Relevant bibliographies by topics / Psychological aspects of Horror films

Contents

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

Academic literature on the topic 'Psychological aspects of Horror films'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Psychological aspects of Horror films"

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Liu, Yike. "The application of the pseudo-documentary form in the film "The Evil”." Advances in Education, Humanities and Social Science Research 1, no. 3 (2023): 129. http://dx.doi.org/10.56028/aehssr.3.1.129.

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"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology invo
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Kholod, Oleksandr. "The peer-reviewed monograph of Batalina Khrystyna Fridrikhivna "The Child as the Embodiment of Evil in Horror Films of the Second Half of the 20th to the Beginning of the 21st Century"." Social Communications: Theory and Practice 15, no. 1 (2023): 152. http://dx.doi.org/10.51423/2524-0471-2023-15-1-9.

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H. F. Batalina's monograph is devoted to the problem of creating the image of a child as the embodiment of evil in horror films of the second half of the 20th - beginning of the 20th century. The topic formulates an important problem, primarily of a moral and psychological nature. The relevance of the work lies in the fact that "a certain niche, currently unfilled in the Ukrainian cultural space, is being explored in a situation where Ukrainian cinema is beginning to take steps to meet the audience and enter wide distribution with genre films" [p. 22 of the manuscript]. H.F. Batalina points ou
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Gautam, Devi Prasad. "Responsible Writing of Violence: A Study of Select Partition Stories." Advances in Social Sciences Research Journal 8, no. 7 (2021): 8–25. http://dx.doi.org/10.14738/assrj.87.10477.

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This paper analyzes select Partition stories such as Bhisham Sahni’s “Pali,” K. S. Duggal’s “Pakistan Zindabad,” Ishmat Chughtai’s “Roots,” S.H. Vatsyayan’s “The Avenger,” and Atin Bandhopadhyay’s “Infidel” which realistically portray the cataclysmic times of the Subcontinent in 1947. The paper shows that though the stories depict some chilling scenes, they concentrate more on the psychological impact of violence on the characters and the positive aspects of humanitarian gestures seen during the dismal days in South Asian history. With much tact, the authors approach the subject and document t
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Millar, Becky, and Jonny Lee. "Horror Films and Grief." Emotion Review 13, no. 3 (2021): 171–82. http://dx.doi.org/10.1177/17540739211022815.

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Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psycholog
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Baako, Logan. "The Evolution of Horror Films: From Classic Monsters to Psychological Terrors." Art and Society 2, no. 5 (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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Sbravatti, Valerio. "Acoustic Startles in Horror Films." Projections 13, no. 1 (2019): 45–66. http://dx.doi.org/10.3167/proj.2019.130104.

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The acoustic blast is one of the most recurrent sound devices in horror cinema. It is designed to elicit the startle response from the audience, and thus gives them a “jump scare.” It can occur both in the form of a diegetic bang and in the form of a nondiegetic stinger (i.e., a musical blare provided by the score). In this article, I will advance the hypothesis that silence plays a crucial role in contemporary horror films, both perceptually, since it leaves the sound field free for the acoustic blast, and cognitively, since it posits the audience in an aversive anticipatory state that makes
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Bozkurt, Ferdi, and Mandana Kolahdouz Mohammadi. "A Corpus-Based Socio-Onomastic Analysis On Turkish And American Horror Film Naming." CINEJ Cinema Journal 11, no. 2 (2023): 418–45. http://dx.doi.org/10.5195/cinej.2023.589.

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Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were
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McAndrew, Francis T. "The Psychology, Geography, and Architecture of Horror: How Places Creep Us Out." Evolutionary Studies in Imaginative Culture 4, no. 2 (2020): 47–62. http://dx.doi.org/10.26613/esic.4.2.189.

