Dissertations / Theses on the topic 'Thriller genre'

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.

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.

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.

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.

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.

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.

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.

Kwok Sze-Ki.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.<br>Includes bibliographical references (leaves 131-138).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>摘要 --- p.iii<br>Acknowledgements --- p.v<br>Introduction The Genre of Detective Thriller --- p.1<br>Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33<br>Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68<br>Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99<br>Concluding Remarks --- p.127<br>Bibliography --- p.131

This thesis examines portrayals of gaslighting toward women in American film. Gaslighting, a form of psychological manipulation that frequently targets women, has a long history in cinema, and narratives that foreground the practice have developed a series of narrative and stylistic conventions. These conventions frequently simplify the realities of psychological abuse toward women, representing gaslighting and its perpetrators with ideologically patriarchal undertones. Such undertones have changed over time, often in ways that reflect cultural and political shifts within American society. Gaslight films’ female protagonists have demonstrated more agency, while the perpetrators have grown steadily more monstrous as the subgenre shifted from a melodramatic to horrific mode. Using a genre studies approach to survey these constantly evolving tropes across three eras, I argue that the gaslight film is a subgenre that reflects growing attitudes toward and awareness of gender roles and psychological abuse towards women. Concerns involving representations of female agency and the ability of genres to concisely communicate hegemonic, patriarchal ideologies lie beneath this analysis.

Ce mémoire a comme objectif premier, l’étude du film d’enquête sur les tueurs en série. Plus spécifiquement, le mémoire examine le cas du film Zodiac réalisé par David Fincher en 2007. En procédant par analyses comparatives portant sur la structure narrative, les thématiques et les mécanismes de réception du film d’enquête, nous avons tenté de mettre en lumière des hypothèses quant à l’insuccès commercial de Zodiac. La première section de l’étude examine la spécificité et les fonctions propres au film d’enquête sur les tueurs en série et parvient ainsi à tirer la conclusion qu’il prévaut de catégoriser ce corpus d’œuvres comme un sous-genre du film policier. Nous avons étudié la fonction sociale et médiatique des archétypes filmiques du tueur et de l’enquêteur afin d’atteindre une meilleure compréhension de la fascination du public américain pour ce sous-genre. La seconde section du mémoire examine comment Zodiac se détache des conventions génériques et, particulièrement, comment la mise en scène opère une démystification de la figure du tueur en série. De plus, nous avons soulevé le traitement particulier déployé par Zodiac, soit la monstration, par le biais des personnages, du travail spectatoriel de mise en récit de l’enquête. La troisième section vise à démontrer la rupture de l’horizon d’attente du spectateur chez Zodiac ainsi que la chute de l’imaginaire mythique qui est ainsi engendré.<br>This memoir’s main concern is the study of the serial killer movie and, more specifically the case of Zodiac directed by David Fincher in 2007. By proceding with comparative analysis concerning the structure, the themes and the public’s reception, we are able to highlight key elements that may explain Zodiac’s commercial failure. In the first section, we study the elements that are specific to the serial killer movie. Hence, we are able to conclude that this film corpus would be best categorised as a sub-genre of the crime film genre. Furthermore, we study the social and media purposes of the serial killer and detective archetypes to acheive a better understansding of the american public’s fascination towards this sub-genre. The second section investigates how Zodiac breaks away from the generic conventions and how the film narrative demystifies the serial killer figure. We have also brought up the film peculiar form, which, via the characters, illustrates the spectatorial process of mise en récit . The third section studies the way Zodiac establishes a rupture in the spectator’s expectations of the sub-genre and provokes the fall of its collective imagery.

This study b·aces the development of the Shona clctective story as a genre different from rhe mainstream Shona novel. The Shona detective story emerges from the non-detective traditional folktale and develops into rhree types, namely, the rudimentary form. the pure 'whoduniC, and the detectivethriller. An attempt is made to show that when the Shona detective story first appeared it was quite elementary and showed signs of me influence of Shona traditional folklore. But later on authors developed the detective narrative into pure 'whodunits' and detective-mrillers which showed influence of Western ftlms and English detective stories. The study ends with the argument that although at its highest level of development the Shona detective story manifests characteristics that make it a unique genre different from other Shona novels its treatment of female characters is not very different from their treatment in the mainstream Shona novel.<br>African Languages<br>M.A. (African Languages)

