imbued in the film an assortment of his trademark gestures, many of which would be most apparent in the remaining two films of his Apartment Trilogy, films that in many ways not only define Polanski’s cinema at large, but also established his place in the annals of horror film history.
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