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Abstract Why do some types of settings and some combinations of sensory information induce a sense of dread in humans? This article brings empirical evidence from psychological research to bear on the experience of horror, and explains why the tried-and-true horror devices intuitively employed by writers and filmmakers work so well. Natural selection has favored individuals who gravitated toward environments containing the “right” physical and psychological features and avoided those which posed a threat. Places that contain a bad mix of these features induce unpleasant feelings of dread and f
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Sultana, Irem, Arshad Ali, and Ifra Iftikhar. "Effects of Horror Movies on Psychological Health of Youth." Global Mass Communication Review VI, no. I (2021): 1–11. http://dx.doi.org/10.31703/gmcr.2021(vi-i).01.

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The current study is an explanatory study on the effects of watching horror movies on the psychological health of teenagers in the city area of Faisalabad. Researchers tried to explain the mental health and psychological problems like phobias, nightmares, sleep disorder, harsh behavior etc., in teenagers and their preferences of movies watching. The study explains that the majority of teenagers are used to watching movies, and they prefer Horror and Action movies via the internet, and these movies are affecting their psychological health. They choose films to watch for entertainment, but such
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Sengupta, Sarada, and Dr Anindita Chowdhury. "Distorted Reflections: Gender and Horror in ‘Black Swan’." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 085–88. http://dx.doi.org/10.22161/ijels.92.14.

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In Black Swan, the themes of gender and horror are intricately woven into the fabric of the narrative. The film delves into the psychological nuances of its protagonist, Nina, as she navigates the demands of her art and the pressures of perfection. The exploration of gender identity and the inherent horror within the competitive world of ballet converge to create a compelling and thought-provoking cinematic experience. This paper aims to dissect the manifestations of gender dynamics and horror elements within the film, shedding light on their significance in shaping the narrative and character
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Dissertations / Theses on the topic "Psychological aspects of Horror films"

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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.

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This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides
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Crawford, Jim D. "“Inside Story”." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500092/.

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Inside Story explores the essence of story and attempts to connect the audience to the significance of story in their own lives. The documentary examines story and determines the elements necessary for its formation. The film investigates the psychological aspects of story, inspects the physiological processing of story that connects story to the way we think and perceive, and finally, emphasizes the functions and values of story.
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McKinney, Kelli. "The Luxury of Tears: A Secondary Survivor's Story." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2273/.

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As the written accompaniment for The Luxury of Tears, a twelve-minute documentary video exploring the emotional impact of sexual assault on male survivors and their partners, this document examines the visual texts of both the fiction and nonfiction genres. Specifically, I contend that fiction film manufactures male survivorship with regard to rape events in such manner which contributes to the thematization of social silence. Such silence perpetuates the feminization of rape as a social problem, and dissolves the development of male survivor resources. A discussion of production processes
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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.

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Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on
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Books on the topic "Psychological aspects of Horror films"

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D, Baumann Hans. Horror: Die Lust am Grauen. Beltz, 1989.

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1974-, Schneider Steven Jay, ed. Horror film and psychoanalysis: Freud's worst nightmare. Cambridge University Press, 2004.

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1959-, Royer Diana, ed. The spectacle of isolation in horror films: Dark parades. Haworth Press, 2005.

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Jones, E. Michael. Horror: A biography. Spence Pub. Co., 2002.

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König, Jan C. L. Herstellung des Grauens: Wirkungsästhetik und emotional-kognitive Rezeption von Schauerfilm und -literatur. Lang, 2005.

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Creed, Barbara. Phallic panic: Film, horror and the primal uncanny. Melbourne University Press, 2005.

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Schoell, William. Stay out of the shower: The shocker film phenomenon. Robinson, 1988.

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Laughing, screaming: Modern Hollywood horror and comedy. Columbia University Press, 1994.

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B, Weaver James, and Tamborini Ronald C. 1952-, eds. Horror films: Current research on audience preferences and reactions. Erlbaum, 1996.

