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Journal articles on the topic 'Slasher film'

Author: Grafiati

Published: 24 April 2022

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1

Sapolsky, Burry S., Fred Molitor, and Sarah Luque. "Sex and Violence in Slasher Films: Re-examining the Assumptions." Journalism & Mass Communication Quarterly 80, no. 1 (March 2003): 28–38. http://dx.doi.org/10.1177/107769900308000103.

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A content analysis of popular 1990s slasher films found more acts of violence than similar films from the 1980s. Recent slasher films rarely mix scenes of sex and violence. This finding calls into question claims that slasher films portray eroticized violence that may blunt males' emotional reactions to film violence. Slasher films feature males more often as victims of violence. However, the ratio of female victims is higher in slasher films than in commercially successful action-adventure films of the 1990s. Finally, females are shown in fear for longer periods of time.

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2

KVARAN, KARA M. "“You're All Doomed!” A Socioeconomic Analysis of Slasher Films." Journal of American Studies 50, no. 4 (January 8, 2016): 953–70. http://dx.doi.org/10.1017/s0021875815002674.

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This paper posits a socioeconomic explanation for the popularity of the slasher film genre. These films created a unique sub-genre in which teenage protagonists had to contend with unstoppable forces, in the form of manic killers, while every aspect of modernity and the middle-class lifestyle failed them. Cars and telephones die, the suburbs offer no sanctuary, and adults are absent or ineffectual. The slasher genre rose in popularity as the American economy spiraled into recession. By examining the big three franchises of Halloween, Friday the 13th, and A Nightmare on Elm Street this paper analyzes the slasher films of the 1980s and their remakes in the late 2000s. It argues that slasher films symbolized a cathartic release for their mainly adolescent audiences at a time in their lives when impending adulthood and an unfavorable economic climate seemed to conspire against them.

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3

Cybulski, Marcin. "Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera." Acta Polono-Ruthenica 3, no. XXIV (September 30, 2019): 85–100. http://dx.doi.org/10.31648/apr.4662.

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This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.

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4

Oliveira, Amanda de. "Slasher therapy: the slasher movie as an allegory for uncovering trauma." Literartes 1, no. 15 (December 21, 2021): 199–214. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.187620.

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This study aims at analyzing slasher films as potential allegories for the therapeutic process of uncovering trauma, proposing a reading of the slasher killer as a metaphor for the trauma. To perform this analysis, the plots of the movies A Nightmare on Elm Street (Bayer, 2010) and Final Girls (Schulsson, 2015), were read as possible allegories for a psychoanalytical process in which their final girls come to terms with trauma as they face the killers. This analysis is performed based on the slasher film structure as composed by Final Girl versus Slasher killer, as defined by Carol Clover (1992), and, as their confrontation takes place in what Clover calls the Terrible place, that is compared to the unconscious and its dynamics, as proposed by Sigmund Freud’s The Ego and the Id (2019). The correlation of trauma and fictional narratives is performed based on Cathy Caruth’s (1996) studies of trauma and the construction of narratives.

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Fernandes, Vitor, and Claudio Vescia Zanini. "We’re doing this because you were home: an analysis of elements of the slasher formula in The Strangers (2008)." Literartes 1, no. 15 (December 21, 2021): 215–42. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2021.188450.

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This article verifies how Bryan Bertino’s 2008 film The Strangers articulates the slasher formula (CLOVER, 2015; DIKA, 1985) in order to tell a horror story that is in tune with the cultural context from the first decade of the 2000s in the United States. Drawing from analyses of the cultural impact of the terrorist attacks on September 11th, 2001, we point out evolutions in the slasher convention, including the dissidence from slasher films made to be deeply self-referential and campy. We also demonstrate how the recognizable structure is subverted to play with viewer expectations, potentializing its bleak and nihilistic ending, a narrative feature described by Pinedo (1996) as a post-modernist trend that breaks away from the classical horror structure.

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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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7

Petridis, Sotiris. "A Historical Approach to the Slasher Film." Film International 12, no. 1 (March 1, 2014): 76–84. http://dx.doi.org/10.1386/fiin.12.1.76_1.

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8

Pascale, Marius A. "Art Horror, Reactive Attitudes, and Compassionate Slashers." International Journal of Applied Philosophy 33, no. 1 (2019): 141–59. http://dx.doi.org/10.5840/ijap201981116.

