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Journal articles on the topic 'Horror'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Al-Ulya, Kalimatullah, and Rido Budiman. "MONSTER GLOBAL, KETAKUTAN LOKAL: KISAH HANTU DAN INGATAN KOLEKTIF WARGA KOTA." Makna: Jurnal Kajian Komunikasi, Bahasa, dan Budaya 3, no. 1 (2018): 1–19. http://dx.doi.org/10.33558/makna.v3i1.839.

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Penelitian ini membahas karakter horor yang dihadirkan kembali dalam bentukcerita lisan, gambar komik, film dan sinetron, serta rumah hantu. Dari representasikarakter horor tersebut dapat ditemukan satu budaya dengan budaya lainnyasaling bercampur, yaitu budaya horor global dan budaya horor lokal. Akhirnya,pelokalan karakter horor global pun semakin populer di Indonesia. Di Bekasiditemukan beberapa praktek pelokalan karakter horor global melalui perayaanHalloween di mal-mal Bekasi. Walaupun segala bentuk praktek pelokalankarakter horor global terjadi, ada pula yang mencoba untuk mengangkat kem

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2

Dappa, Debora, and Kalis Stevanus. "Analisis Pemahaman dan Perilaku Remaja Kristen Penyuka Film Horor Mengenai Setan dan Pekerjaannya." HARVESTER: Jurnal Teologi dan Kepemimpinan Kristen 9, no. 1 (2024): 46–63. http://dx.doi.org/10.52104/harvester.v9i1.169.

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Teenagers are very fond of horror movies because they believe that watching horror films can test their bravery. Also, to satisfy their high curiosity about mystical things. However, horror films always present frightening and terrifying things that can have a negative impact on teenagers' understanding and behavior regarding demons and their work. This study aims to determine the understanding of Christian teenagers who like horror films and their influence on their behavior. To answer the research objectives, the author chose to use qualitative research methods. The results show that Christi

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3

Noer, Achmad Ridwan. "We Choose What to Fear in Indonesian Horror Cinema." Communicare : Journal of Communication Studies 8, no. 1 (2021): 62. http://dx.doi.org/10.37535/101008120215.

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Horror movies in Indonesian cinemas have seen a recent surge of viewers despite being associated with exploiting sensualism under the blanket of horror. Meanwhile, the top ten viewed Indonesian horror movies in recent years managed to somewhat acquire the trust of Indonesians to come back to watch more horror movies in their favourite cinemas. This paper employs the qualitative content analysis method to better grasp what movie trailer elements are employed by the top 10 viewed Indonesian horror movies and see what are the similarities and differences in the elements of horror they present. Ul

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Devaraj, Navin Kumar. "Article Rejection - The Horror, The Horrors." MARCH 2023 19, no. 2 (2023): 1. http://dx.doi.org/10.47836/mjmhs.19.2.1.

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Meliala, Dedi Sukatno Sembiring, and Michael Bezaleel. "Analisis Film Horor Indonesia Produksi Tahun 2014 (Studi Kasus: Mall Klender dan Kamar 207)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 01 (2018): 1–14. http://dx.doi.org/10.33633/andharupa.v2i01.979.

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Abstrak Film horor erat kaitannya dengan tokoh antagonis yang menimbulkan ketakutan pada penonton dalam bentuk makhluk supranatural seperti hantu, roh jahat dan sebagainya. Karakteristik film dengan genre horor membuat penonton terbawa suasana dengan alur ceritanya yang menakutkan. Namun, beberapa dari film horor Indonesia menyajikan adegan-adegan yang kurang sopan bahkan tergolong asusila atau porno. Untuk itu, penelitian ini ingin melihat apakah terdapat konten pornografi pada film Mall Klender dan Kamar 207 yang merupakan film horor Indonesia terlaris di tahun 2014. Analisis dilakukan denga

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6

Fa, Jong Li, Dwi Leyli Ningsih, Wahyu Rismayuda Dwitama, and M. Aries Taufiq. "Language Style of Horror Movies and Audiences’ Psychological Response." Modality Journal: International Journal of Linguistics and Literature 3, no. 2 (2024): 107. http://dx.doi.org/10.30983/mj.v3i2.8003.

