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Relevant bibliographies by topics / Psychological thrillers

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Academic literature on the topic 'Psychological thrillers'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Psychological thrillers"

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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.

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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.

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van Teeffelen, Toine. "Scripts and Projects as Modes of Understanding Political Actions: The Representation of Palestinians in Bestselling Literature." Journal of Narrative and Life History 2, no. 2 (January 1, 1992): 163–82. http://dx.doi.org/10.1075/jnlh.2.2.05scr.

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Abstract This article analyzes the representation of Palestinian actions in Western bestsell-ing thrillers. Most of these actions can be understood through the application of scripts—cognitive structures of stereotypical action sequences. It is argued that the scriptal representations activate causal schemas of Palestinians and Arabs at both a psychological and a social level. The concept of script is set against that of project, characterized by a narrative understanding. It is shown how the need to make a story interesting and thus not completely stereotypical is met by, among others, the amplification of aspects of threatening scripts, and by a tension producing ambivalence toward Palestinian nationalism. In almost all cases a scriptal understanding remains privileged. (Qualitative Psychology, Cultural Studies)

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Novaković, Nikola. "To Laugh or to Cry? Ambiguity and Humour in Jason's Graphic Novels." Libri et liberi 11, no. 1 (September 23, 2022): 51–78. http://dx.doi.org/10.21066/carcl.libri.11.1.3.

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The paper offers a reading of Jason’s use of sparsity, seriousness, and reduction as a concealment of a technique that is based on multifaceted ambiguity involving the blending of genres, a playfully intertextual attitude, and surprising emotional depth of character and story. It discusses the connection between humour and visual, textual, and structural ambiguity in Jason’s works, as well as ambivalence in the reader’s response, illustrates Jason’s combination of incongruous genres and simultaneous employment of motifs from children’s literature and various genre movies (such as science fiction, crime thrillers, heist movies, and horrors), and explores Jason’s technique of subverting expectations of comic relief by withholding certain structural parts of a joke (typically a punchline) or inserting an unexpected element (such as psychological depth).

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Durov, Viktor. "REPRESENTATION OF A JUDICIAL PROCESS IN AMERICAN CINEMA (ON THE EXAMPLE OF THE FILM “A TIME TO KILL”, 1996)." Культурный код, no. 2024-2 (2024): 20–34. http://dx.doi.org/10.36945/2658-3852-2024-2-20-34.

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The article analyzes the problems of persisting racism in the US judicial system and its reflection in cinema. The study is based on the analysis of the film “A Time to Kill”. The main method is system analysis. The author notes the autobiographical nature of the plot in the film. The main themes raised in the film were racial discrimination, the right of revenge, and judicial execution. The article reveals how visual images, musical accompaniment, and the cast realize the director’s vision. The legal and psychological research involved confirms the realism of the trial in the southern states of the United States presented in the film directed by Joel Schumacher. In addition, the promising use of legal thrillers in the educational process at law faculties is noted.

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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.

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The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.

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Edwards, Makayla. "Taking the "Psycho" out of "Psycho-Killer"." Digital Literature Review 10, no. 1 (April 18, 2023): 37–49. http://dx.doi.org/10.33043/dlr.10.1.37-49.

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“Psycho”, “maniac”, and “madman” are all words that are found to be synonymous with serial killers and criminal activity. For decades, the media has perpetuated an extremely harmful image that those suffering from mental illness are violent and dangerous. These portrayals can be found across mediums from fictional books and movies to docuseries and podcasts. In the realm of fiction, specifically, some of the most harmful depictions can be found in horror films. These films tend to paint their villains to be caricatures of various psychiatric disorders including schizophrenia, bipolar disorder, dissociative identity disorder (formerly known as multiple personality disorder), and narcissistic personality disorder. These misrepresentations are not only grossly exaggerated but also highly inaccurate. In this piece, I will explore and expose the negative distortions of mental illness in various horror films. The scope will focus on two of the most influential psychological thrillers in the industry: Psycho and The Shining. These films each depict an antagonist who displays exaggerated traits indicative of mental illness. By deconstructing and comparing these traits with modern research on the mental illnesses they are meant to represent, I will expose the inaccuracies of these portrayals. Furthermore, I will outline the lasting impacts of these inaccuracies on both the public perceptions of mental illness, as well as help-seeking among individuals suffering from psychological disorders. Even if the characters in these popular films are fictional, the stigma they direct toward mental illness is very real and must be addressed.