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Derry, Charles. Dark dreams 2.0: A psychological history of the modern horror film from the 1950s to the 21st century. McFarland & Company, Inc., Publishers, 2009.

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Book chapters on the topic "Psychological aspects of Horror films"

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Jancovich, Mark. "Victims and Villains: Psychological Themes, Male Stars and Horror Films in the 1940s." In Popular Media Cultures. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137350374_5.

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Hettich, Katja. "Can You Hear the Love Tonight? Creating Cinematic Romance with Diegetic Songs." In When Music Takes Over in Film. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_11.

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AbstractThis chapter argues that ‘romance’ as a film genre is best conceived of as an affective experience provided not only by narrative but also by stylistic means. Against this background, it explores a particular type of musical moment in non-musical films: scenes that portray, reflect and shape conceptions of romantic love and create various forms of cinematic romance through the diegetic use of popular songs. Drawing from research on the physical and psychological effects of listening to music, the chapter points out in which aspects songs are placed in a special relationship with romance. Based on the assumption that diegetic song moments can be considered as communicative acts, it proposes starting points for analysing different forms of diegetic song moments. Using examples from films of the last decades, it shows how different narrative set-ups, ways of integrating diegetic songs, performance styles and diegetic audiences influence the shape of cinematic romance.
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Owens, Rebekah. "Polanski and Horror: Rosemary’s Baby." In Macbeth. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325130.003.0002.

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This chapter considers Roman Polanski's approach to the genre and horror output before the film Macbeth. It discusses Polanski's 1965 work Repulsion, that centres around Carol Ledoux and her disintegrating sanity, which is expressed from her subjective viewpoint. It also mentions how Repulsion showed Polanski as a master of the craft of psychological horror. The chapter looks at the Gothic aspects of the horror genre that is recorded in Polanski's autobiography, where he wrote of his experiences watching horror films in Paris. It details how Polanski decided to make a horror film that was designed to make people laugh, rather than the unintentional merriment that Hammer horror had provoked.
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Díaz-Zambrana, Rosana. "Gothic Memory and Ghostly Aesthetics: Post Mortem as a Horror Film." In ReFocus: The Films of Pablo Larraín. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448284.003.0006.

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During the last decade, the expansion and popularity of horror film productions worldwide have simultaneously soared in countries like Chile where the horror genre was formerly either unprecedented or a rarity. This symptomatic shift responds to the new demands of the global market and the mass-media consumer. Although recent examples of Chilean horror cinema follow the standard traits, devices, and motifs of global horror, at the same time, those film productions adapt their narratives to a national specificity by incorporating cultural practices, economic tensions, and political debates enrooted in the country’s social reality and historical past. Even though productions that depict graphic cruelty and psychological and physical torment within a political context such as La noche los lápices or Garaje Olimpo are usually considered “political dramas,” this chapter argues that Post mortem by Pablo Larraín could be understood under the rubric of horror film despite being classified a drama. In many aspects, Post mortem utilizes the haunting phenomenon as a filmic narrative but also exploits spatial, symbolic, and visual effects associated with the horror genre film tradition to denounce the nation’s traumatic past.
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sloan, Richard. "Psychological Aspects." In Palliative Care in Neurology. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198508434.003.0038.

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Abstract The diagnosis of a neurological illness and its aftermath can have profound effects on all those involved-patients, their families, and also the health-care professionals looking after them. Patients’ reactions can vary from acceptance through naive ambivalence to abject horror. Dealing with the emotional reactions of patients has been highlighted as one of the most stressful areas for oncologists.l The same is likely to be true for progressive neurological
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Clasen, Mathias. "“I’m Nervous about Horror Films and My Mental Health”." In A Very Nervous Person's Guide to Horror Movies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197535899.003.0003.