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In “The Immorality of Horror Films,” philosopher and film scholar Gianluca Di Muzio proposes an analytic argument that aims to prove horror narratives, particularly slashers, unethical. His Argument from Reactive Attitudes contests slashers encourage pleasurable responses towards depictions of torture and death, which is possible only by suspending compassionate reactions. Doing so degrades sympathy and empathy, causing desensitization. This article will argue Di Muzio’s ARA, while valuable to discussion of art horror and morbidity, fails to meet its intended aim. The ARA contains structural flaws in its logic, compounded by reliance on insufficient evidence. Additionally, Di Muzio does not adequately consider or rebut prominent aesthetic concerns, including ontological and moral distance of representations. Lastly, the argument utilizes a flawed classificatory schema that undermines its primary goal. Even narrowly confined to slashers, the ARA cannot explain alternative reasons for engaging with horror, nor does it account for those nuanced slasher works designed to foster compassion. The project concludes by offering a modified ARA with greater potential to accurately analyze the interrelation between art horror and morality.

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Masood, Syeda Momina. "Visions of Queer Anarchism: Gender, Desire, and Futurity in Omar Ali Khan’s Zibahkhana." BioScope: South Asian Screen Studies 10, no. 1 (June 2019): 75–90. http://dx.doi.org/10.1177/0974927619857342.

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Modelled upon American slasher film tropes, Omar Ali Khan’s Zibahkhana (2007) is more than a transnational remake. It is a vision of a queer revolution, and imagines queer futures brought about through rural anarchy and violent eroticism. This article reads the masked killer of Zibahkhana as a monstrous queer agency armed with a queer (zombie) militia prepared to consume and transform the heteronormative matrix. Offering an unprecedented and unapologetic representation of queer aggression onscreen, Khan’s indie slasher explores queer articulations of desire and anarchy in the figure of the killer, Baby, a queer woman and a murderous cannibal. With Baby, Zibahkhana offers a queer anti-hero, the first of its kind for Pakistani cinema, that challenges normative modes of being, belonging, and desiring. Thus Zibahkhana not only offers a welcome revision of Western slasher film tropes, it blazes a trail for transgressive and incendiary portrayals of queer embodiments and intimacies in Pakistani visual media.

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10

Clover, Carol J. "Her Body, Himself: Gender in the Slasher Film." Representations 20 (1987): 187–228. http://dx.doi.org/10.2307/2928507.

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Clover, Carol J. "Her Body, Himself: Gender in the Slasher Film." Representations 20, no. 1 (October 1987): 187–228. http://dx.doi.org/10.1525/rep.1987.20.1.99p0193v.

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Coëgnarts, Maarten, and Miklós Kiss. "‘Look OutBehindYou!’ Grounding suspense in the slasher film." New Review of Film and Television Studies 15, no. 3 (June 7, 2017): 348–74. http://dx.doi.org/10.1080/17400309.2017.1332844.

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Loguercio Cánepa, Laura. "Film d’horreur juvénile brésilien. Le cas du slasher movie Shock !" Cinémas d’Amérique latine, no. 23 (June 1, 2015): 144–53. http://dx.doi.org/10.4000/cinelatino.1972.

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Park, Douglas, and Dawn Dietrich. "In the Cut." Film Quarterly 58, no. 4 (2005): 39–46. http://dx.doi.org/10.1525/fq.2005.58.4.39.

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Abstract Jane Campion's newest film, In the Cut, confounded critics, as it leaves her familiar territory of Anglo Australia and a high literary mode for New York City and the pop culture associations of a slasher/thriller. Transcending genre, the screenplay and cinematography unconventionally render a psychic landscape of female desire and romantic longing surviving in a male urban wasteland.

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15

Brickman, Barbara Jane. "Brothers, Sisters, and Chainsaws: The Slasher Film as Locus for Sibling Rivalry." Quarterly Review of Film and Video 28, no. 2 (February 18, 2011): 135–54. http://dx.doi.org/10.1080/10509200802530155.

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16

Wilson, Chad A. B. "Anatomy of the Slasher Film: A Theoretical Analysis. SotirisPetridis. Jefferson, NC: McFarland, 2019." Journal of American Culture 43, no. 2 (June 2020): 159. http://dx.doi.org/10.1111/jacc.13165.

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Loriguillo-López, Antonio, José Antonio Palao-Errando, and Javier Marzal-Felici. "Making Sense of Complex Narration in Perfect Blue." Animation 15, no. 1 (March 2020): 77–92. http://dx.doi.org/10.1177/1746847719898784.

