Relevant bibliographies by topics / Snuff films

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

Academic literature on the topic 'Snuff films'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Snuff films"

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Lonergan, Meg D. "Real scary/scary real: Consuming simulated and authentic horrors in the digital era." Horror Studies 13, no. 1 (2022): 63–75. http://dx.doi.org/10.1386/host_00046_1.

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Snuff, like porn, has been challenged by feminist and other political debates around representations focused on the body, exaggerated performance, claims of ‘realness’ and concerns about representing and/or encouraging violence against women. Thus, it is not surprising that simulated snuff horror, as a subgenre, is heavily influenced by the same technological changes that have also affected the porn industry: the content of the videos, how the videos are produced and how they are consumed. I argue that the decontextualized digital context of media production and consumption has especially lent
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Nadgrodkiewicz, Grzegorz. "Joela Schumachera głos w sprawie „snuff movies”." Kwartalnik Filmowy, no. 54-55 (September 30, 2006): 96–117. https://doi.org/10.36744/kf.3464.

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Tekst jest analizą filmu Osiem milimetrów (Eight Millimeter, 1999) Joela Schumachera, w którym reżyser odwołuje się do fenomenu tzw. snuff movies. W swoim tekście autor stara się pokazać, w jaki sposób Schumacher przekonuje widza o istnieniu zorganizowanego przemysłu filmów, które przedstawiają prawdziwe morderstwa. Nadgrodkiewicz twierdzi, że reżyser powielił najpopularniejsze stereotypy dotyczące tej miejskiej legendy, natomiast zrezygnował z respektowania faktów, które przeczą istnieniu takich filmów. Dla dowiedzenia tezy o prawdziwości snuff movies Schumacher przypisał tytułowemu materiało
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Sánchez-Biosca, Vicente. "Entre le corps évanescent et le corps supplicié : Videodrome et les fantaisies postmodernes." Cinémas 7, no. 1-2 (2011): 73–88. http://dx.doi.org/10.7202/1000933ar.

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Il est une dualité imaginaire qui domine la représentation du corps dans les discours audiovisuels de ces derniers temps. D’une part, ce que l’on pourrait appeler la « décorporéisation », comme perte subtile d’une évocation quelconque de la chair. C’est l’imagerie laissant sa marque indélébile sur la publicité, les corps des stars classiques du cinéma hollywoodien et, plus récemment, les modèles sportifs de notre époque, dont Arnold Schwartzenegger en est le paradigme. D’autre part (et ce n’est pas sans rapport avec ce qui précède), la figuration de certains corps charnels, d’une obscénité déb
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Ontoria Peña, Mercedes. "Entrar en el plano: el terror audiovisual de Tesis (1996) y [REC] (2007) en la España Contemporánea." Pasavento. Revista de Estudios Hispánicos 12, no. 1 (2024): 31–48. http://dx.doi.org/10.37536/preh.2024.12.1.2002.

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A finales del siglo pasado, Tesis (1996, dir. Alejandro Amenábar) llegó a ser uno de los thrillers de terror más taquilleros en España. Algunos años después, [REC] (2007, dir. Paco Plaza y Jaume Balagueró,) dobló aquel éxito y se situó entre las películas más vistas de su década. Este artículo sugiere una correlación entre ambos films apoyándose en el metadiscurso cinematográfico de cada trama. Específicamente, se sostiene que la entrada de la protagonista de Tesis en el plano de una cámara de vídeo supone una fusión entre realidad y espectáculo que se prolonga en la falsa telerrealidad de [RE
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Biscaia, Filho Paulo Roberto Rego Barros, and Clovis Gruner. ""FLORES DE CARNE E SANGUE": PORNOGRAFIA E MORTE NO SELO GUINEA PIG (1985-1989)." Revista Livre de Cinema 11, no. 1 (2024): 40–79. https://doi.org/10.5281/zenodo.10909712.