Соловйова К. Ю. Інтертекстуальність роману М. Кідрука «Де немає Бога» : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник Л. О. Костецька. Запоріжжя : ЗНУ, 2020. 80 с.<br>UA : Кваліфікаційна робота магістра «Інтертекстуальність роману М. Кідрука «Де немає Бога» містить 80 сторінок. Для виконання роботи опрацьовано 53 наукових джерела. Мета дослідження полягає в спробі системного дослідження інтертекстуальності роману М. Кідрука «Де немає Бога» (2018). У ході написання роботи виконані такі завдання: - представлено характеристику інтертекстуальності як системи інтегрованості в художній твір різних текстових структур; - розглянуто архітекстуальність роману та простежено основні зв’язки тексту із іншими видами таких жанрових утворень і виявлено специфіку роману М. Кідрука; - окреслено засоби творення інтертексту в реалізації теми релігії та віри в Бога; - визначено інтертекстуальний простір гри; - проаналізовано фактографічну основу як інтертекстуальну складову роману М.Кідрука. Об’єкт дослідження: роман М. Кідрука «Де немає Бога» (2018). Предмет дослідження: інтертекстуальність твору авіаційного технотрилеру, інтертекстуальна жанрова парадигма та тематичні структури. Методи дослідження. У роботі використано теоретично-критичний, структурно-семіотичний, історико-генетичний, типологічний, історико-порівняльний методи наукового вивчення явищ художньої літератури. Наукова новизна роботи полягає у тому, що було зроблено спробу здійснити системне дослідження інтертекстуальності в романі М. Кідрука «Де немає Бога». З цією метою було проаналізовано поняття інтертекстуальності, розгляд якого виявив, що це поняття співвідноситься із встановленням та творенням зв’язків між текстами, має значну кількість класифікацій, крім популярної в українському науковому просторі класифікації Ж. Женет. Остання набула поширення через популяризаторську діяльність українських науковців, які визнавали її найбільш вдалою. Аналіз також виявив, що заявлений автором авіаційний технотрилер виходить за межі цієї жанрової матриці, а сама подія авіакатастрофи є лише фоном, на якому виділяються людські долі вцілілих. Аналіз тематичних рівнів твору з точки зору інтертекстуальності виявив, що увага автора до наукових текстів, що завжди була візитівкою письменника, також перемежовується із фактами актуальної дійсності. Сфера застосування роботи полягає в тому, що її матеріали можуть бути використані під час вивчення курсу «Сучасна українська література», спецкурсів із проблем сучасної масової літератури, а також під час написання курсових та дипломних робіт.<br>EN : Master's thesis "The Intertextuality of the M. Kidruk's Novel" Where is No God" contains 80 pages. To carry out the work 53 scientific sources were analyzed. The purpose of the study is to attempt a systematic study of the intertextuality of M. Kidrouk's novel "Where is No God" (2018). During the writing of the work the following tasks were performed: - the characteristic of intertextuality as a system of integration into a work of art of different textual structures ispresented; - the architecture of the novel is examined and the main links of the text with other types of such genre formations are traced and the specifics of M. Kidruk's novel are revealed; - means of creating intertext in realization of the theme of religion and belief in God are outlined; - defined the intertextual space of the game; - factual basis is analyzed as an intertextual component of M. Kidruk's novel. Object of Study: M. Kidrook's novel "Where is No God " (2018). Subject of research: intertextuality of the work of aviation techno thriller, intertextual genre paradigm and thematic structures. Research methods: theoretical, critical, structural-semiotic, historical-genetic, typological, historical-comparative methods of scientific study of the phenomena of fiction are used in the work. The scientific novelty of the work is that an attempt was made to carry out a systematic study of intertextuality in M. Kidruk's novel "Where is No God". To this end, the concept ofintertextuality was analyzed, and its consideration revealed that this concept correlates with establishing and creating links between texts, has a considerable number of classifications, in addition to the popular in the Ukrainian scientific space of theclassification of Gerard Janet. The latter became widespread because of the popularizing activities of Ukrainian scholars who recognized it as the most successful. The analysis also found that the aviation techno-thriller claimed by the author goes beyond this genre matrix, and the event of the plane crash is just a background against which the human fates of the survivors stand out. An analysis of the thematic levels of the work in terms of intertextuality revealed that the author's attention to scientific texts, which has always been a business card of the writer, is also interspersed with facts of actual reality. The scope of the work is that its materials can be used in studying the course "Contemporary Ukrainian Literature", special courses on problems of modern mass literature, as well as in writing coursework and diploma papers.

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