Academic literature on the topic 'Thriller genre'
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Journal articles on the topic "Thriller genre"
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Cybulski, Marcin. "Czy w ZSRR kręcono thrillery?" Acta Polono-Ruthenica 1, no. XXIII (2018): 51–64. http://dx.doi.org/10.31648/apr.1508.
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This article is an attempt to answer the question whether, in the specific conditions in which the cinematography of the Soviet Union was created and developed, we can talk about the production of thrillers. The notion of the thriller is considered and attention is paid to the problem of the definition of the term itself and the fact that some researchers do not treat the thriller as a genre at all. The thriller, associated by the Soviet decision-makers with Western culture (and thus also American), was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union. Nevertheless, for many years immediately after the end of World War II and at the very end of the existence of the historical empire, a series of films were created and they could be called thrillers in the general modern sense of the word. Titles of Soviet films created in the years 1947–1991 have been chosen from the rich resources of cinematography of our eastern neighbours. At the cinema historian’s workshop, there were both images of well-known and popular Soviet directors (Boris Barnet, Stanisław Goworouchin, Eldar Riazanow), as well as slightly less known personalities, (Gieorgij Nikulin, Boris Durow).
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Nikonenko, Olha, and Olena Rigger. "CULINARY THEMATICS IN DETECTIVES." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (2020): 193–95. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-193-195.
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The article is devoted to the consideration of genre of crime novels in contemporary German literature general and to those with a culinary theme especially. The using of the term “culinary thriller“ by authors and journalists is critically considered. There is a short overview of the development of the genre of crime novel, there important stages, the structure and characteristics in German literature. Discussed is the popularity of this genre in recent years. The thriller in the modern German literature are thematically qualified. Culinary and gourmet theme is a popular environment in the criminals of the modern German crime thriller authors. Culinary has a great place in the works of the crime genre and has various functions such as means of portraying the person’s manager, crime scene or means for a crime or murder, as a tool of subject’s development. Crime novels often have an educational function, informing the reader about the quality and production of gourmet products. Authors analyze the concept of the culinary crime novel are of the opinion that a culinary crime novel is only a novel when the culinary theme is the motive for the crime. The empirical research is based on the thrillers by writers from Germany, Austria, Switzerland and Luxemburg. This allows an analyses of breadth and depth of the culinary content in the crime novels.
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Gallagher, Richard. "The Troubles crime thriller and the future of films about Northern Ireland." On the Cultural Circulation of Contemporary European Crime Cinema, no. 22 (March 2, 2022): 42–53. http://dx.doi.org/10.33178/alpha.22.03.
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Troubles-based crime thrillers were once a staple of Hollywood cinema in the 1990s. However, these types of films have become something of a subgenre of European crime films in the last few decades given that films produced over the period have all been produced and financed by either the United Kingdom, Ireland, France or Germany. Owing to both the financial and critical success of these films, relative to other types of films about Northern Ireland, and the more market-driven approach adopted by policymakers, the crime thriller genre has also become the primary way that audiences engage with cinema about Northern Ireland. Although some encouraging developments have come with this transition away from, at times, exploitative Hollywood-produced films, continued reliance on genre in this new dispensation—specifically the crime thriller—is still a development that is not without problems. The type of films about the conflict produced today also contrasts significantly with those produced during the “first wave” of Irish cinema in the 1980s.
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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (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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Zulkhairi, Nur Nabila, Izra Inna Md Idris, and Siti Normala Hamzah. "Analisis kritikal thriller dalam novel Aku Lelakimu (2017) karya Sara Aisha." Jurnal Pengajian Media Malaysia 24, no. 2 (2022): 79–96. http://dx.doi.org/10.22452/jpmm.vol24no2.5.