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Although identified as a feature of the film by both critics and researchers, the narrative complexity of Perfect Blue (Satoshi Kon, Madhouse, 1997) has been ambiguously defined. In this article, the authors examine the complex narration in Kon’s first feature film, equivocal and obscure in its more confusing points, through a narratological analysis of the film’s most ambiguous scenes. Using cognitive film theory as introduced by David Bordwell and Edward Branigan, they link its approach in terms of the modulation of information flow throughout the film – high knowledgeability, high self-consciousness and (occasionally) low communicativeness – with the conventions of the slasher genre. Their analysis of the more perplexing scenes in Perfect Blue is reinforced by monitoring the veiled changes of focalization between the film’s three focalizers: Mima, Uchida (aka Me-Mania) and Rumi. In order to do this, they explore how the narration – in the tradition of contemporary puzzle films – makes use of judgements, preconceptions and cognitive illusions in the spectators’ activity to conceal Rumi’s involvement in the persecution of Mima and the murders committed. In the conclusion, they associate the film’s complex narration with its critical commentary on the representation of Japanese pop idols (and former idols) and the state of audiovisual entertainment in Japan.

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18

Tietchen, Todd F. "Samplers and Copycats: The Cultural Implications of the Postmodern Slasher in Contemporary American Film." Journal of Popular Film and Television 26, no. 3 (January 1998): 98–107. http://dx.doi.org/10.1080/01956059809602780.

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19

Greenhill, Pauline, and Steven Kohm. "“Hansel and Gretel” Films: Crimes, Harms, and Children." Dzieciństwo. Literatura i Kultura 2, no. 1 (August 3, 2020): 11–34. http://dx.doi.org/10.32798/dlk.350.

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A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are not proscribed in the formal criminal justice system, and/or are beyond the jurisdiction of public institutions. Many actions and inactions that affect and/or pertain to children’s wellbeing are found as recurring themes and ideas in “Hansel and Gretel” films. In this paper, the authors focus on non-supernatural, live-action films available in English for adult viewers that include child main characters, that is, those whose Hansels and Gretels are clearly below the age of puberty. These films, the authors contend, offer distinctive perspectives on harms to children as individuals and as groups, especially with relation to institutions implicating justice.

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20

Dubois, Derek. "Psycho-killer: Shifting spectator address from Psycho to Bates Motel." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 163–77. http://dx.doi.org/10.1386/jafp_00051_1.

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Leveraging Carol Clover’s influential Men, Women, and Chain Saws, this article attempts to situate the A&E television series Bates Motel as a progressive prequel to Psycho. Through a close reading of the series’ formal and narrative components, vital distinctions are clarified between Psycho and Bates Motel, arguing that the latter achieves a unique mode of spectatorial address. This unique address is accomplished via three devices: a shift in genre away from the horror/slasher film to re-situate the backstory of Norman Bates within the melodrama ‐ a genre traditionally geared to a female spectator; by playing Norman as an active investigative protagonist rather than the prototypical psycho-killer devoid of psychological complexity; and by opening up the narrative to dual protagonists via the inclusion of Norma Bates. Taken together, Bates Motel emerges as an adaptation of the iconic Hitchcock film whose very success is dependent on intentionally altering its mode of spectatorial address.

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21

Nowell, Richard. ""There's More Than One Way to Lose Your Heart": The American Film Industry, Early Teen Slasher Films, and Female Youth." Cinema Journal 51, no. 1 (2011): 115–40. http://dx.doi.org/10.1353/cj.2011.0073.

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Eddy, Samantha. "Groped and Gutted." Screen Bodies 5, no. 1 (June 1, 2020): 31–55. http://dx.doi.org/10.3167/screen.2020.050104.

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The realm of horror provides a creative space in which the breakdown of social order can either expose power relations or further cement them by having them persist after the collapse. Carol Clover proposed that the 1970s slasher film genre—known for its sex and gore fanfare—provided feminist identification through its “final girl” indie invention. Over three decades later, with the genre now commercialized, this research exposes the reality of sexual and horrific imagery within the Hollywood mainstay. Using a mixed-methods approach, I develop four categories of depiction across cisgender representation in these films: violent, sexual, sexually violent, and postmortem. I explore the ways in which a white, heterosexist imagination has appropriated this once productive genre through the violent treatment of bodies. This exposes the means by which hegemonic, oppressive structures assimilate and sanitize counter-media. This article provides an important discussion on how counterculture is transformed in capital systems and then used to uphold the very structures it seeks to confront. The result of such assimilation is the violent treatment and stereotyping of marginalized identities in which creative efforts now pursue new means of brutalization and dehumanization.

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23

Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 139–59. http://dx.doi.org/10.1215/02705346-8085147.

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In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.