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Some people are nervous about the psychological effects of horror films, and researchers have demonstrated both short- and long-term negative psychological effects of such films, including mild behavioral disturbances and sleep disturbances such as nightmares. However, most documented cases of cinematic neurosis involve individuals with preexisting mental problems. The mild fright reactions produced by horror movies are not only widespread, but predictable and generally harmless. Both troubling images and disturbing ideas can produce such reactions. However, horror film–induced fear is crucial to the pleasure many people derive from horror, and there may even be positive psychological and social effects of horror movie watching, such as mood improvement, bonding with co-viewers, and improved coping skills.
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Clasen, Mathias. "“I’m Nervous about Kids Watching Horror”." In A Very Nervous Person's Guide to Horror Movies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197535899.003.0007.

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Media psychologists have documented negative psychological effects of premature exposure to horror films in children, and many have expressed concerns over children’s viewing of scary films. However, while childhood is a time of fears fantastical and realistic, children are naturally curious about monsters and scary stories, and they are better at distinguishing between fantasy and reality than has been assumed. Moreover, the subgenre of children’s horror films provides appropriate fare for children, and may have positive effects such as teaching children coping strategies and media literacy. In addition, mildly scary media may have an inoculating effect on children, helping them to master their own fear.
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Scovell, Adam. "‘Sumer-Is-Icumen-In’: Modern Folk Horror." In Folk Horror. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325239.003.0006.

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This chapter assesses the recent resurgence of Folk Horror in a variety of media. It highlights Robert Eggers' horror film The Witch (2015), not simply because the film has managed to put folklorically psychological material back into the cinematic mainstream, but because it can actually be seen as the high point of a period of new films, television, and music re-exploring Folk Horror as a form that started at the beginning of the new millennium. This resurgence in all things Folk Horror, from delving into familiar thematic territory, remaking older examples, or even just generally rediscovering long-lost relics from its more dominant period, has a number of contributing factors. Arguably, it has two chief specific outcomes: work that reflects nostalgia, whether effectively subverting it (hauntologically) or succumbing to the past visions of Folk Horror's primary era, to produce referential work; and using certain thematic traces within the inner workings of Folk Horror to assess current political issues and even reflect on the parallels of the political climate from the period of 1970s Britain in particular. With the ubiquity of technology and the internet, Folk Horror has entered a new realm but it is one that at first seems contrary to its potential causational factors.
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Laycock, Joseph P., and Eric Harrelson. "The Exorcist Effect." In The Exorcist Effect. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197635391.003.0001.

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Abstract This chapter presents an overview of The Exorcist Effect, in which religious beliefs and experiences inspire horror films that inspire subsequent beliefs and experiences, which in turn become fodder for more horror films. By way of illustration, it begins by discussing a sermon delivered by Cardinal John O’Connor in 1990, in which he read from the novel The Exorcist in St. Patrick’s Cathedral. This event heightened media interest in exorcism, resulting in a Catholic exorcism being filmed for network television. The chapter offers some preliminary evidence drawn from psychological studies suggesting that horror movies can influence religious belief. The chapter concludes by discussing the implications of this research and providing an outline of the book.
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Warden, Connor John. "“Beauty is the Only Thing”." In Bloodstained Narratives. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496844453.003.0015.

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This chapter explores the relationship between sexuality and horror dynamics within American giallo and neo-giallo cinema. In particular, it chooses to focus on two films: Brian De Palma’s Body Double; and Nicolas Winding Refn’s The Neon Demon, which it argues exists within the American tradition of giallo more firmly than any European or Latin lineage. Each of these films places emphasis on the role played by beauty and sexual pursuit, at times overshadowing the horror aspects of these films.
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Conference papers on the topic "Psychological aspects of Horror films"

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Ndoen, Sharon. "The ‘Monstrous-Feminine’ as Anti-Communist Propaganda Tool: Invisible State Violence and Psychological Warfare in Soeharto Era Folkloric Horror Films." In The Twelfth International Convention of Asia Scholars (ICAS 12). Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557820/icas.2022.058.

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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.

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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with r
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