Relevant bibliographies by topics / Locus of horror

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  2. Dissertations / Theses
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Academic literature on the topic 'Locus of horror'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Locus of horror"

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Kulikova, Daria L. "MYTHOPOETICS OF THE CEMETERY SPACE IN HORROR FICTION (Based on the Material of Modern Russian Literature)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 3 (2021): 86–93. http://dx.doi.org/10.17072/2073-6681-2021-3-86-93.

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This article deals with the locus of the cemetery in modern Russian horror. We examine approaches to the depiction of scary spaces in literature, describe the cemetery as a locus of horror, study the motives associated with the cemetery in horror, detect intermedial connections, provide interpretation of folklore and literary references. The cemetery is one of the key loci of folk culture, presented in folklore as a space of contact with the otherworldly (with the world of the dead), which explains the interest of horror authors in these ‘scary’ places. The modern literature of horror offers m
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Conter, Rafael. "Animais assassinos: as fronteiras do filme Natural Horror." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 77 (March 5, 2025): 1–16. https://doi.org/10.5007/2175-8026.2024.e99879.

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Este artigo se propõe a uma análise do natural horror, subgênero do cinema de horror que apresenta animais não-humanos no papel de assassinos e monstros. O objetivo é investigar as características e as estruturas narrativas do natural horror sob uma perspectiva ecocrítica, interessada na subjetividade do não-humano. A partir de um recorte de onze filmes, a análise identifica uma série de elementos narrativos recorrentes, como o locus horribilis e o final couple, e estabelece a ideia de que o natural horror pode ser visto como uma espécie de híbrido do slasher e do rape and revenge.
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CUADRADO, ALVARADO ALFONSO. "THE ORIGINS OF THE SINISTER LOCUS IN JAUME BALAGUERÓ'S BARCELONA." L'Atalante. Revista de estudios cinematográficos 30 (June 5, 2020): 75–88. https://doi.org/10.5281/zenodo.10621217.

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Barcelona has been used as the location for several films that have promoted the city’s image as a cosmopolitan tourist estination, pre­senting it as a historical, cultural, and artistic centre. But it has also come to be known as the setting for a number of horror films, such as the REC saga or Sleep Tight by the Catalan filmmaker Jaume Bala­gueró. Film tourism is inspired by an imaginary that is the result of viewing a real location through the filter of cinematic creation. For many of his films, Jaume Balagueró has created a specific setting, a sinister locus res
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Сазонова, Ярослава Юріївна. "ТЕКСТОТВІРНИЙ МЕХАНІЗМ ВИРАЖЕННЯ ТЕНСИВНОСТІ ЕМОЦІЙ (НА МАТЕРІАЛІ ОПОВІДАНЬ ЖАХІВ)". Збірник наукових праць ХНПУ імені Г.С. Сковороди "Лінгвістичні дослідження", № 40 (28 жовтня 2015): 97–103. https://doi.org/10.5281/zenodo.32831.

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<em>In view of the topicality of the studying of the horrible in a range of humanitarian studies the article contains an attempt of elaborating the mechanism of creating emotional tension on the textual level in horror discourse, which allows proving the independence of the emotional dimension from the plot line. The elaborated mechanism bases on the achievements of an interdisciplinary level; in particular it involves semiologists&rsquo; experience, which helps analyze the emotional dimension of a text and its linguistic realization. As a result, having used the text of Joseph Sheridan Le Fan
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Castro, Hélder Brinate, and Godofredo De Oliveira Neto. "Espaços monstruosos: o Gótico na ficcionalização de Pedra Bonita e de Canudos." Gragoatá 23, no. 47 (2018): 910. http://dx.doi.org/10.22409/gragoata.2018n47a1185.

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Ao contrário do que a crítica e a historiografia literárias dos séculos XIX e XX nos levam a crer, a literatura brasileira apresenta influxos góticos. Nesse contexto, a prosa regionalista desponta como uma ramificação mais desenvolvida da literatura de terror, horror e suspense no Brasil, em que o interior do país, especialmente os sertões, se transforma em um autêntico locus horribilis. Nos romances O reino encantado: crônica sebastianista (1878), de Araripe Júnior, e Os Jagunços: novela sertaneja (1898), de Afonso Arinos, os narradores, ao utilizarem uma retórica macabra e horrorizante para
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Castro, Hélder Brinate, and Godofredo de Oliveira Neto. "Espaços monstruosos: o Gótico na ficcionalização de Pedra Bonita e de Canudos." Gragoatá 23, no. 47 (2018): 910–25. http://dx.doi.org/10.22409/gragoata.v23i47.33609.

