Journal articles: 'Monstres – Au cinéma'

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Faure, Célian. "Godzilla : allégories géopolitiques et environnementales d’une icône populaire." Questions internationales 118, no. 2 (July 19, 2023): 133–39. http://dx.doi.org/10.3917/quin.118.0133.

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Parmi les monstres iconiques dont le cinéma populaire est friand, Godzilla tient une place à part. Révélé au Japon juste après la Seconde Guerre mondiale, récupéré par Hollywood au temps des blockbusters testostéronés, Godzilla est bien plus qu’un dinosaure pataud et braillard qui écrase tout sur son passage. Quoi de plus allégorique, en effet, qu’un monstre à l’essence presque divine dont la raison d’être semble réduite à la destruction gratuite et aveugle de toute civilisation humaine ? Quel plus beau sujet métaphysique, à l’heure du risque nucléaire ou du péril climatique ?

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Collet, Jean. "Claude Chabrol. L'art sans la vanité." Études Tome 414, no. 6 (May 31, 2011): 797–804. http://dx.doi.org/10.3917/etu.4146.0797.

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Résumé On ne retrouve pas dans le cinéma de Chabrol la jubilation qui émane de l’homme. Sur l’écran se succèdent des paumés, des cinglés, des notables qui se révèlent des monstres, des victimes qui se métamorphosent en prédateurs. Plus de soixante films, avec de vrais navets et une bonne douzaine d’incontestables chefs-d’œuvre. Tonalité générale plutôt sombre, « série noire ».

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Sipière, Dominique. "La peur dans la fiction : que montrent les monstres du cinéma ?" Après-demain N ° 50, NF, no. 2 (June 24, 2019): 31–34. http://dx.doi.org/10.3917/apdem.050.0031.

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Chazal, Serge. "Meurtre et sérialité : l’émergence du serial killer dans la culture médiatique américaine." Thèmes, types et écriture dans la culture médiatique américaine 30, no. 1 (April 12, 2005): 71–79. http://dx.doi.org/10.7202/501189ar.

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En l'espace de vingt ans, le tueur en série est devenu partie intégrante de l'imaginaire culturel américain. Les Charles Manson,Ted Bundy, William Gacy, Hannibal Lecter et autres ont rejoint de plus classiques figures emblématiques du Mal (Dracula, Frankenstein, Hitler ... ). L'article retrace la constitution dans la culture médiatique américaine des formes prises par cette fascination morbide pour les histoires de serial killers , cocktails de sexe, de violence et de mort. Presse , true crime books , paralittérature, bande dessinée, cinéma, télévision ont été les véhicules complaisants (et intéressés) de cette invasion qui devait atteindre son point culminant au milieu des années quatre-vingt-dix avec une multiplication de sites sur Internet. Un reflux semble toutefois s'amorce ravec la récente émergence d'une nouvelle vedette, les profilers, ces nouveaux chasseurs de monstres.

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Vovelle-Guidi, Claire. "Des “nouveaux nouveaux-monstres” aux “héros malgré eux” : le naufrage dans le cinéma italien de Luchino Visconti aux frères Vanzina." Cahiers d'études romanes, no. 1 (July 15, 1998): 151–68. http://dx.doi.org/10.4000/etudesromanes.3513.

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Bride, Amy. "‘What if it’s Not a Ship?’: Reading the Monster Octopus in Jordan Peele’s Nope." Gothic Studies 25, no. 2 (July 2023): 137–59. http://dx.doi.org/10.3366/gothic.2023.0161.

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The article argues that the alien monster of Jordan Peele’s Nope (2022) should be read as part of the long legacy of capitalist monster octopuses, and that identification and recognition of the monster octopus in this context allows for a greater understanding of Peele’s specifically gothic critique of capitalism within the film. The article reviews the history of the monster octopus in literature, art, cinema, and political cartoon, outlines Nope’s relationship to and development of these earlier texts, and then examines how the film uses the monster octopus to highlight capitalism as a monstrous system that we can neither survive nor afford to look away from. Critical perspectives explored in the article include Gothic Studies, Financial History, and Critical Race Theory, and Nope is examined as an example of the Economic Humanities in contemporary horror cinema.

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Marini, Anna Marta, and Sorcha Ní Fhlainn. "Vampire and Monster Narratives: An Interview with Sorcha Ní Fhlainn." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 145–58. http://dx.doi.org/10.37536/reden.2022.3.1825.

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Sorcha Ní Fhlainn is a senior lecturer in film studies and American studies at Manchester Metropolitan University. She specializes in gothic studies, horror cinema, popular culture, and American studies indeed. Her work is focused in particular on vampire and monster narratives. She has published a long list of essays and several books, among which the collections Our Monster Skin: Blurring the Boundaries Between Monsters and Humanity(2010), The Worlds of Back to the Future: Critical Essays on the Films (2010), Clive Barker: Dark Imaginer (2017), and her monograph Postmodern Vampires in Film, Fiction and Popular Culture (2019).

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Baako, Logan. "The Evolution of Horror Films: From Classic Monsters to Psychological Terrors." Art and Society 2, no. 5 (October 2023): 1–10. http://dx.doi.org/10.56397/as.2023.10.01.

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This paper delves into the fascinating journey of the horror film genre, tracing its evolution from classic monster themes to the emergence of psychological terrors. Through an exploration of key trends, shifts in audience preferences, and the cultural impact of horror films, this review provides insights into how the genre has transformed over time. From the foundational classic monsters to the rise of supernatural horror and the exploration of the human psyche, this paper offers a comprehensive analysis of the dynamic progression of horror cinema.