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Bec, Vincent. "Women Still in Danger: A Look at Incel Rhetoric in the 1980 Slasher Film He Knows You’re Alone." Film Matters 11, no. 1 (March 1, 2020): 25–39. http://dx.doi.org/10.1386/fm_00044_1.

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Kim, Gia. "The Subject Beset by Abjection : Focusing on the Narrative Structure and Narrative Subject in the Slasher Film “The Wailing”." Journal of Ehwa Korean Language and Literature 51 (August 31, 2020): 478–502. http://dx.doi.org/10.29190/jekll.2020.51.478.

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26

Welsh, Andrew. "On the Perils of Living Dangerously in the Slasher Horror Film: Gender Differences in the Association Between Sexual Activity and Survival." Sex Roles 62, no. 11-12 (March 2, 2010): 762–73. http://dx.doi.org/10.1007/s11199-010-9762-x.

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27

Miller, Catriona. "You can't escape: inside and outside the ‘slasher’ movie." International Journal of Jungian Studies 6, no. 2 (May 4, 2014): 108–19. http://dx.doi.org/10.1080/19409052.2014.907820.

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Since the 1970s, the ‘slasher’ movie, with its violence towards women and the surviving ‘final girl’, has been a constant presence in the horror genre to the delight of some and the perplexed dismay of others. Traditional academic approaches to the genre have tended to make assumptions about who is watching these films and why. This article uses a Jungian-inflected approach to reconsider the potential meaning of the genre, suggesting that the violence in the films is less an exhortation to violence against women, but rather a representation of women's experience of patriarchy, with the ‘final girl’ as a figure of resistance. The article also considers the meaning of the more contemporary ‘final girl as perpetrator’ slasher films.

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Molitor, Fred, and Barry S. Sapolsky. "Profile:Sex, violence, and victimization in slasher films." Journal of Broadcasting & Electronic Media 37, no. 2 (March 1993): 233–42. http://dx.doi.org/10.1080/08838159309364218.

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Cánepa, Laura Loguercio. "Shock!: slasher movie “made in Brazil”." Revista Contracampo, no. 21 (September 21, 2010): 131. http://dx.doi.org/10.22409/contracampo.v0i21.30.

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O presente artigo analisa o longa-metragem Shock! (São Paulo, 1982), de Jair Correia, filme juvenil brasileiro e principal representante nacional de um dos subgêneros do horror internacional mais populares no planeta desde o final dos anos 1970: o slasher movie. O que se pretende é comparar algumas estratégias narrativas usadas em Shock! com as formas canônicas desse subgênero, buscando caracterizar a composição específica do exemplar brasileiro e também sugerir como tal composição se relaciona com a cultura urbana jovem brasileira dos anos 1980.

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30

Paganotti, Ivan. "Repulsa visceral ao terror mutilado: Halloween, adequado à classificação indicativa." Novos Olhares 5, no. 2 (December 8, 2016): 74. http://dx.doi.org/10.11606/issn.2238-7714.no.2016.121920.

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Para adequar-se a uma faixa etária da audiência mais jovem, os distribuidores brasileiros do filme de terror Halloween – O início (2007) excluíram 26 minutos do longa-metragem – quase um quarto de sua extensão original. A partir do inusitado reposicionamento da classificação estatal na crítica aos cortes, este artigo analisa como as cenas cortadas comprometem a obra, considerando que a violência é o cerne de “slasher films” e não pode ser descartada como excesso pela autocensura. Este texto também critica o modelo de cortes promovidos por produtores privados e induzido pela classificação indicativa governamental, sugerindo um novo mecanismo para apresentar maior transparência ao processo que foi considerado como uma prática inconstitucional de censura pelo Supremo Tribunal Federal.

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31

Weaver, James B. "Are “slasher” horror films sexually violent? A content analysis." Journal of Broadcasting & Electronic Media 35, no. 3 (June 1991): 385–92. http://dx.doi.org/10.1080/08838159109364133.

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32

Linz, Daniel, and Edward Donnerstein. "Dialogue: Sex and violence in slasher films: A reinterpretation." Journal of Broadcasting & Electronic Media 38, no. 2 (March 1, 1994): 243–46. http://dx.doi.org/10.1080/08838159409364261.

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Cowan, Gloria, and Margaret O'Brien. "Gender and survival vs. death in slasher films: A content analysis." Sex Roles 23, no. 3-4 (August 1990): 187–96. http://dx.doi.org/10.1007/bf00289865.

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Kokeš, Radomír D. "Spiral, Slasher, and Sequel: Case of "Happy Death Day" (2017) and "Happy Death Day 2U" (2019)." Panoptikum, no. 22 (December 17, 2019): 128–43. http://dx.doi.org/10.26881/pan.2019.22.04.

