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Journal articles on the topic 'Snuff films'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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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2

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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3

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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4

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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5

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 técnicas e estéticas dos vídeos do selo <em>Guinea Pig</em> (1985-1989) como ferramentas de propagação do mito de filmes <em>snuff</em> e sua relação anti-narrativa com o cinema pornográfico, estabelecendo conexões com o tema da morte. Nesses termos, a pesquisa aborda conceitos históricos, éticos e estéticos da produção pornográfica em torno dos vídeos dos anos 1980 e do cinema extremo japonês como formadores d

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6

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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7

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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8

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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9

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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10

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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11

Li, Lei, Zhen-Wei Tian, Wen-Han Zhao, Qing-Chuan Zheng, and Ran Jia. "“Sniff” lung cancer biomarkers in breath using N-doped monolayer WS2: A theoretical feasibility." Applied Surface Science, December 2022, 156257. http://dx.doi.org/10.1016/j.apsusc.2022.156257.

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12

Noormal, A. S., V. Winkler, S. Busari, et al. "Prevalence of major noncommunicable diseases and their associated risk factors in Afghanistan." European Journal of Public Health 33, Supplement_2 (2023). http://dx.doi.org/10.1093/eurpub/ckad160.788.

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Abstract Objective Afghanistan is dealing with a double burden of diseases and yet there has been no evidence synthesis of the scientific literature on noncommunicable disease (NCDs), thus this study fills the gap by systematically analysing the prevalence of four major NCDs and the associated risk factors. Methods We performed a systematic review and meta-analysis of the studies published since 2000, reporting the prevalence of diabetes, chronic respiratory diseases (CRDs), cardiovascular disease (CVDs) or cancer, and their risk factors in Afghanistan. Four online databases (PubMed, Web of Sc

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13

Kim, Yeo E., Maria Dobko, Haomiao Li, et al. "A Deep‐Learning Model for Multi‐class Audio Classification of Vocal Fold Pathologies in Office Stroboscopy." Laryngoscope, February 5, 2025. https://doi.org/10.1002/lary.32036.

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ObjectiveTo develop and validate a deep‐learning classifier trained on voice data extracted from videolaryngostroboscopy recordings, differentiating between three different vocal fold (VF) states: healthy (HVF), unilateral paralysis (UVFP), and VF lesions, including benign and malignant pathologies.MethodsPatients with UVFP (n = 105), VF lesions (n = 63), and HVF (n = 41) were retrospectively identified. Voice samples were extracted from stroboscopic videos (Pentax Laryngeal Strobe Model 9400), including sustained /i/ phonation, pitch glide, and /i/ sniff task. Extracted audio files were conve

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14

Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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15

Chen, Peter. "Community without Flesh." M/C Journal 2, no. 3 (1999). http://dx.doi.org/10.5204/mcj.1750.

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On Wednesday 21 April the Minister for Communications, Information Technology and the Arts introduced a piece of legislation into the Australian Senate to regulate the way Australians use the Internet. This legislation is presented within Australia's existing system of content regulation, a scheme that the Minister describes is not censorship, but merely regulation (Alston 55). Underlying Senator Alston's rhetoric about the protection of children from snuff film makers, paedophiles, drug pushers and other criminals, this long anticipated bill is aimed at reducing the amount of pornographic mat

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16

Phillips, Jennifer Anne. "Closure through Mock-Disclosure in Bret Easton Ellis’s Lunar Park." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.190.

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In a 1999 interview with the online magazine The AV Club, a subsidiary of satirical news website, The Onion, Bret Easton Ellis claimed: “I’ve never written a single scene that I can say took place, I’ve never written a line of dialogue that I’ve heard someone say or that I have said” (qtd. in Klein). Ten years later, in the same magazine, Ellis was reminded of this quote and asked why most of his novels have been perceived as veiled autobiographies. Ellis responded:Well, they are autobiographical in the sense that they reflect who I was at a particular moment in my life. There was talk of a me

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17

Collins-Gearing, Brooke. "Reclaiming the Wasteland: Samson and Delilah and the Historical Perception and Construction of Indigenous Knowledges in Australian Cinema." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.252.

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It was always based on a teenage love story between the two kids. One is a sniffer and one is not. It was designed for Central Australia because we do write these kids off there. Not only in town, where the headlines for the newspapers every second day is about ‘the problem,’ ‘the teenager problem of kids wandering the streets’ and ‘why don’t we send them back to their communities’ and that sort of stuff. Then there’s the other side of it. Elders in Aboriginal communities have been taught that kids who sniff get brain damage, so as soon as they see a kid sniffing they think ‘well they’re rubbi

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18

McConville, Chris. "The private eye as urbane." M/C Journal 5, no. 2 (2002). http://dx.doi.org/10.5204/mcj.1949.

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I knew all about places like the Hotel Tremaineâ€¦they are flops where you find the cheap ones, the sniffers and the gowed-up runts who shoot you before you can say hello Raymond Chandler, Mandarin's Jade. It is in such a city, of the derelict and the displaced, that film-goers once encountered the private eye. And while we recognise the private eye as naturally urban, the 'hard-boiled' guys of Chandler, David Goodis and their imitators rarely appeal as urbane. Dictionary advice offers a neatly-plotted resolution to such a puzzle, informing us that 'urbane' is dependent on 'urban' in the manne

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19

Dodd, Adam. "The Fortean Continuity of eXistenZ within a Virtual Environment." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1871.

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So then: That all phenomena in our intermediate state, or quasi-state, represent this one attempt to organise, stabilise, harmonise, individualise -- or to positivise, or to become real: That only to have seeming is to express failure or intermediateness to final failure and final success; That every attempt -- that is observable -- is defeated by Continuity, or by outside forces -- or by the excluded that are continuous with the included: That our whole "existence" is an attempt by the relative to be absolute, or by the local to be the universal. -- Charles Fort, The Book of the Damned (1919)

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