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Antón Sánchez, Laura. "When Woman Teams Up with Monster." Comparative Cinema 8, no. 15 (December 14, 2020): 60–86. http://dx.doi.org/10.31009/cc.2020.v8.i15.05.

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How has the relationship between women and monsters influenced the cultural construction of femininity? In contemporary Hollywood audiovisuals, where selfawareness of the story takes on a special importance, particular emphasis is given to the examination of the way in which one of the most memorable horror movie scenes is presented: the one in which the woman meets the monster. The classic scream of horror has been replaced by a thrilling empathic relationship, plausible thanks to its imaginary link with the idea of otherness. This rapprochement, marked by language, has developed in tandem with a process of the humanization of the monster and its influence on the archetype of the hero, which has attracted greater attention inthe construction of the history of cinema. The main question posed by this narrative strategy, in which female empowerment derives from an alliance with the monster, is how this updated scene has contributed to the cultural reconstruction of the female identity. We aim to assess the influence of this metafictional discourse, triggered by the rhetorical device of parody, on shaping a true image of women.

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Santamaría Ibor, Mónica. ""I Eat Boys": Monstruos Feminity in Jennifer's Body." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 31 (December 16, 2022): 145–66. http://dx.doi.org/10.35869/afial.v0i31.4301.

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The marketing strategy behind Jennifer’s Body capitalized on Megan Fox’s emerging status as a sex symbol. As a result of this, many reviewers criticised it for not fulfilling their male fantasies. Ten years after its release, Jennifer’s Body is now interpreted as a feminist story. This essay explores the limits and contradictions of these readings through an analysis of the depiction of female monstrosity in the film. It starts with the establishment of a theoretical framework on the representation of female monsters in horror cinema and of the monstrous teenage girl. The analysis will be structured in three parts. The first examines the use of irony and self-consciousness in the satanic ritual scene in relation to the film’s portrayal of male violence. The second part reads Jennifer’s monstrosity as a result of her neoliberal, over-sexualised femininity. The last section explores the relationship between Jennifer and her friend Needy, which makes both of them monstrous in their own distinctive manners. This essay posits Jennifer’s Body and its representation of the monstrous feminine as both a feminist denunciation of a patriarchal system and a perpetuation of the same clichés the film wants to subvert.

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Brown, William. "Monstrous cinema." New Review of Film and Television Studies 10, no. 4 (December 2012): 409–24. http://dx.doi.org/10.1080/17400309.2012.666455.

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Stoica, Irina. "Are manner of speaking verbs truly manner?" Bucharest Working Papers in Linguistics 22, no. 1 (2020): 33–52. http://dx.doi.org/10.31178/inter.11.25.2.

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This article examines how the film Zombie Strippers (2008, dir. Jay Lee) and the first season of the series From Dusk Till Dawn (2014, created by Robert Rodriguez) deploy the Gothic mode to stage monstrous transgressions of commodified females in the American historical and cultural contexts of the home front and the borderlands. By transforming into monsters, the erotic dancers in the two films above challenge the patriarchal foundations of their culture by subverting their objectification, literally consuming the bodies of male consumers. I further explain how their rebellions reference the frontier history of America, which provided Western horror cinema with tropes of evil “otherness” that blend stereotypes of Native Americans with Gothic fantasies of excess. My readings cite canonical theories from the fields of cultural and literary studies, but also more recent scholarship on the philosophical paradoxes of the eternal zombie condition or the sexually transgressive dimension of vampirism.

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Chronister, Kay. "‘My Mother, the Ap’: Cambodian Horror Cinema and the Gothic Transformation of a Folkloric Monster." Gothic Studies 22, no. 1 (March 2020): 98–113. http://dx.doi.org/10.3366/gothic.2020.0040.

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The most prominent monster in Khmer horror cinema, the ap, is originally a creature of folklore and is traditionally depicted as a woman's glowing head connected to exposed, floating entrails. I begin with an overview of the ap's historical origins in Khmer folktales about female transgression and witchcraft. I then discuss the ap's reemergence in Gothic horror film following the Khmer Rouge genocide of 1975–1979. In film, unlike in folklore, the ap is depicted as an innocent woman who was violated and then denied justice from her insular rural society; her assumption of a monstrous spectral body serves to make visible and undeniable the otherwise invisible violence exacted upon her. In staging dramas of reckoning and unburial, I argue, ap film in twenty-first-century Cambodia performs the typically Gothic work of using folklore and the supernatural to speak about otherwise unspeakable past trauma.

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Rudefoucauld, Alain Julien. "Le monstre et le visuel. Monstruosité du cinéma." Imaginaire & Inconscient 13, no. 1 (2004): 109. http://dx.doi.org/10.3917/imin.013.0109.

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Useros Rodríguez, Silvia. "El monstruo femenino y la violencia liberadora en A girl walks home alone at night de Ana Lily Amirpour=The female monster and the liberating violence in A girl walks home alone at night (2014), by Ana Lily Amirpour." Estudios Humanísticos. Filología, no. 43 (December 20, 2021): 107–22. http://dx.doi.org/10.18002/ehf.v0i43.7054.