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This article focuses on the films Happy Death Day (2017) and Happy Death Day 2U (2019). Both handle the spiral narrative, which is recognised by the article as a specific storytelling pattern with a protagonist stuck in an iterative segment of space, time and causality – and this protagonist is not only fully aware of this situation but also tries to deal with it. What for other unaware characters is a closed loop is for the protagonist an open experience with an odd number of turns of time spiral. The spiral narrative is known mostly from high-budget films such as Groundhog Day (1993) or Edge Of Tomorrow (2014). Nevertheless, as the article explains, it occurs in dozens of other theatrical films, VOD films, television films or television shows. However, what are the reasons why, when there is an extensive set of works to choose from, does the article take just the doublet of Happy Death Day films? (1) On their example, the article discusses the author’s general hypothesis about spiral narrative works as a series of applications of the innovative narrative schema as an aesthetic tool. Such a hypothesis consists of three broader dimensions: (a) the aesthetic dimension, i.e. the spiral schema as a part of the art work; (b) the creative dimension, i.e. the spiral schema as part of the problem-solution process of filmmaking; (c) the production dimension, i.e. the spiral schema as a part of the competition of audiovisual production. (2) An even more important reason, though, for selecting just these two films has been the fact that Happy Death Day 2U is a sequel of Happy Death Day. In the „post-classical era” of global franchises, sequels, prequels, remakes, reboots and transmedia storytellings, this does not seem to be exceptional. However, in the context of the spiral narrative, this is an unprecedented step that raises several questions the article asks.

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Weaver, Angela D., A. Dana Ménard, Christine Cabrera, and Angela Taylor. "Embodying the moral code? Thirty years of Final Girls in slasher films." Psychology of Popular Media Culture 4, no. 1 (January 2015): 31–46. http://dx.doi.org/10.1037/ppm0000006.

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Weiner, Robert G. "Slasher Films: An International Filmography 1960 through 2001 by Kent Bryon Armstrong." Journal of Popular Culture 43, no. 6 (December 2010): 1317–18. http://dx.doi.org/10.1111/j.1540-5931.2010.00801_9.x.

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37

Benson-Allott, Caetlin. "Wes Craven: Thinking Through Horror." Film Quarterly 69, no. 2 (2015): 74–76. http://dx.doi.org/10.1525/fq.2015.69.2.74.

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Wes Craven (1939–2015) wrote and directed horror films that changed the genre for audiences and filmmakers. The Last House on the Left (1972) and The Hills Have Eyes (1977) engage savage violence to critique a self-satisfied complacent culture, while A Nightmare on Elm Street (1984) and Wes Craven's New Nightmare (1994) uncover new philosophical significance in the slasher subgenre. Craven has often been dismissed as merely a genre filmmaker, yet his effect on his genre was profound, precisely because he established genre conventions instead of following them.

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Acker, Ana Maria. "Do slasher ao found footage: as transformações do ponto de vista no cinema de horror." Revista_Mídia_e_Cotidiano 12, no. 2 (August 31, 2018): 97. http://dx.doi.org/10.22409/ppgmc.v12i2.10056.

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O artigo discute as origens da câmera subjetiva diegética no cinema de horror found footage a partir do pressuposto de que tal estratégia narrativa possui relações com a câmera subjetiva do slasher, subgênero que gerou polêmica nas décadas de 1970 e 1980. O texto problematiza o uso da câmera subjetiva e a transformação em diegética nos anos 2000, tendo como foco as características de nossos modos de olhar nas produções de horror contemporâneas. Pontuamos algumas mudanças no consumo do filme de horror após a metade do século passado e as relacionamos com as análises de sequências de quatro produções: As Fitas de Poughkeepsie (2007), direção de John Erick Dowdle; [Rec] (2007), [Rec] 2 – possuídos (2009), ambos realizados por Jaume Balagueró e Paco Plaza; e um episódio de V/H/S/2 (2013), filme de Simon Barrett, Adam Wingard, Eduardo Sanchez, Gregg Hale, Timo Tjahjanto, Gareth Huw Evans e Jason Eisener.

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Carreiro, Rodrigo. "Um triunfo de aprendizes: o som em O massacre da Serra Elétrica." Galáxia (São Paulo), no. 38 (August 2018): 127–39. http://dx.doi.org/10.1590/1982-2554233135.