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Harbar, Iryna. "MULTI-LEVEL VERBAL MARKERS OF SUGGESTION IN PROSECUTION ATTORNEYS’ OPENING STATEMENTS (IN THE SCOPE OF MODERN AMERICAN LEGAL THRILLERS)." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 10(78) (February 27, 2020): 146–49. http://dx.doi.org/10.25264/2519-2558-2020-10(78)-146-149.

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The article sets out to justify the author’s opinion on the fact that the main peculiarity of the prosecution attorneys’ opening statements is their power of suggestion, i.e. exerting emotional and psychological influence on the jury with the purpose of changing their emotions, feelings and train of thoughts in favour of the attorney and their client. A lexical-semantic classification of multi-level verbal markers of suggestion has been worked out in the article under consideration to show which language units prosecution attorneys give preference to in order to exert the influence of suggestion on the jury. The classification in question shows that the notion of suggestion exists on all speech levels: phonetic, morphological, lexical-semantic and syntactic, with lexical-semantic being the most abundant in prosecution attorneys’ opening statements. Verbal markers of suggestion on lexical-semantic level were divided into those of direct and indirect nomination. Verbal markers of suggestion on phonetic, morphological and syntactic levels perform only supplementary function in exerting the influence of suggestion on the jury members. The article concludes that the prosecution attorneys purposely use a great amount of multi-level verbal markers of suggestion at the same time to have the massive impact on the jury’s thoughts, emotions, feelings, attitudes. The classification under consideration has been worked out in the scope of modern American legal thrillers, written by professional attorneys who depict the slightest details of real American legal proceedings.

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Kottke, Dagmara. "“And (Don’t) Stay on the Path…” – Transformation of the Fairy Tale into the Psychological Thriller in the Game The Path." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 36, no. 2 (January 18, 2019): 147. http://dx.doi.org/10.17951/ff.2018.36.2.147-159.

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<p>Celem artykułu jest próba analizy procesu transformacji baśni w thriller psychologiczny w grze komputerowej The Path. Punkt wyjścia do rozważań stanowi teoria strukturalna Vladimira Proppa, który poddał badaniom tradycyjne baśni, wyodrębniając ich elementy wspólne, takie jak funkcje i role postaci. Rosyjski strukturalista w swojej teorii jako kluczowe elementy opowieści uwypukla bohaterów i ich działania, istotne nie tylko z punktu widzenia teoretyków literatury, ale również badaczy podejmujących refleksję nad grami komputerowymi. Studium wykazuje, że funkcje i role bohaterów tradycyjnych baśni wyróżnione przez Proppa zostają w The Path zdeformowane: gra „schodzi” z wyznaczonej przez strukturę baśni ścieżki, tworząc lukę w gatunkowej przestrzeni, która zostaje wypełniona elementami właściwymi dla thrillera psychologicznego. Odwrócenie i deformacja funkcji oraz roli postaci baśniowych skutkuje przeobrażeniem opowiedzianej w grze historii w thriller. Owo przeobrażenie wydaje się niezwykle płynne dlatego, że baśń i thriller psychologiczny nie są całkowicie odmiennymi, wykluczającymi się gatunkami; przeciwnie – uzupełniają się wzajemnie. Drugi pokazuje i dopowiada to, co pierwszy przemilcza lub zataja.</p>

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Kattelman, Beth. "The sound of evil: How the sound design of Hereditary manifests the unseen and triggers fear." Horror Studies 13, no. 1 (April 1, 2022): 133–48. http://dx.doi.org/10.1386/host_00050_1.