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El objetivo de este texto es analizar el monstruo femenino en el film A Girl Walks Home Alone at Night (Una chica vuelve a casa sola de noche, 2014), de Ana Lily Amirpour, exponiendo el giro del arquetipo de la mujer vampiro, para tratar el tema de la violencia patriarcal y, mediante una serie de referencias críticas de la teoría del cine feminista, con figuras como Barbara Creed, Pilar Pedraza y Laura Mulvey, entre otras, entender las nuevas manifestaciones de lo femenino y lo monstruoso. The aim of this paper is to analyze the female monster in Ana Lily Amirpour’s film A Girl Walks Home Alone at Night (2014), exposing the reversal of the female vampire archetype to address the violence of patriarchy, and through a series of critical references from feminist cinema theory with figures such as Barbara Creed, Pilar Pedraza, and Laura Mulvey, among others, to understand the new trends of the feminine and monstrosity.

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Platzeck, José, and Andrea Torrano. "Zombis y cyborgs: la potencia del cuerpo (des)compuesto." outra travessia, no. 22 (August 18, 2016): 235–54. http://dx.doi.org/10.5007/2176-8552.2016n22p235.

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Neste artigo abordaremos duas figuras da monstruosidade da biopolítica,os zumbis e os cyborgs. Consideramos que esses monstros encarnam astransformações contemporâneas do corpo. O zumbi caracteriza-se pelo fatode ser um corpo em des-composição, em quanto que o cyborg é uma composiçãode máquina e organismo. A tensão entre des-composição e composiçãoque representaria cada um desses monstros possibilita pensar na potência dessescorpos. A pesar de se tratar de figuras ficcionais - o zumbi é uma ficçãoprópria da colonização haitiana, reinterpretada posteriormente no cinema, e ocyborg uma ficção da conquista espacial, apropriada por Donna Haraway comocriatura de um mundo pós-genérico-, os monstros nos permitem recuperar arelação entre política e corpo nas nossas sociedades.

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Carreiro, Rodrigo. "Zumbis no cinema brasileiro: uma abordagem paracinemática." Rumores 8, no. 16 (December 22, 2014): 90. http://dx.doi.org/10.11606/issn.1982-677x.rum.2014.89640.

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Um dos monstros mais populares do imaginário do cinema de horror internacional desde a década de 1930, o zumbi demorou a aparecer no cinema brasileiro, e tem permanecido uma figura marginal nos filmes produzidos no país. Amparado pelo conceito de paracinema, cunhado por Jeffrey Sconce, este ensaio procura traçar um panorama da presença do zumbi em longas-metragens nacionais e propor uma leitura política que permita explicar essa marginalidade.

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Mask, Mia. "Monster's Ball." Film Quarterly 58, no. 1 (2004): 44–55. http://dx.doi.org/10.1525/fq.2004.58.1.44.

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Abstract More African Americans appear on network and cable television than ever before. Yet there are few quality dramatic roles for black actresses. The critical attention and public controversy surrounding Marc Forster's Monster's Ball (2001) demonstrated the existence of an audience for independent, art-house cinema featuring serious African-American characters. It's unfortunate that when read against the identity categories of race, gender, class, and region, Halle Berry's Leticia Musgrove seems to be a conflation of stereotypes: the sexual siren and the welfare queen.

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Mills, Brett. "Jaws, anthropocentrism and cinema as a monster-making machine." Journal of Adaptation in Film & Performance 16, no. 1 (June 1, 2023): 21–36. http://dx.doi.org/10.1386/jafp_00087_1.

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Jaws () is a film in which a shark is depicted as a monster. Readings and analyses of the film routinely describe the shark as a monster, and pleasures associated with the film rest on audiences reading the animal as such. The book the film is adapted from constructs the shark in similar ways, but there are notable differences between the two. This article examines how the film constructs the shark as a monster, with particular reference to differences between the book and film. It focuses specifically on the story-telling and representational norms associated with each medium, indicating how cinema’s centring of the audio-visual is fundamental to its monster-making processes. Drawing on work from the ‘animal turn’ this article demonstrates cinema’s embedded anthropocentrism and points to the implications this has for non-humans outside of cinema.

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Alves Filho, Paulo Edson, and Rodrigo Gontijo. "Monstros adaptados: do livro A arte de Tim Burton ao espaço expositivo A Beleza Sombria dos Monstros." Tradterm 38 (February 23, 2021): 194–216. http://dx.doi.org/10.11606/issn.2317-9511.v38p194-216.

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Este trabalho tem por objetivo discorrer sobre a transposição de personagens do livro The Art of Tim Burton (2009) para a exposição A Beleza Sombria dos Monstros, recriados em máquinas de visualização inspiradas no pré-cinema. Para a análise, serão utilizadas as teorias da adaptação de Linda Hutcheon (2006), intermidialidade e transmidialidade, de Chiel Kattenbelt (2008) e remediação, de Bolter e Grusin (2000), visando evidenciar suas nuances artísticas em relação às obras originais.

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Wieser-Cox, Corina. "Spectacle of the Demonic Other." Screen Bodies 8, no. 2 (December 1, 2023): 60–77. http://dx.doi.org/10.3167/screen.2023.080206.