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Resumo Filme influente na consolidação de uma estética semidocumental muito popular no cinema de horror contemporâneo, O massacre da serra elétrica (The Texas chain saw massacre, Tobe Hooper, 1974) ganhou status de inovador, com o passar dos anos, por ter antecipado a explosão do subgênero slasher, e por causa da crueza das imagens. No entanto, pouco se fala do caráter arrojado dos sons que contribuem para assustar o público do filme. Este ensaio tem o objetivo de reconstituir o processo criativo da trilha sonora, destacando a presença majoritária de estudantes e aprendizes na equipe responsável pelo sound design, e enfatizando o modo pelo qual o relativo desconhecimento das práticas profissionais de pós-produção embaralhou as fronteiras entre música e efeitos sonoros, reforçando uma tendência estilística inovadora que influencia o cinema contemporâneo.

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Molitor, Fred, and Barry S. Sapolsky. "Dialogue: Violence towards women in slasher films: A reply to Linz and Donnerstein." Journal of Broadcasting & Electronic Media 38, no. 2 (March 1, 1994): 247–50. http://dx.doi.org/10.1080/08838159409364262.

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Powrie, P. "Masculinity in the shadow of the slashed eye: surrealist film criticism at the crossroads." Screen 39, no. 2 (June 1, 1998): 153–63. http://dx.doi.org/10.1093/screen/39.2.153.

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Ménard, A. Dana, Angela Weaver, and Christine Cabrera. "“There are Certain Rules that One Must Abide by”: Predictors of Mortality in Slasher Films." Sexuality & Culture 23, no. 2 (December 19, 2018): 621–40. http://dx.doi.org/10.1007/s12119-018-09583-2.

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Nault, Curran. "Punk Slash! Musicals: Tracking Slip-Synch on Film (review)." Velvet Light Trap 67, no. 1 (2011): 77–79. http://dx.doi.org/10.1353/vlt.2011.0007.

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Rodrigues Júnior, Edson José. "Labirintos autorais: a adaptação fílmica de In the tall grass, de Stephen King e Joe Hill." Travessias 15, no. 2 (August 31, 2021): 34–54. http://dx.doi.org/10.48075/rt.v15i2.27644.

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O presente artigo tem por objetivo realizar um estudo sobre as estratégias adaptativas empregadas no processo de remidiação do conto “In the tall grass” (2012), de Stephen King e Joe Hill, para a linguagem cinematográfica do streaming. Para tanto, nos propomos a realizar uma leitura imanente pautada nos aspectos formais e temáticos das duas obras: alterações e permanências de elementos narrativos, rupturas e continuidades formais e simbólicas, além das escolhas e recursos da linguagem cinematográfica empregados pelo adaptador Vincenzo Natali, bem como suas (possíveis) motivações. Para tanto, nos embasamos nas teorias acerca do processo de adaptação propostas por Stam (2000), Bolter e Grusin (2000), Ondaatje (2002) e Hutcheon (2013). A partir da análise, concluimos que, com a tarefa de não apenas reconfigurar uma obra literária para o modo de engajamento audiovisual mas, além disso, expandir uma narrativa curta para a duração de um filme longa-metragem, Natali lança mão de estratégias voltadas para a adaptabilidade do material-fonte e para a aceitabilidade mercadológica de seu filme, a saber: ampliação da participação dos personagens secundários e terciários; adição de um herói arquetípico como protagonista; ampliação dos cenários do conto, inserção de elementos sci-fi e do horror slasher. Ademais, muitos elementos da sintaxe cinematográfica são utilizados para transportar para a tela a tensão e a opressão do locus horribilis retratado no conto, tais como: tomadas aéreas do matagal; planos-detalhe em elementos da natureza; quadros abertos para estabelecer a localização dos personagens.

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Diffrient, David Scott. "Some ‘R’ points: Repression, repulsion, revelation and redemption in South Korean horror films." Horror Studies 11, no. 2 (October 1, 2020): 221–42. http://dx.doi.org/10.1386/host_00020_1.

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This article examines some of the formal properties, stylistic motifs and thematic preoccupations of classic and contemporary South Korean horror films. As a genre that has enormous box-office appeal and crossover potential for western audiences, horror might seem to be little more than a commercial platform for young filmmakers to exploit popular tastes and cash in on derivative stories offering scant insight into the social conditions faced by modern-day Koreans. However, even the most cliché-ridden, shock-filled slasher films and ghost tales reveal the often-contradictory cultural attitudes of a populace that, over the past three generations, has weathered literally divisive transformations at the national and ideological levels. As such, the genre deserves scrutiny as a repository of previously pent-up, suddenly unleashed libidinal energies, consumerist desires and historical traumas, as well as a barometer of public opinion about such issues as class warfare, gender inequality and sexual identity. Specifically, I explore some of the most salient features of Korean horror cinema, including filmmakers’ tendency to adopt narrative analepsis – typically rendered as flashbacks – in the course of plotting out scenarios that, though far-fetched, are rooted in unsettled (and unsettling) real-world problems. Historical return, I argue, truly is a horrifying prospect, especially for anyone old enough to remember, or to have experienced firsthand, the brutality of a military dictatorship or an ongoing abuse of presidential power resulting in severe rights violations (e.g. the Park Chung-hee [1961–79]) and Chun Doo-hwan [1980–88] administrations). But historical return simply must be dramatized as part of the regurgitative ‘purging’ for which the genre has been singled out by theorists who recognize horror’s socially productive function.