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<p class="abstrak" align="center"><strong>Abstract</strong></p><p class="abstrak">The development of technology in Indonesia has an impact on the development of the entertainment world, including movies. Movies consist of various genres, one of which is horror. Among Indonesians, horror is a popular genre, especially highlighting customs, rituals, and traditions. Horror movies aim to cause fear and disgust in the audience by providing entertainment. This study aims to determine whether horror genre movies are the favorite movies of Indonesian people. The method us

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Kusumadinata, Kamilia. "THE INTERSECTION BETWEEN FAITH AND HORROR: THE VAMPIRIC ANGELS OF NETFLIX’S MIDNIGHT MASS." SUSASTRA: Jurnal Ilmu Susastra dan Budaya 10, no. 2 (2023): 70–81. http://dx.doi.org/10.51817/susastra.v10i2.119.

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When it comes to on-screen depictions, oftentimes religion and horror are placed at opposing sides. Religion in film is the antithesis of horror, rarely does it venture into the concept of religion itself as the source. Netflix's Midnight Mass (2021) by Mike Flanagan explores this topic in a deeper yet subtle manner. Since the series was released less than two years before this article was written, most of the articles found are focused on the cinematic aspect and the performance of actors. This article examines the use of overt religiousness to push forward the horror narrative, particularly

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8

Hasanzada, Turkan. "The Context of 19th-Century English Horror Stories." EuroGlobal Journal of Linguistics and Language Education 2, no. 3 (2025): 83–88. https://doi.org/10.69760/egjlle.2500200.

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19th-century English horror stories represent a significant literary genre that reflects the social, economic, and psychological changes of the period. Influenced by the Industrial Revolution and urbanization, these stories not only incorporate supernatural elements but also highlight the fears arising from technological advancements, urban life, and modern society. The horror stories of this era illuminate human suffering, the anxieties about irreversible changes, and the dystopian consequences of innovation. Mary Shelley's Frankenstein explores the dangers of uncontrolled technological progr

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9

Korvela, Paul-Erik. "The Horror, the Horror!" Redescriptions: Political Thought, Conceptual History and Feminist Theory 14, no. 1 (2010): 193. http://dx.doi.org/10.7227/r.14.1.11.

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Misky, Fatma. "Penggunaan Mitos Minyak Kuyang pada Ritual Pesugihan dalam Game Horor “Pulang: Insanity”." Urban: Jurnal Seni Urban 3, no. 2 (2020): 141–54. http://dx.doi.org/10.52969/jsu.v3i2.37.

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Indonesia has various myths and beliefs. This is in line with the diversity of cultures in Indonesia. The belief in myths in Indonesia is still very strong, which also shows the strong belief in religious rituals and ancestors. One of them is a famous myth in Kalimantan about the ritual of pesugihan using kuyang oil to get wealth instantly. The ritual of the pesugihan, which until now is still not believed by the people of Kalimantan, was adapted and combined with two other myths from Java and Bali in the narrative of the horror game “Pulang: Insanity” by adding a horror aspect. The addition o

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11

De León Ramírez, Francisco Javier. "CERTAIN AESTHETICS OF HORROR, CERTAIN HORRORS OF AESTHETICS." Brumal. Revista de investigación sobre lo Fantástico 6, no. 2 (2018): 229. http://dx.doi.org/10.5565/rev/brumal.496.

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Dwi Kurniawan, Muhammad Lutfi, Hadi Prasetyo, Aditya Wicaksono, and Fian Ulumul Akmal. "DEGRADASI PUITIKA DALAM KONTESTASI LITERASI CERITA KKN DI DESA PENARI." Poetika 7, no. 2 (2019): 216. http://dx.doi.org/10.22146/poetika.v7i2.51571.