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A Critical Analysis of Thriller in the novel Aku Lelakimu (2017) by Sara Aisya discusses thriller elements based on the storyline in the novel. Thriller novels are a genre that has a plot with elements of surprise from the beginning of the novel to the resolution. In this writing, the researchers use a qualitative method, namely textual analysis to analyze the five thriller elements found in the novel. By using Tzvetan Todorov's five levels of narrative theory, namely equilibrium, disruption, recognition of disruption, attempt to repair the disruption, and new equilibrium, the researchers in their findings, successfully elaborated the critical elements of the thriller in the novel. Analisis Kritis Thriller dalam Novel Aku Lelakimu (2017) oleh Sara Aisha adalah sorotan idea yang berkaitan dengan elemen thriller dalam novel berdasarkan sudut pandangan dalam Todorov teori naratif. Ini meliputi penemuan penting dalam penulisan novel thriller yang menerangkan struktur naratif. Kajian ini merupakan analisis berdasarkan perkembangan jalan cerita tiga watak utama dalam novel iaitu Tihani Rose, Alexander Aryan, dan Rafael Lee. Terdapat penemuan penting dari segi menambah baik genre novel thriller seperti menggunakan perkataan yang menunjukkan kejutan, mendebarkan, dan suspen kepada pembaca. Oleh itu, elemen thriller perlu disertakan secara bertulis seperti ancaman, penglibatan watak dinamik, lokasi yang membawa minda pembaca kembali ke tempat pembunuhan, aksi mendebarkan dan plot putar belit. Dapatan kajian menunjukkan kepentingannya yang dicipta melalui data pengumpulan data yang dipilih terutamanya dalam membantu pengkaji memahami fokus kajian.
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박인영. "Representation of woman victim of thriller genre." Film Studies ll, no. 67 (2016): 59–95. http://dx.doi.org/10.17947/kfa..67.201603.003.
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Pokotylo, Mikhail. "American thriller novel as an effective means of scientific communication." E3S Web of Conferences 273 (2021): 11031. http://dx.doi.org/10.1051/e3sconf/202127311031.
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In the modern world, the problem of the perception of science in society is relevant, and it is impossible to expect scientific breakthroughs and the introduction of new technologies into everyday life without its solution. Anti-scientology views have taken root in society with the active assistance of the media. In this regard, it seems useful to analyse the features of the science image formation by means of fiction. The purpose of the article is to study the possibilities of using the genre of the American thriller novel as a means of scientific communication that can inspire society’s confidence in science. To achieve the stated purpose, the analysis of the peculiarities of the science perception in modern society is carried out; the methods of communication between scientists and society are considered, and the specific features of the thriller genre are revealed. The author came to the conclusion that the genre nature of the thriller novel makes it possible to tell mass audience about new technologies in a fascinating way, take a fresh look at scientific achievements, comprehend the moral principles of science, and build trust in innovative technologies in modern society.
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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.
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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Kiseyeva, Elena V., and Emma S. Korotkiyeva. "Interpretation of the Genre in Kaija Saariaho’s Opera Innocence." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 128–41. http://dx.doi.org/10.56620/2782-3598.2023.4.128-141.
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The idea of a renewal of the genre of opera has found its brilliant manifestation in numerous works written by some of the outstanding composers of our time: John Adams, Louis Andriessen, Tan Dun, Steve Reich, Philip Glass, John Cage, Kaija Saariaho and many others. Their works demonstrated transformations stipulated by transgressions of cause-and-effect relationships in their dramaturgy, inclusions of semantic abruptions interrupting the linearity of the narrative, as well as a rejection of the communicative function of words in favor of the musicality of their sound. In some compositions the nature of the relationship between the composer, the performer and the audience has radically changed, which has led to the disintegration of the established norms of genre. The experiments in the sphere of genre demonstrated in Kaija Saariaho’s new opera Innocence (2018) present the subject of research interests, since they, similar to a mirror, reflect a much more extensive and serious scholarly issue — the interpretation of the genre of opera at the beginning of the 21st century. The novelty of the studied composition is determined by the combination of the genres of opera and thriller in it. The specific construction of the libretto and musical dramaturgy, as well as the interpretation of the vocal and choral parts are aimed at creating a long-lasting emotional buildup characteristic of a thriller and immersing the audience in a state of anxiety and fear.