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Roberts, John. "Saving Private Ryan: Realism and the Enigma of Head-Wounds." Historical Materialism 3, no. 1 (1998): 157–72. http://dx.doi.org/10.1163/156920698794751100.

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AbstractIn Ernst Friedrich's Krieg dem Kriege there is a large section of photographs of survivors of World War I with the most hideous disfigurements of the face: jaws are missing, gaping slashes stare out where mouths should be. Friedrich leaves this gallery of ‘untouchables’ to the end of the book as if to achieve the maximum debasement of military glory and heroism. The head and face are obviously the most vulnerable part of the body in warfare – brutal wounds to the face and decapitations are common. In World War I, a number of hospitals were set up to deal solely with head-wounds, developing the basis of what we now know as plastic surgery. Yet, in the representation of combat on screen, even in the most candid and unsentimental of war films, such as Hamburger Hill and Platoon, injuries to the face are rare or nonexistent. This absence has something to do with the difficulty of producing convincing prosthetic wound-cavities on the head; blown-off limbs can obviously be created with ease through covering up the actor's extant limb with padded clothing; bloody disembowellings can be simulated with the judicious use of imitation innards and the illusionistic application of broken flesh, and so on. But the problems of modelling head-wounds clearly only half-explain the consistency of the absence.

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Ke, Wenqi, Lintong Hou, Lisong Wang, Jun Niu, and Jingyu Xu. "Research on Critical Liquid-Carrying Model in Wellbore and Laboratory Experimental Verification." Processes 9, no. 6 (May 24, 2021): 923. http://dx.doi.org/10.3390/pr9060923.

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Liquid loading in gas wells may slash production rates, shorten production life, or even stop production. In order to reveal the mechanism of liquid loading in gas wells and predict its critical flowrates, theoretical research and laboratory experiments were conducted in this work. A new model of liquid-film reversal was established based on Newton’s law of internal friction and gas–liquid two-phase force balance, with the critical reverse point obtained using the minimum gas–liquid interface shear force method. In this model, the influences of the pipe angle on the liquid film thickness were considered, and the friction coefficient of the gas–liquid interface was refined based on the experimental data. The results showed that the interfacial shear force increases by increasing the liquid superficial velocity, which leads first to an increase of the critical liquid-carrying gas velocity and then to a decrease, and the critical production also decreases. With 0° as the vertical position of the pipeline and an increase of the inclination angle, the critical liquid-carrying velocity first increases and then decreases, and the maximum liquid-carrying velocity appears in the range of 30–40°. In addition, the critical liquid-carrying gas velocity is positively correlated with the pipe diameter. Compared with the previous model, the model in this work performed better considering its prediction discrepancy with experiment data was less than 10%, which shows that the model can be used to calculate the critical liquid-carrying flow rate of gas wells. The outcome of this work provides better understanding of the liquid-loading mechanism. Furthermore, the prediction model proposed can provide guidance in field design to prevent liquid loading.

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Girik Allo, Markus Deli, Nilma Taula’bi, Elim Trika Sudarsih, and Eka Prabawati Rum. "THE CULTURAL VALUES OF THE BULANGAN LONDONG SEMBANGAN SUKE BARATA RITUAL OF THE INDIGENOUS PEOPLE OF TORAJA." Patanjala: Journal of Historical and Cultural Research 13, no. 2 (October 29, 2021): 193. http://dx.doi.org/10.30959/patanjala.v13i2.798.