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Cerita KKN di Desa Penari merupakan sebuah sastra siber yang populer karya Simpleman dengan genre horor. Kepopuleran tersebut tidak terlepas dari strategi puitika dan pengaruh media yang digunakan. Dalam cerita horor KKN di Desa Penari, strategi puitika akan ditinjau dari kepenuhperistiwaan cerita yang membentuk sensitivitas-konteks di dalam teks, sedangkan pengaruh media akan dilihat dari transformasi sastra siber ke sastra cetak yang berimplikasi pada konsekuensi-konsekuensi teks dalam tatanan literasi. Melalui hal tersebut, penelitian ini bertujuan menganalisis strategi puitika sebagai pemb

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13

Wald, Jonathan. "Horror." Environmental Humanities 14, no. 2 (2022): 367–70. http://dx.doi.org/10.1215/22011919-9712434.

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Winter, George. "Horror." British Journal of Neuroscience Nursing 11, no. 6 (2015): 270. http://dx.doi.org/10.12968/bjnn.2015.11.6.270.

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Wortis, Joseph. "Heterophobia: Horror feminae and Horror viri." Biological Psychiatry 34, no. 8 (1993): 505–6. http://dx.doi.org/10.1016/0006-3223(93)90191-f.

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16

Grella-Możejko, Piotr. "Aldo Clementi—Horror pleni/Horror vacui." Contemporary Music Review 28, no. 6 (2009): 543–55. http://dx.doi.org/10.1080/07494467.2009.494064.

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17

Pinkowitz, Jacqueline. "The Black/Body Gothic: Exhuming and Transcending Racial Mixing, Passing, and Slavery's Afterlives in Lovecraft Country (2020)." Black Camera 16, no. 2 (2025): 22–45. https://doi.org/10.2979/blc.00055.

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Abstract: A Black Lives Matter‒era "new wave" of Black media has created an expansive space for exploring Black subjectivities and critiquing American racism. This includes a surge in Black horror that inverts the equation of blackness with monstrosity while showcasing Black fears and terror. This "new wave" is striking for its engagement of the gothic across different genres and subjects, beyond (Black) horror. This essay investigates this recent utilization of the gothic by Black creators—part of a "New Black Gothic"—while contextualizing it within a longer tradition of utilizing the mode to

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18

Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.

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ABSTRACT Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to

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19

McClanahan, Bill. "Earth–world–planet: Rural ecologies of horror and dark green criminology." Theoretical Criminology 24, no. 4 (2019): 633–50. http://dx.doi.org/10.1177/1362480618819813.

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This article responds to green criminology. Drawing on an ethnographic case study of the coal-producing region of Appalachia and the processes of mountaintop removal mining, the article engages contemporary philosophy, ecocriticism, and “dark ecology” to suggest that green criminology rethink its linguistic categories and epistemological assumptions. The article employs an analysis of some examples of horror cinema to suggest criminological engagement with “ecologies of horror” and the “horrors of ecology” that condition life in the shadow of harmful modes of resource extraction. It concludes

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20

Aziz, Rebar Abdulghaffar. "The Theme of Horror in The Novel (The Virgin of Sinjar): A Thematic Study." Journal of AlMaarif University College 34, no. 1 (2023): 87–104. http://dx.doi.org/10.51345/.v34i1.648.g331.

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This study examines the theme of horror in Iraqi Novelist Ward Badr Salem's novel "The Virgin of Sinjar" This novel was inspired by the horror and bloodshed that the Yazidis experienced during the terrorist organization ISIS's control of their cities and villages. This study looked at some of the horrors mentioned by the author in the novel, including murder, slaughter, bloodshed, captivity, rape, burning, imprisonment, and flogging. We decided to study and analyze because these manifestations, in our opinion, formed the internal dynamic of the novel and allowed the rest of the narrative eleme

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21

Walsh, Richard. "The Horror, The Horror: What Kind of (Horror) Movie is the Apocalypse?" Journal of Religion and Popular Culture 22, no. 3 (2010): 1. http://dx.doi.org/10.3138/jrpc.22.3.001.

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22

Hill, Kristen Miller. "‘We lie best when we lie to ourselves’: Stephen King’s It and the horrors of nostalgia." Horror Studies 12, no. 2 (2021): 249–63. http://dx.doi.org/10.1386/host_00041_1.