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Abstract The monster-as-queer trope in horror cinema historically implemented the binary of self-versus-other as heterosexual heroine versus queer monster/villain. With the rise of queer creators and spectators within horror, this trope was questioned so that the queer(ed) monster became multifaceted. From its birth, the horror anthology series American Horror Story has questioned this binary thinking, and the 2018 season Apocalypse exemplifies this best. Using camp, the show creates a queer basis that overthrows normative depictions of sexuality and queer bodies in television. In Apocalypse—in which the “normative” is represented as inherently queer—a subversive reimagining of typically “Othered” bodies overturns the regime of representation in horror cinema. By analyzing how the villain of Apocalypse, the Antichrist, is (re)presented with an ambiguously gendered body and sexuality, I argue that the toppling of heteropatriarchy challenges the position of the Othered villain/monster so that their “evil” is made ambiguous in contextualization with queer futurism.

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Hollands, David. "Monster Cinema by Barry Keith Grant." Science Fiction Studies 46, no. 3 (2019): 623–27. http://dx.doi.org/10.1353/sfs.2019.0065.

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Kowal, Justyna. "Frankensteinowska hybryda." Literatura i Kultura Popularna 25 (July 28, 2020): 529–32. http://dx.doi.org/10.19195/0867-7441.25.30.

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The review of Frankenstein — 100 lat w kinie describes a unique form of the book proposed by Rafał Donica, Polish film critic and expert in popular culture. The shape of the book remains the object of its deliberations; fragmentary, heterogeneous narration by Donica reflects an idea of Frank-enstein’s monster body. Donica builds his narration with quotations, critical essays, historical re-constructions and original illustrative material. The author examines the character of Frankenstein’s monster in cinema and visual culture, which — as Donica accounts — brought about the transform-ation of the monster picture, extremely distant from Shelley’s prototype. The heterogeneity of Don-ica’s book manifests itself in several fields; the form of character appearance (from feature films, through animated films, TV series to commercials), temporal (from the beginnings of the cinema to present day) and territorial range — the author makes an attempt to present an objective, non-Euro-pocentric point of view, including examples of Frankenstein’s monster appearance in Asia or South America. Donica also proves his sensitivity to sociological mechanisms which guides popular cul-ture; he shows how “faces” of famous actors (like Boris Karloff) affected the monster image.

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Calil, C. A. "Simpósio: várias formas de beleza e cultura nas artes: a beleza e a cultura: a beleza no cinema." Anais da Academia Nacional de Medicina 191, no. 3 (2020): 194. http://dx.doi.org/10.52130/27639878-aanm2020v191n3p194.

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A breve palestra “A beleza no cinema” irá propor uma abordagem ampla e à margem dos clichês que cercam essa percepção coletiva. Sendo indústria e arte, o cinema cria e vende beleza para consumo universal e promove uma uniformização do gosto. Impõe padrões de beleza para aceitação geral. Utilizando-se de filmes menos conhecidos do público, a palestra irá ilustrar os conceitos de: A beleza como dádiva, A beleza do amor, A beleza do corpo, A beleza dos monstros, A beleza da paisagem, A beleza espiritual e A beleza da arte.

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Moraes, Bruna Rabello de, Alice Sippert, and Amadeu De Oliveira Weinmann. "Onde Vivem os Monstros? Enlaces entre Cinema, Adolescência e Horror." Estudos e Pesquisas em Psicologia 23, no. 1 (May 4, 2023): 71–91. http://dx.doi.org/10.12957/epp.2023.75302.

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Partindo da ideia de Stephen King de que as produções de horror servem como um barômetro muito preciso que aponta aquilo que aterroriza uma sociedade, este artigo tem como objetivo propor uma reflexão acerca dos enlaces entre adolescência, cinema e horror, no momento em que a adolescência como categoria social se consolida, isto é, nos anos 1950. Para isso, realizamos uma revisão bibliográfica sobre a relação entre horror, monstruosidade e cultura, assim como sobre o desenvolvimento dos gêneros cinematográficos horror e teen movies. Também realizamos sucintas análises fílmicas de algumas obras importantes na história desses gêneros cinematográficos. Observamos que, se, por um lado, com o surgimento dos teen movies, as telas do cinema passam a ser habitadas por monstros adolescentes, por outro, os discursos com pretensão de cientificidade nos falam sobre uma adolescência monstruosa. A partir disso, concluímos que talvez haja uma intrigante equivalência cultural entre adolescência e monstruosidade: tanto monstros quanto adolescentes trazem à luz algumas questões fundamentais para o ser humano, encarnam aquilo para o que não temos resposta, apontam os limites do saber.

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Tomasovic, Dick. "Le cinéma d’animation et ses thanatomorphoses (fragments sur le monstre, la charogne, le montage et l’animation)." Cinémas 13, no. 1-2 (April 26, 2004): 143–64. http://dx.doi.org/10.7202/007960ar.

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Résumé Le rôle et les limites du montage dans le cinéma d’animation sont ici reconsidérés. Il ne s’agit plus de l’entendre comme un « simple » travail d’assemblage de plans, d’associations d’éléments épars, de collage de morceaux divers, de constitution d’un grand corps monstrueux, mais bien de l’étudier comme un processus permanent de gestion de passages, de modulations d’une image à l’autre, de transformations d’éléments inanimés, de transmutations de figures fixes, de métamorphoses de corps inertes. En ce sens, le projet du cinéma d’animation n’est pas autant celui, fantasmatique, du don de vie que celui, fantasmagorique, d’animation de la mort.

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Mather, Philippe. "Alluring Monsters: The Pontianak and Cinemas of Decolonization, Rosalind Galt (2021)." East Asian Journal of Popular Culture 9, no. 1 (April 1, 2023): 137–39. http://dx.doi.org/10.1386/eapc_00093_5.