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The purpose of this study was to investigate the cultural values in the ritual of Bulangan Londong Sembangan Suke Barata as part of the Toraja indigenous people life. The research method used in this study is a qualitative method. Meanwhile, the respondents involved in this study include culturist, linguists, and the Toraja community. The research instruments used in this study were document files, interviews with the subjects, and observations using a video recorder that recorded the ritual process of Bulangan Londong Sembangan Suke Barata. The data analysis technique in this study includes three main steps, namely data reduction, data presentation, and drawing conclusions. The results showed that the cultural values contained in the rituals of the Bulang Londong Sembangan Suke Barata were 'Manuk' which symbolized the value of the work ethic, 'Ussembang Suke Barata' which represented the religious value of bamboo slashed by 'Mina', and 'Kayunan Londong' which personifies the leader's patriotic value.Tujuan dari penelitian ini adalah untuk menyelidiki nilai-nilai budaya dari ritual bulangan londong sembangan suke barata dari masyarakat adat Toraja. Penelitian ini menggunakan metode kualitatif. Responden penelitian ini adalah budayawan, ahli bahasa, dan komunitas Toraja. Instrumen penelitian yang digunakan adalah file dokumen, wawancara dengan subjek, dan pengamatan dengan menggunakan perekam video pada ritual bulangan londong sembangan suke barata. Teknik analisis data mencakup tiga langkah utama, pengurangan data, presentasi data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa nilai-nilai budaya yang terkandung dalam ritual bulangan londong sembangan suke barata adalah manuk yang melambangkan nilai etos kerja, ussembang suke barata yang mewakili nilai religius bambu yang ditebas oleh mina, dan kayunan londong sebagai personifikasi nilai patriotik pemimpin.

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Béland, Martin, Yves Bergeron, and Richard Zarnovican. "Natural regeneration of jack pine following harvesting and site preparation in the Clay Belt of northwestern Quebec." Forestry Chronicle 75, no. 5 (October 1, 1999): 821–31. http://dx.doi.org/10.5558/tfc75821-5.

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A 36-ha experiment was carried out to assess the possibility of naturally regenerating jack pine stands following harvesting on clay soils of northwestern Quebec. Although differences between treatments were not statistically significant, there was a trend toward a positive effect of one treatment combining on-site delimbing and scarification with the Silva Wadell™ cone scarifier on jack pine seedling density (up to 10 000/ha) and distribution (50% of 1 m2 plots with at least one seedling, corresponding to 94% with 4 m2 plots), two years after harvest. However, scarified microsites contained fewer seedlings than expected and undisturbed humus contained more seedlings than expected. This result, contrary to what is generally reported in the literature may be explained either by the fairly humid conditions, favourable to germination and seedling establishment, occurring on clay sites or by the scarifier spreading the cone-bearing slash outward. Seedling abundance and distribution improved substantially from the first year to the second year following treatment. Although the irregular branch distribution over the cutover area appears to have limited regeneration success, combining on-site delimbing with soil scarification could lead to relatively good stocking of jack pine regeneration that could be enhanced by some fill-planting. This regeneration method could constitute an alternative to planting jack pine on clay. However, vegetation control to remove aspen competition might be necessary. Key words: jackpine, silviculture, natural regeneration, boreal mixed wood

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Salova, Yulia, Darya Petrova, Elena Ponomarenko, and Vitaly Kondrashin. "Pyre Fuel for the Cremations of the Middle of the First Millennium AD in the Middle Volga Region." Stratum plus. Archaeology and Cultural Anthropology, no. 4 (August 30, 2021): 109–23. http://dx.doi.org/10.55086/sp214109123.

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The paper presents results of charcoal and macrofossil analysis of the cremation burial grounds of the Imenkovo culture that occupied the Middle Volga region in 400—650 CE. We analyzed assemblages from four necropolises: Bogorodski, Maklasheevka 4, Komarovka and a burial ground from Zhigulevsk 2 site. Charred remains were recorded at the bottom of burials, among cremated bones or in the in-fill of graves and mortuary vessels. The assemblages contained charcoal, caryopses and stems of millet and cereals, seeds and stems of grasses and weeds, and shoots of thorny shrubs. The size of the charcoal pieces did not exceed 3 cm, being much smaller in most burials. The species composition of charcoal from cremations indicates that all locally-available woody taxa were used for the funeral pyre, instead of choosing certain types of trees for ritual purposes. Thus, the composition of the cremation fuel reflected the vegetation composition of the encasing landscape. Dominant charred taxa in the Imenkovo cremations were Tilia and Betula (linden and birch), the typical components of the “slash-and-burn landscape” of the Middle Volga region during this period. Despite the fact that all the burial grounds were located at the higher grounds in the landscape, the presence of riverine taxa — Alnus, Salix, and Ulmus (willow, alder and elm) and abundance of charred herbaceous remains in the charcoal spectra points at floodplains or mouths of gullies as a probable location of cremation platforms. An important detail of the funeral rite, revealed by the research, is placing unhulled millet, soaked and germinated before cremation, into the funeral pyre.

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