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Stephen King’s 1986 novel It follows a traditional horror story arc of restoration of order through defeat of a monster, but the interlude sections of the novel complicate this narrative structure with an alternate story arc in which the people of Derry are also a source of horror within the novel, who enable the monster with their desire to sanitize the past of the town. This arc, in which the townspeople are perpetrators and enablers of horrors, reflects a cultural tendency towards nostalgic views of the past that would have been noticeable in political and cultural movements of the 1980s. A

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23

Sakina, Cintya Dara, and Esther Risma Purba. "Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body)." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 2 (2022): 366–83. http://dx.doi.org/10.22219/satwika.v6i2.22952.

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Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divi

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24

Zarka, Emily. "The Abuser in the Machine: The Invisible Man (2020) as Modern Gothic Horror." Humanities 13, no. 6 (2024): 174. https://doi.org/10.3390/h13060174.

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By modernizing Gothic tropes within a narrative exploring the trauma of intimate partner violence, the latest film adaptation of The Invisible Man from Leigh Whannel draws attention to the invisibility of the psychological and societal horrors of abuse. With a blend of psychological and physical horror, this feminist reinterpretation of H.G. Wells’ classic novel navigates intersecting genres of horror to facilitate its emotional impact. In a close reading of the cinematic techniques and plot through a Gothic lens, Whannell’s version of ‘The Invisible Man’ reveals its successful reflection of t

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Donskikh, Oleg A. "Horror Zivilisationis, or the Horror of Subjectivity." Beacon: Journal for Studying Ideologies and Mental Dimensions 2, no. 2 (2019): 020110205. http://dx.doi.org/10.55269/thebeacon.2.020110205.

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In the paper, the problem of the relationship between culture and civilisation, is studied. Civilisation is understood as the external expression of culture, while culture represents the content of civilisation. The relationships between culture and civilisation are always tense. The author also considers civilisation as the death of culture. The fear of the individual, the subjectivity ultimately results from the fact that humanity can no longer survive being soulless, only in the form of rationally determined civilisation. It is shown that modern civilisations suffer from the discrepancy bet

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Shand, John Preston, Susan Hatters Friedman, and Fernando Espi Forcen. "The horror, the horror: stigma on screen." Lancet Psychiatry 1, no. 6 (2014): 423–25. http://dx.doi.org/10.1016/s2215-0366(14)00014-5.

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Weston, Gavin, Jamie F. Lawson, Mwenza Blell, and John Hayton. "Anthropologists in Films: “The Horror! The Horror!”." American Anthropologist 117, no. 2 (2015): 316–28. http://dx.doi.org/10.1111/aman.12233.

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Donskikh, Oleg A. "Horror Zivilisationis, or the Horror of Subjectivity." Beacon: Journal for Studying Ideologies and Mental Dimensions 2, no. 2 (2019): 020110205. https://doi.org/10.5281/zenodo.3733791.

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In the paper, the problem of the relationship between culture and civilisation, is studied. Civilisation is understood as the external expression of culture, while culture represents the content of civilisation. The relationships between culture and civilisation are always tense. The author also considers civilisation as the death of culture. The fear of the individual, the subjectivity ultimately results from the fact that humanity can no longer survive being soulless, only in the form of rationally determined civilisation. It is shown that modern civilisations suffer from the discrepancy bet

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29

Pająk, Patryk. "Zdarzenie – między horrorem a baśnią." Slavia Meridionalis 16 (October 21, 2016): 520–40. http://dx.doi.org/10.11649/sm.2016.025.

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An Event – between horror and fairy taleAn Event (Događaj, 1969) is one of the few Croatian horror movies. In comparison to other examples of the use of the horror genre in Croatian cinema, the film is distinguished by its aesthetic sophistication and skilful use of fairy-tale elements. The director Vatroslav Mimica evokes the mood of horror primarily through a suitably chosen space (the movie takes place mainly in the forest and two homes) as well as the right dosage and gradation of scenes of violence. The topic of An Event is the child’s initiation into adulthood. To highlight the most impo

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30

Williams, Evan Calder. "Sunset with Chainsaw." Film Quarterly 64, no. 4 (2011): 28–33. http://dx.doi.org/10.1525/fq.2011.64.4.28.