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Este estudo analisa como se estabelecem e se relacionam as escolhas t&eacute;cnicas e est&eacute;ticas dos v&iacute;deos do selo <em>Guinea Pig</em> (1985-1989) como ferramentas de propaga&ccedil;&atilde;o do mito de filmes <em>snuff</em> e sua rela&ccedil;&atilde;o anti-narrativa com o cinema pornogr&aacute;fico, estabelecendo conex&otilde;es com o tema da morte. Nesses termos, a pesquisa aborda conceitos hist&oacute;ricos, &eacute;ticos e est&eacute;ticos da produ&ccedil;&atilde;o pornogr&aacute;fica em torno dos v&iacute;deos dos anos 1980 e do cinema extremo japon&ecirc;s como formadores d
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Seifelnasr, Amr, Farhad Zare, Xiuhua Si, and Jinxiang Xi. "Enhancing Physiological Realism in Nasal Spray Deposition Studies: Synthetic Mucus Properties and Interactions with Saline Solutions and Stereolithography Resin." Liquids 5, no. 2 (2025): 11. https://doi.org/10.3390/liquids5020011.

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This study investigated the role of synthetic mucus coatings in enhancing the physiological relevance of in vitro nasal spray deposition assessments using 3D-printed nasal cavity models. Synthetic mucus solutions, representing normal (0.25% w/v xanthan gum) and diseased (1% w/v xanthan gum) nasal conditions, were developed to mimic the viscoelastic properties of human nasal mucus. Their physical properties, including viscosity, surface tension, contact angle, and adhesivity on dry and synthetic mucus-coated stereolithography (SLA) surfaces, were systematically characterized. Comparative experi
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Циховська, Е. Д. "A spectacle of reality in the context of mass media resonance (on the example of Chuck Palaniuk’s “Snuff”)." Studia Philologica, 2018, 120–24. http://dx.doi.org/10.28925/2311-2425.2018.11.19.

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The article deals with a spectacle as an integral part of the modern mediatized world. The features of coverage of spectacles with mass media are analysed. It is noted that the most popular are spectacles, based on real events, because the effect of a reality enhances the emotion of the perception of the material. Real spectacles transmitted through the mass media acquire a remarkable resonance. Thus, the coverage of terrorist acts, mass and individual brutal killings in media news unintentionally advertises a spectacle of “terrible” in its real size. Such spectacles include news, extreme even
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Riccobene, Enrico M. "In Amateur Death. A Reflection on Snuff Movies." Itinera, no. 28 (January 4, 2025). https://doi.org/10.54103/2039-9251/27922.

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The study of amateur cinema gives rise to ethical and aesthetic dilemmas that are well- known to anyone who has engaged in such research (see, for example, Caneppele 2022). However, there has been little attention paid to a particular and extreme type of film that, while sharing stylistic features and production methods with amateur cinema, differs significantly in content: snuff movies. The term snuff movie is used to describe films or videos that depict scenes of real violence, including torture, murder, and rape. Although the revulsion provoked by such imagery confines this genre to a limit
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Meenu Sharma. "Intimate Partner Violence and its Realistic Projection: A Critical Study of Contemporary Indian Cinema." Literary Voice, February 8, 2024, 119–32. http://dx.doi.org/10.59136/lv.2024.2.2.13.

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Despite an array of new statutes designed to safeguard women and punish abusers, Intimate Partner Violence (IPV) continues to snuff out many lives leading to infringement of fundamental human rights and serious physical and mental health consequences. Like other societal phenomena, gender-based violence particularly IPV alongside its resistance, is prominently depicted in contemporary Indian cinema. By evaluating three films in light of a social responsibility paradigm which relies on realistic representation as its basic dimension, this research investigates how accurately IPV is portrayed ac
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Brown, Lydia X. Z. "Legal Ableism, Interrupted: Developing Tort Law & Policy Alternatives to Wrongful Birth & Wrongful Life Claims." Disability Studies Quarterly 38, no. 2 (2018). http://dx.doi.org/10.18061/dsq.v38i2.6207.