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This article examines the soundtrack and score for Ari Aster’s 2018 film Hereditary, illustrating how the sound design heightens the film’s emotional and psychological impact by delivering unseen elements of the narrative auditorily and through its inclusion of sonic elements that can directly affect audience members physiologically. Hereditary’s narrative is strongly supported by musician Colin Stetson’s evocative score, which relies heavily upon his ability to coax unusual sounds from reed instruments by using uncommon fingerings, accompanying vocalizations, percussive key striking and circular breathing. After a brief synopsis and examination of the film’s themes, the article delves into particular elements that make Hereditary’s soundscape so effective, including the Shepard tone, infrasound, subliminal and corporeal sounds, and the use of silence, exploring in-depth how the sound design supports and enriches the film by building tension, enhancing dread, triggering fear and delivering unseen narrative information in a shorthand way. The article also has a wider application in that it discusses how the critical-yet under-theorized element of sound design is crucial to horror entertainments’ ability to create affect in a variety of ways and shows how the sonic components used in Hereditary have a demonstrated efficacy as shown by their use in a wide variety of horror films and thrillers.

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Molnar, Angelika. "THE INVESTIGATION IS BEING CONDUCTED BY (NON-)PROFESSIONALS. EXAMPLES FOR CREATING ANXIETY AND FEAR IN A DETECTIVE SERIES." Articult, no. 3 (September 30, 2023): 115–23. http://dx.doi.org/10.28995/2227-6165-2023-3-115-123.

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This paper briefly discusses the psychological and philosophical issue of anxiety and fear in a non-canonical piece of pop culture – detective series “Lucifer”. On the stated topic, this show attracts attention, firstly, because it contains the problematization of various spiritual experiences, and secondly, it raises deep questions related to the search for the meaning of existence and being in terms of rethinking biblical allusions and images. In addition, the series can be analyzed from the point of view of the “psychology of art” (Lev Vygotsky), both because of the feeling of catharsis caused and the “affects of expectation” (see Ernst Bloch), especially in the season 5. Therefore, in it is possible to study the manifestation forms of anxiety and fear. These direct and indirect signs of the expression of open and hidden human experiences are verbalized and visualized by cinema in various ways: words, gestures, actions, behavior of heroes, etc. The author of the paper refers to them not on the example of thrillers (anxiety) and horror films (fear), but a series consisting of many series, because this can reveal a longer anxiety state and show the difference between fear and anxiety at the levels of thematization and realization.

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Dissertations / Theses on the topic "Psychological thrillers"

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Lafferty, Sarah. "Holding Out For A Female Hero: The Visual And Narrative Representation Of The Female FBI Agent In Hollywood Psychological Thrillers From 1991-2008." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237405595.

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Goldthwaite, Sean Henry. "The Mnemosyne Victim." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/123.

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Hansen, Erik R. Mr. "Gator." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1634.

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Tolliver, Staci. "Hurting the Ones They Love: Character Analysis and Original Screenplay Crimes of Passion." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/honors_theses/22.

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The thesis is a ten-page analysis on two films, Fatal Attraction and Lakeview Terrace. The thesis begins with a brief introduction to the horror genre and its subgenre in which the two films and original screenplay are categorized, psychological horror. It covers all the important elements of a film and screenplay: conflict, arc, goal, structure and plot. The thesis also consists of feminists’ reactions to Fatal Attraction, and examines whether the original 60- page screenplay helps or worsens the image of women. The screenplay also raises the question if having the villains need to be insane to prove a point. Further in the thesis is a description of the original screenplay Crimes of Passion and its main characters Jennifer, Alex and Keith. Jennifer, the heroine, becomes the target of scorned lover and police officer Keith. Alex, Keith’s rival, must protect Jennifer. The analysis ends with the restated questions the audience must have in mind and answer while reading the screenplay.

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Coleman, Isaiah. "Someone to Live For, Someone to Die For." University of Akron / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=akron1606991158021014.