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de Andrade, Patrícia Mourão. "Helena Ignez, an Incendiary Monster of Brazilian Cinema." Film Quarterly 74, no. 3 (2021): 23–34. http://dx.doi.org/10.1525/fq.2021.74.3.23.

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Patrícia Mourão de Andrade offers an impassioned portrait of the actress and filmmaker Helena Ignez, a foundational figure in Brazilian filmmaking of the 1960s and 1970s. Long ignored by a national historiography blinded by its own patriarchal distortions, Ignez has only gained recognition in the last fifteen years for her contributions to Brazilian cinema. Moving behind the camera for the first time in 2005, Ignez has created a body of work that brings the anarchic spirit of the Cinema Marginal movement of the late 1960s to Brazilian cinema of the 2000s. This article offers a comprehensive survey and assessment of Ignez’s career, from her first film, O pátio (1959), directed by Glauber Rocha, who became her first husband, to her memorable performances of the 1960s, to her years of political exile, to her recent, late renaissance.

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Srinivas, Vedant. "Towards a Decolonial Cinematic Imagination: A Posthumanist Intervention." Journal of Posthuman Studies 7, no. 1 (June 2023): 70–79. http://dx.doi.org/10.5325/jpoststud.7.1.0070.

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Abstract When it comes to cinema, posthumanism has tended to focus explicitly on technology, machines, cyborgs, hybrids, and monsters. An alternative approach is sought in this article. First, the relationship between posthumanism and what is here called the “decolonial imagination” is elaborated upon. The two are then further related to a recent curatorial intervention in India called “Cinema of Prayōga,” which seeks to situate certain Indian filmmakers (and films) within a heterogeneous premodern tradition of philosophy and the arts. Also included is a brief discussion of colonial responses to Indian iconography, as well as evidence for a posthumanist strain in both Indian art and philosophy. The intention is to wrest cinema and posthumanist thought away from their exclusive reliance on Eurocentric frameworks, and thus pave the way for multiple and diverse imaginaries of thought. Such a questioning—of cinema’s very ontology and methodology—is bound to make for more fruitful connections between posthumanism, decolonialism, and cinema.

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Fateminasab, Seyedreza. "The Monsters of Nature: Representation of Environmental Ethics in Cinema." Community Change 3, no. 1 (May 29, 2020): 3. http://dx.doi.org/10.21061/cc.v3i1.a.26.

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Tanquary, Nicole. "The Migration and Politics of Monsters in Latin American Cinema." Quarterly Journal of Speech 106, no. 3 (July 2, 2020): 371–75. http://dx.doi.org/10.1080/00335630.2020.1786631.

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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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Hampshire, Kathryn. ""Man's Hatred Has Made Me So"." Digital Literature Review 3 (January 13, 2016): 119–35. http://dx.doi.org/10.33043/dlr.3.0.119-135.

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By using artistic conventions only availablethrough cinema, The Phantom of the Opera (1925) manipulates the gaze to create a character so inhuman and unsympathetic, he transcends the position of the freak into the realm of the monster. The silent horror version of this film extends the social construct of the freak into cinema so that, while the freak shows may have been closing their doors, the legacy of the freak lived on.

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Valančiūnas, Deimantas. "Introduction. From Highbrow to Lowbrow: Studies of Indian B-grade cinema and beyond." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 7–12. http://dx.doi.org/10.15388/aov.2011.1.3936.

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Vilnius University Cardboard skulls decorating the book of the dead’s pink cover―the Necronomicon; intoxicated young ladies having a ‘kitty party’ then gang raping their male servant; secret agents 077 and 707 serving the nation; a shape-shifting monster’s head rotates 180 degrees while tracing a doomed bride in red and the list of similar images is far from exhaustive. The above mentioned aesthetical and narrative cinematic devises just happen to come from a variety of Indian films―usually ascribed to the ‘lower’ cinematic cultures and labeled as exploitative, B-grade or even ‘trash’ cinema. Often despised and ridiculed by academicians, critics, and the big budget film industries while at the same time enjoying vast popularity in smaller urban centers and towns, these Indian low budget films co-exist with Bollywood and other major industries―yet work by their own sets of rules and agendas. These films remain a part of the national as well as global film consumption, even if slightly overshadowed by the blockbuster or Arthouse cinemas. Despite the changing trends in India’s film productions and aesthetics, the low budget cinema retains its cult status throughout the country―and this is most evident while taking a stroll down the Grant Road in Mumbai, lined up with numerous video stalls and offering enormous amounts of cheaply produced ‘3 films in 1’ type of DVDs: the genre selection ranging from action (fight) to horror; from mythological to soft-core sex films.

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Aucar, Bruna, Everardo Rocha, and Livia Boeschenstein. "Monstrous animals: some images of reptiles in Hollywood cinema." International Journal of Human Sciences Research 2, no. 25 (August 12, 2022): 2–10. http://dx.doi.org/10.22533/at.ed.5582252210085.

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Moncada Sevilla, Nadia Imelda, Maristela Carneiro, and Rita de Cássia Domingues dos Santos. "Música pós-minimalista em cena: uma análise do uso de trance 4 em Closet monster*." Cuadernos de Música, Artes Visuales y Artes Escénicas 16, no. 1 (January 1, 2021): 170–91. http://dx.doi.org/10.11144/javeriana.mavae16-1.mpme.