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Early in 2016, the widely acclaimed film Me Before You premiered nationally to a spate of disabled-led protests against the ableism in the film's core story – that of a wealthy, physically disabled young man whose romantic and sexual relationship with a young woman hired as his caregiver (and quasi-maternal or mentoring figure) leads to his choice to kill himself to avoid living further while disabled, and to bequeath his assets to her. Protested as a "disability snuff film" by leading groups like Not Dead Yet, disabled activists lambasted the film for its glorification of assisted suicide as
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Dissertations / Theses on the topic "Snuff films"

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Frilund, Jesper, and Marcus Fernstad. "Verkligt Alltförverkligt : -En studie av ”The sickest film ever made”." Thesis, Linköping University, Culture, Society, Media Production, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-54796.

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<p>August Underground is one of the sickest series of movies that ever been made. We try to understand what makes them so chocking to its audience. Critics says that the August Underground movies imitates Snuff, and we ask the question; How do people know what Snuff looks like.</p>
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Laperrière, Simon. "La légende urbaine des snuff movies : histoire, théorie, esthétiques, technologies." Thèse, 2013. http://hdl.handle.net/1866/10275.

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La présente étude propose une analyse historique de la légende urbaine des snuff movies. En premier lieu, elle se penche sur l’émergence de cette rumeur dans le paysage médiatique américain des années 70 tout en focalisant sur certains objets filmiques l’ayant crédibilisée, principalement les stag et les mondo movies. Ce mémoire analyse par la suite l’influence majeure de deux événements sur l’implantation de la légende urbaine dans l’imaginaire collectif, soit l’assassinat de Sharon Tate et la circulation du film de Zapruder. Après avoir étudié la persistance de la rumeur, cet essai focalise
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Books on the topic "Snuff films"

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Palahniuk, Chuck. Snuff. Doubleday, 2008.

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Palahniuk, Chuck. Snuff. Jonathan Cape, 2008.

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Palahniuk, Chuck. Snuff. De Geus, 2011.

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Palahniuk, Chuck. Snuff. Doubleday, 2008.

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Palahniuk, Chuck. Snuff. Knopf Doubleday Publishing Group, 2008.

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Palahniuk, Chuck. Snuff. Doubleday, 2008.

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editor, Jackson Neil 1968, Walker Johnny 1987 editor, and Watson, Thomas Joseph, 1987- editor, eds. Snuff: Real death and screen media. Bloomsbury Academic, 2016.

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Kerekes, David. Killing for culture: An illustrated history of death film from Mondo to Snuff. Annihilation Press, 1993.

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Palahniuk, Chuck. Snaff. AST, 2015.

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Burdett, John. Bangkok haunts. Alfred A. Knopf, 2007.

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Book chapters on the topic "Snuff films"

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McKenna, Mark. "The Legacy of Snuff." In Snuff. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800859395.003.0005.

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The central thesis of Snuff has been reworked so many times, in so many different films, and in so many different contexts that it is impossible to know just how important a cinematic legacy Snuff really has. It can perhaps be seen most visibly in Paul Schrader’s Hardcore (1979), with an idea that was later reworked into Joel Schumacher’s crime drama 8mm (1999) and a cycle of ‘Mondo’ movies that begins in earnest in 1978 with the notorious pseudo-documentary series Faces of Death (1978-1995). However, while the narrative tropes and aesthetic of Snuff are evident across film and television in a
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Previtali, Giuseppe. "From Slaughter to Snuff : The Origins of a Cultural Myth." In ReFocus: The Films of Roberta Findlay. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474497466.003.0005.

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Slaughter, co-directed by Roberta and Michael Findlay in 1971, offers a portrait of a Charles Manson-like cult guru inflicting pain and punishment on his followers, and in doing so adheres to the fading embers of the exploitation film genre they helped pioneer in the 1960s. Producer Allan Shackleton bought the film and attached a new ending (shot by a different director), releasing it in 1976 as Snuff, the title under which it took on notorious cultural status, spurred anti-pornography protests, and solidified the “snuff” genre purporting to show actual human death on camera. This chapter focu
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"The Market in Snuff Films." In No Way of Knowing. Routledge, 2004. http://dx.doi.org/10.4324/9780203507797-4.