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Ao contrário do que a crítica e a historiografia literárias dos séculos XIX e XX nos levam a crer, a literatura brasileira apresenta influxos góticos. Nesse contexto, a prosa regionalista desponta como uma ramificação mais desenvolvida da literatura de terror, horror e suspense no Brasil, em que o interior do país, especialmente os sertões, se transforma em um autêntico locus horribilis. Nos romances O reino encantado: crônica sebastianista (1878), de Araripe Júnior, e Os Jagunços: novela sertaneja (1898), de Afonso Arinos, os narradores, ao utilizarem uma retórica macabra e horrorizante para
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Chevtaev, A. A. ""Cave" Locus in N. S. Gumilev’s Artistic Universe." Art Logos – The Art of Word 2, no. 27 (2024): 50–75. https://doi.org/10.35231/25419803_2024_2_50.

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The article examines the specifics of the representation of the “cave” space in the work by N. S. Gumilev. Rethinking the symbolist practice of ontological transformation of the world, the poet gives “the cave” the status of a liminal locus in which reality and ideal, life and death, time and eternity come into contact. The structural-semiotic and mythopoetic analysis of Gumilev’s poetic and prose works shows that the “cave” space in his artistic universe is sacralized and thought of as the place of initiation of a lyrical subject or character. In the poet’s work, the motive-plot unity of the
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Doherty, Ryan Atticus. "The Devil’s Marriage: Folk Horror and the Merveilleux Louisianais." Literature 4, no. 1 (2023): 1–21. http://dx.doi.org/10.3390/literature4010001.

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At the beginning of his Creole opus The Grandissimes, George Washington Cable refers to Louisiana as “A land hung in mourning, darkened by gigantic cypresses, submerged; a land of reptiles, silence, shadow, decay”. This anti-pastoral view of Louisiana as an ecosystem of horrific nature and the very human melancholy it breeds is one that has persisted in popular American culture to the present day. However, the literature of Louisiana itself is marked by its creativity in blending elements of folktales, fairy tales, and local color. This paper proposes to examine the transhuman, or the transcen
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Cohen, Claire. "Problematizing ‘pro-feminist’ depictions of female on male rape: American Horror Story’s ‘Rape of the Monsignor’." Crime, Media, Culture: An International Journal 16, no. 1 (2019): 61–80. http://dx.doi.org/10.1177/1741659019836276.

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Dramatized depictions of female on male rape, in inverting the conventional gendered rape binary of male assailant/female victim, are commonly regarded as subverting gender norms, and are thus celebrated as pro-feminist. I present a Foucauldian problematization of this rationale – arguing that, through a process of over-writing gender, inversion of the norm masks a ‘reversion to the norm’. To interpret this as pro-feminist, one must be distracted by corporeal gender in the superficial role reversal, and blind to the anti-feminist effects in operation. Critical discourse analysis of an example
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Glancy, Jennifer. "Torture: Flesh, Truth, and the Fourth Gospel." Biblical Interpretation 13, no. 2 (2005): 107–36. http://dx.doi.org/10.1163/1568515053683095.

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AbstractIn the Roman world, torture, conceived as a mechanism to extract truth from flesh, was used in judicial interrogation, most commonly in interrogation of slaves and other low-status persons. The flogging of Jesus in John 19:1-3, a flogging that occurs in the midst of the trial before Pilate, is best read as an instance of such judicial torture. If understood as an act of judicial torture, the flogging is also an act of witnessing to the truth: the flesh of the Johannine Jesus is flush with truth (John 1:14). And because Jesus' flesh is flush with truth, the Johannine passion narrative i
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Dissertations / Theses on the topic "Locus of horror"

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Krueger, Claire. "Locus." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3109.

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This thesis explores my practice as it has progressed into video and video installation. I detail my use of cinematic tropes and mechanisms as they function within a spatial installation. I discuss the relationship of my work to other artists such as Pierre Huyghe, Janet Cardiff and George Bures Miller, and Kevin Cooley who also deal with themes of landscape, spatial displacement, and video viewing. My work has evolved to video installation from a need to experience the traditionally flat viewing plane of photography in a more experiential way. The Locus installation is multi sensory, in that
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Books on the topic "Locus of horror"

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A, Saunders Elizabeth, ed. When the black lotus blooms. Unnameable Press, 1990.

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King, Stephen. Mientras escribo. Plaza y Janés, 2001.

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King, Stephen. On Writing: [autobiografia di un mestiere]. Sperling & Kupfer, 2001.

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King, Stephen. On Writing: A Memoir of the Craft. Scribner, 2000.

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King, Stephen. On writing: A memoir of the craft. Scribner, 2010.

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King, Stephen. On Writing: A Memoir of the Craft. Scribner, 2000.

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King, Stephen. Mientras escribo. Plaza & Janés, 2001.

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King, Stephen. 寫作. Shang zhou chu ban, 2001.

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King, Stephen. On Writing: A Memoir of the Craft. Pocket Books, 2000.

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King, Stephen. On Writing: A Memoir of the Craft. Pocket Books, 2002.

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Book chapters on the topic "Locus of horror"

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Grunzke, Andrew L. "Student Bodies: The School as Locus of Trauma in American Horror Films of the 1970s and 1980s." In Educational Institutions in Horror Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469205_4.