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O filme Closet Monster, escrito e dirigido por Stephen Dunn, considerado um dos dez melhores filmes canadenses do ano 2015 pelo TIFF (Toronto International Film Festival), apresenta fortes influências do cinema queer e utiliza a música como elemento fundamental para caracterizar o protagonista, acompanhar a trama e conceder à obra um sentido que não seria o mesmo sem ela. Este artigo foca-se em uma cena próxima ao desenlace do filme (71'32"-75'43"), que se serve da peça musical pós-minimalista Trance 4, do compositor americano Michael Gordon, interpretada pelo grupo musical Icebreaker, concebida em 1995. Desse recorte emerge uma análise que tem como objetivos distinguir a contribuição da peça na composição da cena e discutir a influência mútua das linguagens musical e visual, ambas localizadas em tendências com características determinadas, quais sejam o cinema queer e o pós-minimalismo, respectivamente. Para tanto, a análise é apoiada em Román (2008), Leydon (2002) e Chion (2008), dentre outros autores, transitando entre conceitos como linguagem musivisual, pontos de sincronização e pós-minimalismo musical. O artigo inicia com considerações sobre música pós-minimalista, cinema queer e os protagonistas de Trance, à guisa de contextualização, seguidas pela exploração da cena fílmica de Closet Monster ambientada pela faixa musical Trance 4. Como conclusão, ressalta-se o papel da música na composição da cena. Pretende-se contribuir com este artigo para a ampliação dos debates sobre o uso de música pós-minimalista no cinema queer.

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Powell, Lauren. "Tired Gaze: A Feminist Reading of Quentin Dupieux’s Rubber (2010)." Film Matters 12, no. 2 (September 1, 2021): 22–35. http://dx.doi.org/10.1386/fm_00152_7.

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Rubber (2010) could be read as a monstrous replication of a male-dominated society that sees women subordinated and exploited simply for their “otherness” to men. This article, however, argues that when a dynamic reading is performed, Rubber can be seen to question Hollywood’s dominant system of gender representation and should therefore be considered a feminist film. In dialogue with feminist theory, it will be claimed that by drawing attention to the artifice of cinema, Dupieux has delivered a feminine text that highlights and calls for change to inherently misogynistic codes and conventions present in traditional dominant cinema and society in general.

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Felinto, Erick, and Sindia Bugiarda. "Mulheres indomáveis, corpos a domesticar." Revista FAMECOS 30, no. 1 (January 6, 2023): e43013. http://dx.doi.org/10.15448/1980-3729.2023.1.43013.

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Na Idade Média, o corpo da bruxa foi imaginado como fonte de terror e signo de um feminino incontrolável, monstruoso e sempre em contato com uma exterioridade assustadora. No cinema, as bruxas cumpriram frequentemente tal papel, fazendo parte de uma galeria de outros monstros comuns, como os vampiros, os fantasmas e os zumbis. O objetivo deste trabalho, porém, é analisar um conjunto de filmes recentes nos quais a figura da bruxa emerge também como potência de libertação e criação, fazendo do feminino uma condição-limite sempre aberta à mudança e ao novo.

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Zanini, Claudio Vescia. "It hurts ’cause you’re in my world now, bitch: Gothic features in the 1984 and 2010 versions of A Nightmare on Elm Street." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 199–212. http://dx.doi.org/10.5007/2175-8026.2019v72n1p199.

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This article aims to discuss the 1984 slasher film A Nightmare on Elm Street and its 2010 remake within a Gothic framework. The main hypothesis is that while both versions display Gothic traces in their imagery and structure, such as transgression and excesses (Botting, 2004), the monstrous character, the haunting return of the past, and the Terrible Place (Clover, 2015), the 2010 film capitalizes more efficiently on the interplay between appearance and reality by enhancing the importance of trauma in its plot. The proposal’s pertinence and originality rely on the juxtaposition of a consolidated framework (Gothic studies), a prolific horror cinema subgenre (slashers), and a recurrent tendency in contemporary cinema (remakes).

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Guerrero, Edward. "Aids as Monster in Science Fiction and Horror Cinema." Journal of Popular Film and Television 18, no. 3 (October 1990): 86–93. http://dx.doi.org/10.1080/01956051.1990.10662021.

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Thomsen, Morten Feldtfos. "Body, Telephone, Voice: Black Christmas (1974) and Monstrous Cinema." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 20–35. http://dx.doi.org/10.2478/ausfm-2021-0012.

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Abstract This article investigates the role of the telephone as both an engine of suspense and a metaphorical double of cinema in Black Christmas directed by Bob Clark (1974). Employing Michel Chion’s concept of acousmatic voice, the article first explores the role of the telephone in creating both narrative suspense and diegetic cohesion. It then investigates how the film implicitly establishes a pattern of resemblance between the telephonic and cinematic mediums centred on their capacities for diffusion and disembodiment. Finally, the article explores the meta-cinematic implications of its preceding findings, arguing that the fears and anxieties associated with the telephone in Black Christmas ultimately concern cinema itself and its possible cultural impact. Although it attempts to enforce certain categories of knowledge and identity, Black Christmas ultimately engages with cinema’s capacity for subverting rather than enforcing ideology.

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Marino, Cecilia Gil. "El terror en el cine argentino y brasileño en los años cincuenta. Relecturas de monstruos importados y violencia sexual: entre la ley, el psicoanálisis y la mandinga // Horror in Argentinian and Brazilian cinema in the fifties. Readings of imported monste." Contemporânea Revista de Comunicação e Cultura 17, no. 3 (February 14, 2020): 430. http://dx.doi.org/10.9771/contemporanea.v17i3.34934.