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Looking back at three films (The Night of the Hunter, House, and The Texas Chainsaw Massacre), this essay proposes a new way to read horror politically, moving away from allegories of “horrible content” in favor of an attention to the horrors of form and how “secondary” background details assert themselves.

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Have, Henk Ten. "Horror regulationum." Hastings Center Report 34, no. 4 (2004): 16. http://dx.doi.org/10.2307/3528688.

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Tandoc, Amado III. "Horror Vacui." Philippine Journal of Pathology 2, no. 2 (2017): 4. http://dx.doi.org/10.21141/pjp.2017.010.

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Hutchings, Peter. "Horror London." Journal of British Cinema and Television 6, no. 2 (2009): 190–206. http://dx.doi.org/10.3366/e1743452109000879.

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34

Waller, Sara, and Chris Meyers. "Disenstoried Horror." Film and Philosophy 4, no. 2 (2001): 117–26. http://dx.doi.org/10.5840/filmphil20014212.

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Wenaus, Andrew. "Rhizomatic Horror." Extrapolation 53, no. 1 (2012): 1–23. http://dx.doi.org/10.3828/extr.2012.2.

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Schaeffer, Jacqueline. "Horror feminae." Revue française de psychanalyse 57, no. 5 (1993): 1761. http://dx.doi.org/10.3917/rfp.g1993.57n5.1761.

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Bates, Jane. "Horror show." Nursing Standard 22, no. 30 (2008): 25. http://dx.doi.org/10.7748/ns.22.30.25.s30.

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Bates, Jane. "Lock horror." Nursing Standard 24, no. 12 (2009): 27. http://dx.doi.org/10.7748/ns.24.12.27.s33.

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Masiza, Zondi. "Horror stories." Bulletin of the Atomic Scientists 55, no. 3 (1999): 76–77. http://dx.doi.org/10.2968/055003022.

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Harder, Ben. "Flora Horror." Science News 169, no. 7 (2006): 104. http://dx.doi.org/10.2307/3982325.

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Howe, Fanny. "Wonder-Horror." Religion and the Arts 14, no. 5 (2010): 606–15. http://dx.doi.org/10.1163/156852910x529368.

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AbstractMichel de Certeau and his book, The Possession at Loudun, are the central subjects of this essay, in which the question of belief is addressed. Who can you believe and how? Is belief engendered by a person’s speech, facial expression, or gesture? The revolt of the nuns in Loudun, following the Plague, had, for Certeau, a theatrical dimension as if they were acting out an unexpressed failure of communication between the clergy and the people. Their mass dementia represented a cataclysmic change in social relations. Certeau found two people who spoke with a convincing clarity: Urbain Gra

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Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 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 em

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Wilson, John, and Nicholas Wilson. "Moral horror." Journal of Beliefs & Values 24, no. 3 (2003): 321–27. http://dx.doi.org/10.1080/1361767032000156093.

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Van Elferen, Isabella. "Sonic horror." Horror Studies 7, no. 2 (2016): 165–72. http://dx.doi.org/10.1386/host.7.2.165_2.

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Doostdar, Alireza, and Morehshin Allahyari. "Horror Refigured." Portable Gray 3, no. 2 (2020): 173–80. http://dx.doi.org/10.1086/711987.

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Smith, David Livingstone, and Ioana Panaitiu. "HORROR SANGUINIS." Common Knowledge 22, no. 1 (2016): 69–80. http://dx.doi.org/10.1215/0961754x-3322882.

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Kellett, J. M. "Gothic horror?" Psychiatric Bulletin 9, no. 5 (1985): 106. http://dx.doi.org/10.1192/pb.9.5.106-c.

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Kellett, John M. "Gothic Horror?" Bulletin of the Royal College of Psychiatrists 9, no. 5 (1985): 106. http://dx.doi.org/10.1192/s014007890000208x.

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Richardson, Marilyn, and Susan Sontag. "Photographing Horror." Women's Review of Books 21, no. 1 (2003): 12. http://dx.doi.org/10.2307/4024271.

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Dixon, Bernard. "Horror bacteria." Molecular Medicine Today 1, no. 3 (1995): 105. http://dx.doi.org/10.1016/s1357-4310(95)80076-x.

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