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Corpus, Faye III, Angelique Mira Ticlao, and Joanna Juvyjoy Rojo. "Bala o Hustisya?: A comparative contextual analysis on the representation of extrajudicial killings in selected Filipino narrative films." F1000Research 12 (November 23, 2023): 1496. http://dx.doi.org/10.12688/f1000research.133747.1.
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Background: The war on drugs campaign led by President Duterte increased the prevalence of extrajudicial killing themes in Philippine cinema, reflecting societal issues and influencing the film industry. This study analyzed the representation of extrajudicial killings (EJK) through the mise-en-scene elements of aesthetics and configuration, and the common themes of the genres such as war and society, drama, action, and crime/thriller of the selected extrajudicial killings related films: Buybust (2018), Respeto (2017), and Neomanila (2017). The EJK-related films were selected due to their categorization as narrative films and exposure to the 17th New York Asian Film Festival. This study aims: (1) to identify the representation and the common themes used when representing EJK under the film genres, (2) to analyze the mise-en-scene elements of aesthetics and configuration used in the genres, (3) and to develop an understanding of how EJK-related films can represent the voiceless. Methods: This study analyzed selected films across the respective genres in determining the filmmakers’ creativity using comparative contextual analysis. Results: The results have shown that EJK in films is represented by configuration: genre conventions, aesthetics: cinematic techniques, and common themes. (1) Configuration: the genre conventions of the films similarly fall under the genre of society and war, drama, and crime and thriller which are similar in the portrayal of the catalyst, and avatars in the EJK-related films. (2) Aesthetics: cinematic techniques are only a component of a film, but not all of them can depict real events since they simply provide a filter of roles and materials used. (3) Common themes were structural inequality, competition, and war. Conclusions: The selected EJK-related films have the same commonalities of themes, film elements, and film genres. The study concludes that the three films were represented through their depiction of EJK as an ongoing societal issue in the country.
Dissertations / Theses on the topic "Thriller genre"
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Blazevic, Sasha, and Carl Johan Kesten. "Editing within The Thriller Genre." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21915.
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Thriller är en favoritgenre för många och har funnits längre än de flesta tror. Ursprungligen som en litteraturgenre har den utvecklats till en av de mest eftertraktade genrerna inom film. Tidiga anmärkningsvärda verk som Alfred Hitchcocks filmer i mitten av 1900-talet har banat vägen för genren och utformat dess redigering och cinematografi till vad vi har idag. Trots sin ödmjuka början i mitten av 1900-talet lyckas teknikerna, även om dem är aningen repetitiva, fortfarande vara relevanta idag och har bara utvecklats med åren. I den här artikeln studerar vi grunderna inom thrillergenren, redigerings- och filmtekniker som används; kameraarbete, klippning, PoV och färgsättning. I denna studie är vårt huvudsakliga fokus att förstå varför dessa tekniker används. Utöver kommer vi också gå djupare in i thrillergenren i helhet och trots genrens repetitivitet, försöka förstå oss på varför den lyckas vara relevant idag och hur redigering och cinematografi spelar en stor roll för att förstärka känslorna i thrillers där dessa tendenser härrör från.<br>Thriller is a favourite genre to many and has been around for longer than most think. Originally starting as a genre of literature, it has evolved into one of the most sought after genres within film. Early notable works such as Alfred Hitchcock's films in the mid 1900s have paved the way for the genre and solidified it’s editing and cinematography into what we have today. Despite its humbling beginnings in the mid 1900s the techniques, although somewhat repetitive, still manage to stay relevant today and have only gotten more advanced with time. In this article, we study the fundamentals within the thriller genre, the editing and cinematography techniques that are utilized; camera framing, cutting, PoV and color. In this study our main focus we intend to work towards is understanding why these techniques are used and the tendencies in which they are facilitated. Although we also intend to go in depth into the thriller genre as a whole and despite the repetitiveness of the genre, why it manages to stay relevant today and how editing and cinematography plays a big part in amplifying the emotions and feelings associated within thrillers in which these tendencies stem from.