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Durante el período denominado clásico, en Argentina y Brasil, el terror se expresó a través y en hibridez con otros géneros más populares en la época, configurándose versiones vernáculas de suma particularidad del policial, del noir, del melodrama fantástico, del gótico, entre otros, y así, articularon un repertorio de miedos, ansiedades, represiones y fascinaciones que dialogaban con los discursos sociales civilizatorios. El asesino serial, el pedófilo y el monstruo, por un lado, constituirían la figura de la alteridad frente al ciudadano civilizado. Por el otro, su naturaleza “anómala” manifestaba las represiones y frustraciones masculinas en un orden patriarcal rigurosamente establecido. A partir del análisis de tres películas de la época, este trabajo busca indagar sobre las imágenes de la violencia sexual y los femicidas en los primeros años de la década de 1950 en clave comparativa entre el cine argentino y brasileño para pensar las imágenes de los monstruos sociales y los modos de lidiar con ella a través de la ley y de las interpretaciones psicoanalíticas y místico-religiosas en las explicaciones de las anomalías del orden. Estos filmes son Caiçara (Adolfo Celi, 1950), Vampiro negro (Vignoly, 1953) y Si muero antes de despertar (Carlos Hugo Christensen, 1952).

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Soles, Carter. "Godzilla (1998) as camp de-extinction narrative." Science Fiction Film & Television: Volume 14, Issue 3 14, no. 3 (October 1, 2021): 297–314. http://dx.doi.org/10.3828/sfftv.2021.22.

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Godzilla is one of the most famous de-extinct monsters in global popular cinema. Fan loyalty to the original Toho Studios conception of the creature as a super-powered, dinosaur-like creature helps explain the negative response to Roland Emmerich’s 1998 Hollywood version, which re-imagines Godzilla as a giant, irradiated twentieth-century iguana. Emmerich’s film is plotted around the monster’s attempt to use subterranean New York City as a spawning ground. The creature lays eggs that later hatch into baby Godzillas that look suspiciously like Jurassic Park-style velociraptors. Indeed, the movie plays like an expanded version of the last twenty minutes of The Lost World: Jurassic Park (1997): a dinosaur-like creature runs amok in a major American city and is eventually defeated by a plan involving its offspring. Emmerich’s Godzilla is famous for being ‘Godzilla in name only’, yet its extensive intertextuality with The Lost World foregrounds de-extinction themes and imagery. Furthermore, Godzilla (1998) emphasises human action - in this case, 1950s French nuclear tests in French Polynesia - as the cause of the mutant creature’s emergence. Humans causing de-extinction is a key feature of the entire Godzilla franchise and of similar creature features from the 1950s to the present. Akin to its 1950s predecessors, Godzilla’s light, intentionally (and sometimes unintentionally) comedic tone open it to camp readings of the kind analysed by Bridgitte Barclay, who writes that the narrative and aesthetic shortcomings of schlocky sf B movies ‘disengage the audience from the filmic world and expose the mechanics of storytelling, making the master narrative a story and thereby resisting it by showing it as such’. Godzilla does just that, deflating its own anthropocentrism and rampant pro-militarism via its blatantly derivative story, shoddy digital effects and ham-handed dialogue.

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Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (June 15, 2020): 91–100. http://dx.doi.org/10.14746/h.2020.2.7.

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Two first decades of the 21st century have revealed an increasing popularity of the horror genre. In particular, we have been witnessing the renaissance of Gothic cinema, especially the vampire sub-genre. It is conspicuous that the original vampire story formula has lately undergone numerous significant alterations. Vampires have evolved from cold and soulless monsters to humanised romantic heroes. In the new millennium, a static Gothic diegesis gets frequently replaced by a dynamic reality, in which movement is a predominant feature. This article is devoted to the motifs of the road, journey and travels in Jim Jarmusch’ film Only Lovers Left Alive.

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Sreeshan, Sharanya. "Understanding the Feminine Voices: A Study of Women in Selected Malayalam Cinema." International Journal of English Literature and Social Sciences 8, no. 6 (2023): 125–29. http://dx.doi.org/10.22161/ijels.86.18.

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The journey position of women portrayed in Malayalam cinema varies from victims to survivors angels to monsters fidels to infidels and much more which made Malayali audiences frown as well as clap. Our audience appreciated women’s stereotypical roles more than women who are raising their voices against society. Cinema has always influenced people to commit heinous crimes because the impact of cinema on the mind of people Is so profound as said by Georgekutty in the movie Drishyam where he has created the image (drishyam) of A fake incident in the mind of people thereby befooling police. The discussion in the paper highlights the sexuality of women pictured in selected Malayalam films by closely examining the incidents of films. The paper enables the readers to recall some of the incidents in the movies from the past that women have encountered and understand how they overcome abuse and social disadvantages to become symbols of courage, strength and resistance. The role of female characters in Malayalam cinema has been a subject of discussion. In this context, a few issues need to be taken into account. In Malayalam cinema near the end of the 20th century, what kinds of roles were given to female artists? Can these characters be classified as gender stereotypes in general? Were the roles that were assigned expressly treated gender-biased? Are there any modifications to the positions given to women so far?