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

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Сумин, Л. Г., and L. G. Sumin. "Эволюция психологического триллера как продукта аудиовизуального творчества : магистерская диссертация." Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94200.

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Магистерская диссертация посвящена мало изученной проблеме – эволюции психологического триллера как продукта аудиовизуального творчества. Работа состоит из Введения, трех глав, Заключения, Списка использованных источников и Приложения. Достоинством диссертации в теоретическом аспекте является анализ аудиовизуального творчества как структуры социально-культурной деятельности и аудиовизуальной основы кинообраза как специфики его психологического воздействия. В работе проведено научное исследование феномена психологического триллера в кино и его трансформация в эпоху постмодерна и в условиях современной массовой культуры XXI века. В современной науке эта тема практически не изучена, что заслуживает особого внимания. Интерес представляет и практическая составляющая магистерской диссертации, связанная с разработкой хронологического сайта «Психологический триллер в кино», включающего выбор платформы для размещения сайта, разработку общего дизайн-решения сайта, создания основной части сайта и «словаря» сайта.
The master's thesis is devoted to a little-studied problem – the evolution of a psychological thriller as a product of audiovisual creativity. The work consists of an Introduction, three chapters, a Conclusion, a List of References and an Appendix. The merit of the dissertation in the theoretical aspect is the analysis of audiovisual creativity as a structure of social and cultural activity and the audiovisual basis of the film image as the specificity of its psychological impact. The work carried out a scientific study of the phenomenon of psychological thriller in cinema and its transformation in the postmodern era and in the conditions of modern mass culture of the XXI century. In modern science, this topic is practically not studied, which deserves special attention. Of interest is the practical component of the master's thesis related to the development of a chronological site "Psychological Thriller in Cinema", including the choice of a platform for hosting the site, the development of a general design solution for the site, the creation of the main part of the site and the "dictionary" of the site.

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Лінцова, Ганна Юріївна. "Поетикальна матриця роману І. Роздобудько «Пастка для жар-птиці»." Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/1665.