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Lynch, Paul. "The development of the British conspiracy thriller, 1980-1990." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18180.
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This thesis adopts a cross-disciplinary approach to explore the development of the conspiracy thriller genre in British cinema during the 1980s. There is considerable academic interest in the Hollywood conspiracy cycle that emerged in America during the 1970s. Films such as The Parallax View (Pakula, 1975) and All the President's Men (Pakula, 1976) are indicative of the genre, and sought to reflect public anxieties about perceived government misdeeds and misconduct within the security services. In Europe during the same period, directors Costa-Gavras and Francesco Rosi were exploring similar themes of state corruption and conspiracy in films such as State of Siege (1972) and Illustrious Corpses (1976). This thesis provides a comprehensive account of how a similar conspiracy cycle emerged in Britain in the following decade. We will examine the ways in which British film-makers used the conspiracy form to reflect public concerns about issues of defence and national security, and questioned the measures adopted by the British government and the intelligence community to combat Soviet subversion during the last decade of the Cold War. Unlike other research exploring espionage in British film and television, this research is concerned exclusively with the development of the conspiracy thriller genre in mainstream cinema. This has been achieved using three case studies: Defence of the Realm (Drury, 1986), The Whistle Blower (Langton, 1987) and The Fourth Protocol (MacKenzie, 1987). For each case study chapter, interviews have been conducted with the film-makers in order to gain insight into the aims and motivations that underpin each film. As well as employing these first-hand accounts of the production contexts, close analysis of film style is provided in order to understand the ways in which the British genre is informed stylistically by its Hollywood and European forebears. This means that for the first time, the British conspiracy cycle can be understood within a wider historical and cinematic context. Detractors of the conspiracy genre argue that it offers audiences a simplistic view of complex political events. We will reflect on this criticism and evaluate the extent to which the British films provide meaningful political comment within the conventions of mainstream cinema.
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Bowman, Deena. "The Hollywood political thriller during the Cold War, 1945-1962." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17734.
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This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007). Utilizing textual and contextual analysis, I shall argue that The Manchurian Candidate is a transitional film with respect to the political thriller. I shall also offer an explanation for the frequent mislabeling of Hollywood political thrillers as film noir, of which generic hybridity or overlap is a contributing factor. The first part of this thesis shall establish a political and historical context, which includes a discussion of Hollywood’s early entry into the Cold War, U.S. strategies of containment and the threat women posed to U.S. national security vis à vis Ethel Rosenberg. Given that the political thriller emerged as a distinct subgenre during the Cold War, the first part of this thesis shall include a chapter on technology and innovation (e.g. lighting, format, film stock) as a means of supporting prime generic theme of authenticity. Five exemplary mini-case studies shall be presented to demonstrate the way in which the Hollywood political thriller delivered distinct narrative and visual style that both projected and reflected Cold War discourses. Philip Wylie’s “momism” shall be considered within the context of the political thriller and Cold War discourses surrounding gender, U.S. national security and the atomic bomb. I shall expand upon current discussions of momism, approaching it through distinct representations evident within the political thriller. Given the pervasiveness of the nuclear threat during the Cold War, I shall discuss the thematic elements of fear and the unknowability of the atomic bomb in relation to the political thriller. In the second part of this thesis, I identify three distinct cycles of atomic political thrillers, in which issues of vulnerability of the physical locale, the nuclear family and the mind are addressed.
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Cliffe, David. "Thriller, horror, hacker, spy : the 'hacker' genre in film and television from the 1970s to the 2010s." Thesis, De Montfort University, 2018. http://hdl.handle.net/2086/16358.