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Campoli, Alessandra. "A Ghostly Feminine Melancholy: Representing Decay and Experiencing Loss in Thai Horror Films." Plaridel 12, no. 2 (August 30, 2015): 14–35. http://dx.doi.org/10.52518/2015.12.2-02cmpli.

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By analysing significant Thai horror films from 1999—the year Nonzee Nimitbut’s emblematic Nang Nak was released—to 2010, this essay focuses on the presence and representation of female ghosts and undead spirits from traditional Thai myths in contemporary Thai cinema. More precisely, this essay highlights traditional female characters as mediators between horror and love, and fear and mourning, instead of as traditionally frightening entities. This distinction was made possible after the Thai “New Wave.” As ancestral mirror of inner fears and meaningful images reflecting societal concerns, female spirits in contemporary Thai cinema become the emblem of a more complex “monstrous femininity,” merging fear with melancholy, and an irreparable sense of loss with reflections on the ephemeral.

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Meininger, Sylvestre. "Corps mortels. L’évolution du personnage de Ripley dans la trilogie Alien." Cinémas 7, no. 1-2 (February 21, 2011): 121–50. http://dx.doi.org/10.7202/1000936ar.

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Alien (R. Scott, 1978) est testé aussi célèbre pour son monstre terrifiant que pour son personnage principal, Ripley. Première femme forte du cinéma fantastique mainstream, ce personnage a subi une évolution profonde au cours des deux épisodes suivants, Aliens (]. Cameron, 1986) et Aliens 3 (D. Fincher, 1992). Fait quasi unique à Hollywood, la trilogie se conclut pat sa mort. En constante hésitation quant au degré de proximité entre féminité et monstruosité, la trilogie place le corps de l’héroïne comme enjeu ultime de ses tensions narratives. Ce travail cherchera donc à comprendre l’interaction entre les représentations du monstrueux créées par ces trois films et le personnage interprété par Sigourney Weaver. Nous pourrons alors commencer à comprendre quelles réponses sont ainsi données à la question qui semble hanter Hollywood depuis toujours : « Que faire des femmes? »

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Tilsley, Daniel. "The meaningful art of one of the ‘worst movies of all time’: Phil Tucker’s Robot Monster (1953) as an existentialist critique of American modernity." Horror Studies 13, no. 1 (April 1, 2022): 27–42. http://dx.doi.org/10.1386/host_00044_1.

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This article analyses one of the ‘worst movies ever made’, Robot Monster (Tucker 1953), demonstrating how the text, through weirdness, pulpy absurdity and cinematic ineptitude, examines and mediates on the existential anxieties of modern America during the Cold War. Through the strange language of gorilla-robots and alien invasion, the text articulates those existential anxieties that arise from our awareness of freedom vs. the need to be contingent under increasingly interconnected societal conditions. As such, Robot Monster is also posited as a contribution to contemporary intellectual currents of the 1950s. This article will investigate the sense in which the key aspects of the film: Ro-Man society as mass society; Ro-Man as conflicted between ‘must’ and ‘cannot’; Ro-Man as a gorilla-robot; the perspective of Johnny’s dream, articulate and mediate on those anxieties. An examination of Robot Monster allows us to appreciate the ways in which ‘bad’ cinema creates alternative ways of seeing the problems and existential anxieties of contemporary American modernity.

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Dhusiya, Mithuraaj. "Shape Shifting Masculinities: Accounts of maleness in Indian man-to-animal transformation horror films." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 61–74. http://dx.doi.org/10.15388/aov.2011.1.3932.

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University of DelhiUnlike the werewolf myth, on which there is a significant corpus of takes in Hollywood cinema, Indian horror films abound in snake-, tiger- and gorillatransformations. Most of these shape-shifting monsters represent aberrant subjectivities that set in motion a cycle of destruction and redemption within these narratives. This article will explore how the male body in Indian horror films acts as a site of different bodily discourses that permits a reading of socio-cultural crises within the societal framework. Although there are almost a dozen Indian horror films to date that deal with such shape-shifting monsters, this article will limit itself to studying one Hindi film Jaani Dushman (1979, dir. Raj Kumar Kohli) and one Telugu film Punnami Naagu (1980, dir. A. Rajasekhar). The following core questions will be explored: do these narratives challenge the constructions of hegemonic masculinity? What departures from normative masculinity, if such a thing exists at all, take place? How do these narratives use horror codes and conventions to map the emergence of different types of masculinities? How can these bodily discourses be correlated with various contemporary socio-political issues of India?

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Bacholle, Michèle. "In the Defense of Punks and Monsters: Julia Ducournau and Titane." French Review 97, no. 2 (December 2023): 19–33. http://dx.doi.org/10.1353/tfr.2023.a914212.

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Abstract: In 2021, Fémis-educated, punk-looking director Julia Ducournau made history when she became the second woman to receive the Palme d'Or for her second film, Titane . A trembling Ducournau thanked the jury for "avoir laissé entrer les monstres." Titane , a cyberpunk/black comedy/fairy tale film, shakes the spectator out of the comfort of mainstream—cisgender, middle-class—culture and cinema and of predictable horror films. This article will first focus on understanding Alexia's character and show that her "monstrosity" is a reaction to the patriarchal order and normative gender roles against which she rebels. We will see how Ducournau stages a "sexual script" outside hetero- and homonormative limits and how she envisions free, fluid love before examining how, using a Christic subtext, albeit in a punk, transgressive manner, she proposes a truly inclusive, caring society.

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Journal articles on the topic 'Monstres – Au cinéma'

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