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Лінцова Г. Ю. Поетикальна матриця роману І. Роздобудько «Пастка для жар-птиці» : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник В. М. Ніколаєнко. Запоріжжя : ЗНУ, 2020. 90 с.
UA : Кваліфікаційна робота магістра «Поетикальна матриця роману І. Роздобудько «Пастка для жар-птиці» містить 90 сторінок. Для виконання кваліфікаційної роботи опрацьовано 52 наукових джерела. Мета дослідження полягає в спробі системного дослідження роману поетикальної матриці роману І. Роздобудько «Пастка для жар-птиці». У ході написання роботи виконані такі завдання: - на основі наукової літератури здійснено характеристику поетики як будови та єдності текстових структур; - розглянуто модель поетики художнього твору, визначено основні її компоненти, а також окреслено поняття поетикальної матриці; - на основі жанрових характеристик художніх творів окреслено жанрові особливості роману І. Роздобудько «Пастка для жар-птиці»; - визначено тематичний рівень твору і його проблематику, сюжет; -проаналізовано особливості групування персонажів та їх характеристики відповідно до жанрової специфіки; - розглянуто наративні структурі роману. Об’єкт дослідження: роман І. Роздобудько «Пастка для жар-птиці». Предмет дослідження: поетикальна матриця твору, що складається із жанрово-композиційних елементів, нарації та системи образів. Методи дослідження. У роботі використано системний підхід, що передбачає поєднання історико-літературного, культурологічного, описового методів із елементами семіотики. З метою висвітлення особливостей художнього зображення внутрішнього світу персонажів прози І. Роздобудько використано теоретично-критичний, структурно-семіотичний, історико-генетичний, типологічний, історико-порівняльний методи наукового вивчення явищ художньої літератури. Наукова новизна роботи полягає у тому, що було зроблено спробу здійснити системне дослідження поетикальної матриці. Для цього було розглянуто поняття поетики в українському та англомовному наукових дискурсах і з’ясовано основні компоненти поетики, а також запропоновано розуміння поетикальної матриці як поєднання поетикальної моделі із індивідуальним стилем автора. На основі існуючих різновидів жанру детективу встановлено приналежність роману до детективу «розгадки», психологічного трилеру та жіночого роману. Сфера застосування. Робота може бути використана під час вивчення курсу вивчення курсів «Вступ до літературознавства», «Теорія літератури», «Сучасна українська література», спецкурсів із проблем сучасної масової літератури, а також під час написання курсових і дипломних робіт.
EN : Master’s thesis “The Poetical Matrix of the Novel “The Firebird’s Trap” by Iren Rozdobudko contains 90 pages. To fulfill the thesis 52 scientific sources were studied. The aim of the work: the systematic study of the poetic matrix in the novel “The Firebird’s Trap” (“Pastka dlya zhar-ptytsi”) by Iren Rozdobudko. During the study the following tasks were completed: - based on the scientific literature, the characteristic of poetics as a structure and unity of textual structures was performed; - the poetics model of the work of fiction was investigated, its main components were figured out, the concept of the poetic matrix was defined; - based on the genre characteristics of the works of fiction, genre peculiarities of the novel “The Firebird’s Trap” (“Pastka dlya zhar-ptytsi”) by Iren Rozdobudko were described; - the thematic level of the novel, its problematics and subject were defined; - the grouping of characters and their characteristics according to the genre specifics were analyzed; - the narrative structures of the novel were examined. The object of study: the novel “The Firebird’s Trap” (“Pastka dlya zhar-ptytsi”) by Iren Rozdobudko The subject of study: the poetic matrix of the novel, which consists of genre-compositional elements, narration and the system of images. Research methods. In the work the systematic approach is used, which combines historico-literary, cultural and descriptive methods with the elements of semiotics. To highlight the peculiarities of artistic depiction of the characters’ inner world in the prose of Iren Rozdobudko, theoretical-critical, structural-semiotic, typological, historical-comparative methods of the scientific study of the phenomena of fiction were used. Scientific novelty of the study is that it attempts to conduct systematic research of the poetic matrix. For this purpose, the concept of poetics was considered in Ukrainian and English scientific discourses and the basic components of poetics were defined, as well as the understanding of the poetic matrix as a combination of the poetic model with an individual style of the author was proposed. On the basis of the existing varieties of the detective genre, the novel has been identified as belonging to the detective “unraveling”, the psychological thriller and the women’s novel. Application field. The results of the study can be used during the study of courses “Introduction to Literary Studies”, “Theory of Literature”, “Contemporary Ukrainian Literature”, special courses on problems of contemporary popular literature, as well as during writing term or diploma papers.

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Books on the topic "Psychological thrillers"

1

Kelln, Brad. Method of madness: A psychological thriller. Toronto: Insomniac Press, 2002.

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Clark, Melissa. Find Courtney: A psychological thriller. Bridgehampton, N.Y: Bridge Works Pub., 2004.

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Hutchison, Steve. 128 Psychological Thrillers. Independently Published, 2020.

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Hammer Films Psychological Thrillers 19501972. McFarland & Co Inc, 2013.

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Durrant, Sabine. New Psychological Thriller. Hodder & Stoughton, 2018.

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Baccaro, Krissy. Psychological Thrillers Box Set: A Collection of Short Thriller Fiction. Baccaro, Krissy, 2022.

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Moquinn, Jenna. Stalks: A Psychological Thriller. Liquid Mind Media, 2023.

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Jaeger, Amanda. BreathTaken: A Psychological Thriller. Jaeger, Amanda, 2022.

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BreathTaken: A psychological thriller. Amanda Jaeger, 2022.

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Cosmos, I. C. Wall: A Psychological Thriller. ICTX Enterprises LLC, 2019.

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Book chapters on the topic "Psychological thrillers"

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Jancovich, Mark. "“Psychological Thriller”: Dead of Night (1945), British Film Culture, and the 1940s Horror Cycle." In Speaking of Monsters, 39–49. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_6.