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Walker, Johnny. "By the Numbers: Roberta Findlay, Home Video, and the Horror Genre." In ReFocus: The Films of Roberta Findlay. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474497466.003.0009.

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Roberta Findlay’s association with horror cinema rarely extends beyond the Manson-inspired exploitation film Snuff (Michael Findlay, 1976). Consequently, her directorial efforts in the horror genre—four films made between 1985 and 1989, The Oracle (1985), Blood Sisters (1987), Lurkers (1987) and Prime Evil (1988)—are all but ignored in scholarly discourse. Analysis of the films in relation to contemporary trade publications and associated promotional materials enables a broader understanding of the economic context that birthed them and, by extension, leads to a fuller understanding of the ind
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Previtali, Giuseppe. "Chapter 4 From Slaughter to Snuff: The Origins of a Cultural Myth." In ReFocus: The Films of Roberta Findlay. Edinburgh University Press, 2023. http://dx.doi.org/10.1515/9781474497480-009.

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McKenna, Mark. "The Creation of Snuff." In Snuff. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800859395.003.0002.

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Although the myth of the snuff movie did not begin with the release of the film Snuff, the film’s existence certainly helped consolidate the belief that somewhere, at some time, someone was killed on camera, in an attack that was as much about the sexual gratification of the film’s intended audience as it was about the commercial rewards for those producing the film. This chapter explores the emergence of the myth, tracing production of The Slaughter, the film that became the basis for the film Snuff, and its subsequent shelving and revival in 1976. It considers the initially stilted reception
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McKenna, Mark. "The Authenticity of Snuff." In Snuff. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800859395.003.0004.

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While Snuff presented an array of problems for the distributors in the US, it never received a theatrical release in the UK. It would be six years before the film would finally find its way to the British market on home video. When it did, the film would find itself at the centre of another controversy. Amidst threats of prosecution the distributor claims that they never released the film, though the film did find its way to market in two versions - a version that incorporates the logo of the company and that looks like an official release, and one that does not. While in the wider public cons
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Sinykin, Dan. "Human Capital." In American Literature and the Long Downturn. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852704.003.0005.

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Leslie Marmon Silko’s Almanac of the Dead describes characters struggling to survive amid the wreckage of finance and neoliberalism in the borderlands between the United States and Mexico. These characters live according to scripts provided for them, above all, by “human capital,” the neoliberal concept that people are inseparable from the knowledge, skills, health, and values that comprise their market value or capacity to earn. Characters extend the logic of privatizing public goods to its limit: they monetize state policing (via insurance); human bodies (via black markets); torture (via snu
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McKenna, Mark. "The Origins of Snuff." In Snuff. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800859395.003.0003.

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From their earliest collaboration through to the release of Snuff, the Findlay’s work frequently returned to explore themes of sexual violence, themes that can be seen to reach their violent, if unconvincing conclusion in Shackleton’s Snuff coda. So aligned were they to this aesthetic that their earlier work contributes to a discrete subset of the exploitation film commonly known as the ‘roughies’. The ‘roughies’ were an aggressive strain of sexploitation cinema that applied violence and sadism to the already established ‘nudie cutie’ formula. An emphasis on bondage, sadomasochism and rough an
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McKenna, Mark. "A Note on this Research." In Snuff. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800859395.003.0001.

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This introduction summarises the emergence the snuff movie and details a definition first put forward by the F.B.I. It summarises the aims and objectives of each of the chapters and provides an overview of the most notable interventions, scholarly and otherwise, into the myth of the snuff movie. This book draws upon all of these works, but also the source material that informs these words, to present a historiography of both snuff the film, and snuff the myth. In this synthesis the book seeks to reassess this material and offer new ways of thinking about Snuff, in directions that are summarise
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