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This thesis argues that hacking and surveillance have formed a ‘hacker’ genre in film and television that begins to emerge from the influences of 1970s films, forming between the 1980s and 1990s and continuing to develop through to the 2010s, grouping together computer hacking, surveillance and espionage as activities striving to achieve order over the ‘electronic frontier’. In particular, this thesis identifies how hacker genre films foreground and fetishise the technology of hacking and surveillance of the period of production, which inevitably leads to an in-built expiry date and limited shelf-life. Whilst these genre films draw on the crime, horror and thriller traditions to depict the tension and anxiety presented by the capabilities of this hacking and surveillance technology, as technology progresses and becomes more familiar to the audience, these films naturally lose their ability to elicit fear and terror from the viewer; instead these films become virtual parodies of their original intention. Moreover, the thesis maps the evolution and development of the generic features of the hacker film genre, charting the progression from passive observation to active intervention of the hacker figure; as the technology progresses, there is an increased sense of speed and mobility and the hacker emerges from small enclosed spaces to engage with the physical world. Similarly, the thesis considers the role of the ‘hacker figure’ in these films, using the viewer’s human connection to consider how this technology affects the user over time; considering the links to the thriller and horror traditions, this study considers the potential for the hacker to become dehumanised in using this technology.
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Serceau, Michel. "Mythe et mentalité recherches sur le mode et le niveau d'implication du spectateur dans le film de genre, le western et le thriller des années 50." Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb375943883.
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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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Mahmoud, Mafaz. "“Get a Problem, Solve a Problem”: Vulnerability, Precarity and Vigilantism in Lee Child’s Jack Reacher Novels." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23253.
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This paper analyzes how vulnerability is represented in the Jack Reacher series, by drawing onwork by Bryan Turner and Judith Butler. The purpose of the research is to investigate the reasonReacher’s acts of vigilantism are needed. I look at examples of vulnerability and precarity foundin the books Killing Floor and Die Trying, and argue that state neglect is the cause of economicand social vulnerability in the towns Margrave and Yorke, leading to precarity expressed ascriminal money and community subjugation controlling the towns. I conclude that the solutionpresented, through vigilantism, is reassuring but insufficient, but that the series, in representing acomplex display of vulnerability and acknowledging the insufficiency of the solution, stressesthe difficulty of presenting a simple solution to the multifaceted nature of the issue ofvulnerability.
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Björnström, Lovisa. "Vampyr och nagelbitare : En genre- och diskursanalys av barn- och ungdomsrysare och deras ämnesord." Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253494.
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This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular. Discourse analysis helps to see in between what frames the thriller is constructed, and how these elements subdivide the genre and influence it and those who encounter it, library borrowers and librarians. Di-scourse analysis also examines the standards of the thriller.The analysis showed that the discourse of horror fiction includes both the expected features, in terms ofgenre conventions, such as ghosts and vampires, and more commonplace such as sisters. The differences and similarities of these parts in the genre were discussed and compared in the light of discourse analysis and genre theory in order to reveal how these constructions might influence the readers and the borrowers. The major conc-lusions of the study is that the encounter between the unexpected and menacing, and the everyday life is what makes the thriller frightening, now as in history, and so it follows its genre conventions. The discourse of the hor-ror fiction standards are difficult to influence by being expected of borrowers and otherwise they are not thrillers. The study has shown that certain subjects recur more often than other which may affect the borrower in its per-ception of the genre. The genre division helps giving the borrower different kinds of frights and experiences. The joint is that the supernatural is present in the whole genre and convey feelings of excitement and fear which is the most important representative of the genre. This is a two years master’s thesis in Archive, Library and Museum studies.
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Shaw, Edwina. "Thrill seekers and In search of a genre or What exactly is it that I've written? /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18754.pdf.
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Groleau, Catherine. "Les genres cinématographiques comme clés de signification dans l'oeuvre de David Lynch : une étude de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001)." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67160.
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Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques.<br>The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.
Books on the topic "Thriller genre"
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Senatore, Ignazio. Psycho-cult: Psicodizionario del cinema di genere. Centro scientifico, 2006.
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Pullman, Philip. The ruby in the smoke. Puffin Books in association with O.U.P., 1994.
Find full textBook chapters on the topic "Thriller genre"
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Crane, Ralph, and Lisa Fletcher. "Cave Genres/Genre Caves: Reading the Subterranean Thriller." In Popular Fiction and Spatiality. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-56902-8_2.