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"The Psychological Crime Thriller: Strangers on a Train (1951)." In Thrillers, 203–25. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511624414.007.

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Williams, Bruce. "Kinostudio in the Post-Hoxha Era." In Albanian Cinema through the Fall of Communism. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789462980150_ch05.

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Following the death of Enver Hoxha, the Kinostudio productions, in many ways, continued the themes of the period of isolation. They were works of high production values that dared explore contemporaneous sociopsychological concerns of the present day. Nonetheless, they were even more explicit in their social critique and varied with regards to genre. The period also saw high-quality literary adaptations, including films by Kujtim Çashku and Dhimitër Anagnosti based on novels by Ismail Kadare. At the time of the death of Hoxha, Spartak Peçani’s Të mos heshtësh/Speak Up! (1985) tackles the theme of official corruption. Esat Musliu’s Rrethi i kujtesës/The Circle of Memory (1987), one of Albania’s rare psychological thrillers, explores the psychological trauma induced by past atrocities. And finally, Eduard Makri’s Shpella e piratëve/The Pirate Cave (1990) depicts fantasy and adventure, also virtually unknown in Albanian cinema.

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Marston, Kendra. "Paranoid Attachments to Suburban Dreams: Reading Pathological Femininity in Gone Girl and The Girl on the Train." In Postfeminist Whiteness, 111–32. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.003.0005.

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Chapter Four analyses the suburban melancholia evident in the psychological thrillers Gone Girl and The Girl on the Train, arguing that the films are examples of an emerging subgenre in which audiences are tasked with assessing whether the heroine’s melancholia harbours an inner violent pathology. Neoliberal postfeminist ideology, here depicted as inciting middle-class female malaise, lends itself to a new kind of (lucrative) cinematic puzzle in which readers or viewers guess the effects on women of a failed social promise. In these two films, the suburban environment, the gothic genre, and the conventions of other quintessentially postfeminist texts provide clues as to the melancholic heroine’s true state of mind.

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Taylor, Kathleen. "God or the group?" In Brainwashing, 25–48. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780192804969.003.0002.

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Abstract Since 1950, when it was first enunciated, the concept of brainwashing has spent much of its life in the seedy undergrowth of popular culture. Lurking in movies and thrillers, increasingly despised by academia, it has surfaced into public awareness typically as a response to certain extreme traumas, a last resort for commentators trying to explain the apparently inexplicable. Such traumas are not accidental; they are inflicted by a person or persons, usually driven by political or religious motives. In this chapter, I will ask what it is about such motives, and the social and psychological contexts in which they flourish, which makes them so dangerous.

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Gordon, Stewart. "Balancing Act." In Etudes for Piano Teachers Reflections on the Teacher's Art, 97–105. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195093223.003.0009.

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Abstract NO one has to make a case for the power of psychological conditioning these days. From our first college course in basic psychology where we read about Pavlov and his dogs to the plots of about half of our TV or movie theater thrillers, the case for the fact that the mind can be conditioned to respond a certain way to given stimuli is overwhelming. Even if we set aside the limitations of laboratory-experiments, we would probably agree that we are constantly being ‘conditioned’ in every-day living. We build likes and dislikes, expectations, both good and bad, and reactions over the years. These solidify into concepts which, taken as a whole, can be construed as a kind of philosophy of life.

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"5. Before the Fact: The Psychological Thriller." In Perplexing Plots, 157–93. Columbia University Press, 2023. http://dx.doi.org/10.7312/bord20658-007.

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"THE PSYCHOLOGICAL BACKGROUND." In A Theory of Thrills, Sublime and Epiphany in Literature, 99–140. Anthem Press, 2022. http://dx.doi.org/10.2307/j.ctv2rr3hg6.8.

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Rose, Jonathan. "Shakespeare in Prison." In Readers' Liberation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198723554.003.0008.