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"THE THEATER AS LOCUS HORRIBILIS:." In Theatricality in the Horror Film. Anthem Press, 2019. http://dx.doi.org/10.2307/j.ctvq4c12z.7.

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Balanzategui, Jessica, and Allison Craven. "The Folk Horror “Feeling”." In Monstrous Beings and Media Cultures. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463726344_ch10.

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This closing chapter returns to the concept of folk horror, which is a key locus of intersection for the interests of this book – monstrosity, media cultures, and regionality. We address the twenty-first-century debates around how “folk horror” operates as a subgenre of horror and how it relates to regional or national identities. We highlight how these very debates have defined “folk horror” and argue that appropriations of notions of the “folk” and “folklore” to incite dread and horror marks folk horror as a category. We contend that folk horror is best understood as an aesthetic “mode” rath
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Crawford, Joseph. "Gothic Digital Technologies." In Twenty-First-Century Gothic. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0006.

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Gothic media has flourished in the digital world. The internet itself is a deeply Gothic environment, characterised by persistent anxieties of infection, deception, exploitation and surveillance. This chapter explores some of the ways in which digital Gothic media engages with the Gothic potentials of digital technology itself. Opening with a discussion of the Japanese film Kairo (2001), an early and influential example of a narrative which uses the internet itself as a locus of Gothic horror, I shall proceed to consider examples of Gothic digital media including screamers, creepypasta, Slende
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Singer, Robert. "Darwinian Disconnections." In Beyond Realism. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781474426336.003.0006.

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Naturalist film narrative is frequently a study of abnormal psychology set within the once-familiar structure of a home, suggesting a pathological human presence manifest within familiar industrial genre such as melodrama, comedy, science fiction, and horror. This chapter examines the family, home, and applications of imaginative genetics in a theoretical reading of naturalist film narrative that initially focuses on critical suppositions revealing the past in the present and implied clinical uncertainties in the future. The space and time of the gene is rendered as multiple naturalist films r
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Álvarez Trigo, Laura. "Media Tech Horror: the Locus of Fear and Aural Haunting in the Archive 81 Tape Recordings." In The Gothic and Twenty-First-Century American Popular Culture. BRILL, 2024. http://dx.doi.org/10.1163/9789004698321_013.

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Kaminer, Jenny. "Adolescence as Nightmare." In Haunted Dreams. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762192.003.0003.

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This chapter examines the threatening aspect of post-Soviet fantasies of adolescence, focusing on fictional and cinematic protagonists who inspire fear, horror, or disgust. It looks at three Russian works: Anna Starobinets's 2005 story “An Awkward Age” (Perekhodnyi vozrast); Marina Liubakova's 2007 film Cruelty (Zhestokost'); and the film The Student (Uchenik) (2016) together with the dramatic production upon which it was based, both directed by Kirill Serebrennikov. While heralding the demise of the Soviet adolescent hero, these works foreground the teenager as the locus of an array of anxiet
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Jean, Tristan. "Georges Franju and the grotesque genius of the banlieue." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0008.

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The author addresses the spatial determinations at play in Georges Franju’s French horror masterpiece Les Yeux sans visage (1960), in which a mad scientist bent on reconstructing his daughter’s damaged face tortures and kills the unsuspecting young women he lures to his suburban villa. The author argues for a strong correlation between Franju’s directorial sensibility and the Paris suburbs’ culturally and geographically peripheral status. A locus of untold violence, Dr Génissier’s secluded villa cloaks the extraordinary under the guise of the ordinary to unsettle the film audience in a strong
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Bosma, Anke. "Imagining Dutch Slavery Legacies Through the Rural-Urban Divide in the TV Show Grenslanders." In Slavery in the Cultural Imagination. Amsterdam University Press, 2025. https://doi.org/10.5117/9789463728799_ch13.

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The Netherlands is often imagined as dichotomously divided into the ‘Randstad’ and the rest of the country (sometimes referred to as the ‘province’) and often issues related to colonial legacies are imagined similarly. Such a view of the Netherlands ignores the lasting negative impacts of colonial legacies throughout the Netherlands. This chapter explores how imaginations of colonial legacies, in particular the transatlantic slave trade, and imaginations of the rural-urban divide interact with and co-construct one another by analysing the TV programme Grenslanders (‘Borderlanders’; dir. Erik d
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Donnar, Glen. "“I Don’t Know Why This Is Happening”." In Troubling Masculinities. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828576.003.0003.

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This chapter examines imaginings of living through terror. Cloverfield’s (2008) hand-held amateur camera aesthetic and giant monster’s unmotivated attack on NYC indirectly restages the terror of 9/11. Innovatively recasting the giant monster movie via realist horror locks the audience into the Everyman protagonists’ highly mediated victim-perspective, and foregrounds restricted vision and limited knowledge. Unequipped to professionally counter the monstrous threat, the Everyman’s response is necessarily displaced onto a heroic-redemptive rescue quest. The chapter argues the giant monster excee
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