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Bloom, Clive. "Introduction: The Spy Thriller: A Genre Under Cover?" In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_1.
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Dancyger, Ken, Jessie Keyt, and Jeff Rush. "Working with Genre II: The Melodrama and the Thriller." In Alternative Scriptwriting, 6th ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003242307-10.
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Sauerberg, Lars Ole. "See You in Court (1). The American Genre Explosion from the Late 1980s." In The Legal Thriller from Gardner to Grisham. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40730-6_6.
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Sauerberg, Lars Ole. "See You in Court (2). The American Genre Explosion from the Late 1980s: The Women." In The Legal Thriller from Gardner to Grisham. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40730-6_7.
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Sauerberg, Lars Ole. "See You in Court (3). The American Genre Explosion from the Late 1980s: The Men." In The Legal Thriller from Gardner to Grisham. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40730-6_8.
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Nitsch, Cordula. "Content Analysis in the Research Field of Fictional Entertainment." In Standardisierte Inhaltsanalyse in der Kommunikationswissenschaft – Standardized Content Analysis in Communication Research. Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-36179-2_23.
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AbstractFictional entertainment accounts for a large share of the overall media content and is very popular with the audience. It is highly diverse in form and content, and differs, for example, regarding media type, genre, and target group. Fictional entertainment comprises novels (e.g., thriller, romance), comic books, TV series (e.g., crime series, daily soaps, medical shows, political drama), children’s programs, feature films, cartoons, box office hits, audio plays, etc. Research on fictional entertainment typically concentrates on audiovisual productions, i.e. TV series and movies.
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Thielsen, Jill. "Selbstbeobachtungen eines Genres." In Der deutschsprachige Thriller. Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-68551-8_7.
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Ben-Yishai, Ayelet. "Thriller." In Genres of Emergency. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192866196.003.0007.
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Abstract Manohar Malgonkar’s The Garland Keepers (1980), a little-known, fast-paced, and highly entertaining political spy thriller, provides an entry point to show how the crisis of the Emergency—which conventional literary wisdom has led us to believe demands a similar crisis in form—elicits here a derivative reification of crisis, in the form of boilerplate genre fiction. Situating the novel within its multiple historical and literary contexts, including the various genealogies of the spy thriller in India, the chapter argues that genre fiction counter-intuitively clues us in to the tense negotiations between crisis and continuity, critiquing both the one-off Emergency, and the iterative emergency of ongoing corruption.
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Schubart, Rikke. "The Thrill of the Nordic Kill: The Manhunt Movie in the Nordic Thriller." In Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0006.
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‘This world’s divided into two kinds of people: The hunter and the hunted,’ big-game hunter Rainsford says in The Most Dangerous Game (1932) and self-assuredly continues, ‘Luckily, I’m a hunter. Nothing can ever change that.’ Well, he will discover that in the manhunt movie even the hunter can become prey. The manhunt movie is a subgenre of the Hollywood thriller which joins two elements: big-game sport hunting and hunting humans. Sport hunting stirs up themes of nature and culture, morals and ethics, masculinity, and, finally, civilisation. Here, we will ask what happens when the subgenre is used in the Nordic thriller. The chapter has three aims. First, it establishes the central generic traits of the manhunt movie. Second, it sets up a theoretical framework of sociobiological and ecological theories with hunting as a reference point. And, third, it examines the Nordic version of the manhunt movie focusing on the themes of hunting, nature, social standing and civilisation. I look at the Danish drama The Hunt (Thomas Vinterberg, 2012), the Norwegian thriller-heist-comedy Headhunters (Morten Tyldum, 2011) and the Swedish thrillers The Hunters (Jägarna, 1996) and False Trail (Jägarna 2, 2011) by Kjell Sundvall.
Conference papers on the topic "Thriller genre"
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Eric Gatefin (Tours), sans prénom. "Dissonances du thriller chez Brian De Palma." In Les genres littéraires, les genres cinématographiques et leurs émotions. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4113.
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