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There are any number of inspirational accounts of prison reading (such as Malcolm X), so let’s begin with what doesn’t work. Larry E. Sullivan, the leading scholar of this small but enthralling literary subfield, has concluded that probably the favorite author behind bars is Friedrich Nietzsche, and most frequently quoted sentence, “What does not kill me makes me stronger.” Convicts also devour crime and escapist literature, but few read Plato, Boethius, Bunyan, or Dostoevsky. And the reason should be obvious. Typically, prison systems work relentlessly to crush the individuality of their inmates. Physical resistance only brings ever-more brutal punishment, so prisoners resort to the one form of rebellion they can get away with, which is to read the most extreme forms of antisocial philosophy: Schopenhauer, Herbert Spencer, Nietzsche. If you are caged like an animal, these ideologies offer some psychological compensation: you can imagine yourself radically free, infinitely superior to your jailers in terms of intelligence, courage, and authenticity. It all sounds romantically transgressive, but that’s a very costly illusion, because it locks the prisoner into a battle with authority that he cannot win, and amplifies the behavior that got him incarcerated in the first place. Among black female inmates, the counterpart to Nietzsche is “urban fiction,” a new genre where the ubermenschen are inner-city crime lords, as wealthy as they are sadistic. Their women are consistently beautiful, expensively dressed, and obscenely abused. The demand for these novels knows no limit, and they are smuggled in faster than wardens can confiscate them. Their fans want to know why these black-authored books are banned while the equally gruesome thrillers of James Patterson are allowed in, and they have a point. But whereas Patterson is clearly on the side of law and order, urban fiction glamorizes drugs and thugs—and all too many readers admit that they fall for it: . . . “It excites me to read them. I look at all this money they’re making. I can’t wait to see the dollar signs . . . I like how they’re hustlers. How they con someone. It gives me a feeling of oh man, is it that easy? I coulda tried that!” . . .

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Kelly, Catriona. "Cold War Fears." In Soviet Art House, 266–82. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0010.

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This chapter explores the production and reception history of a notable Cold War Soviet thriller, The Dead Season, directed by Savva Kulish, a former cameraman and collaborator of Mikhail Romm and Maiya Turovskaya on a famous documentary about life in the Third Reich, Ordinary Fascism. Kulish’s background and his own Jewish descent prompted him to adopt a highly serious approach to the story of a former Nazi war criminal who is now resident in “a certain Western country.” Rather than an exciting adventure story, the film became an exploration of psychological tension, as the discussion here makes clear.

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Conference papers on the topic "Psychological thrillers"

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Naumova, O. A. "SECTION 9. “Psychological thrillers” by Linda Keprtová: to the problem of updating the director's stylistics on the opera stage." In VOCAL AND CHORAL ART AND EDUCATION: HISTORICAL RESEARCH, PERFORMANCE CONCEPTS, MODERN TRENDS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-391-0-9.

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Kobylko, N. A. "Space-time features of the psychological thriller “The Girl We Killed” by Polina Kulakova." In THE LATEST DEVELOPMENT TRENDS IN PHILOLOGICAL SCIENCE AND EDUCATION. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-404-7-7.

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Mohammed, Pola. "The Analysis of the Talented Mr. Ripley Novel." In 3rd International Conference on Language and Education. Cihan University-Erbil, 2023. http://dx.doi.org/10.24086/iclangedu2023/paper.949.

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The Talented Mr. Ripley is a psychological thriller novel that delves into the complexity of human identity, socioeconomic class, and the American Dream through themes such as deception, envy, and the pursuit of self-fulfillment. Written by Patricia Highsmith and released in 1955, the novel has received widespread recognition for its nuanced characterization of the protagonist, Tom Ripley, who expertly embodies the psychological and moral complications of these themes. The novel addresses essential themes concerning the nature of human identity and how social rank, class, and the American Dream impact our goals, ideals, and our actions through critical reading and analysis of the text. This novel is not just a page-turner but also a literary work that offers a comprehensive review of human psychology, morals, and the society in which we live

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