Auswahl der wissenschaftlichen Literatur zum Thema „New horror cinema“
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Zeitschriftenartikel zum Thema "New horror cinema"
Wada-Marciano, Mitsuyo. „J-Horror: New Media's Impact on Contemporary Japanese Horror Cinema“. Canadian Journal of Film Studies 16, Nr. 2 (Oktober 2007): 23–48. http://dx.doi.org/10.3138/cjfs.16.2.23.
Der volle Inhalt der QuelleWalker, Johnny. „A Wilderness of Horrors? British Horror Cinema in the New Millennium“. Journal of British Cinema and Television 9, Nr. 3 (Juli 2012): 436–56. http://dx.doi.org/10.3366/jbctv.2012.0099.
Der volle Inhalt der QuelleWajda, Piotr. „Specters of postcolonialism in HBO’s Folklore“. Panoptikum, Nr. 28 (29.12.2022): 86–97. http://dx.doi.org/10.26881/pan.2022.28.05.
Der volle Inhalt der QuelleGavrilov, Lev, und Yulia Vetoshkina. „THE HORROR OF TECHNOLOGY AND THE TECHNOLOGY OF HORROR“. Культурный код, Nr. 2024-2 (2024): 7–19. http://dx.doi.org/10.36945/2658-3852-2024-2-7-19.
Der volle Inhalt der QuellePalmer, Tim. „Frontier poetry: new adventures in contemporary French horror cinema“. Modern & Contemporary France 30, Nr. 1 (10.11.2021): 1–17. http://dx.doi.org/10.1080/09639489.2021.1978414.
Der volle Inhalt der QuelleSinha, Alia. „Book Review: Meraj Ahmed Mubarki, Filming Horror: Hindi Cinema, Ghosts and Ideologies“. Social Change 47, Nr. 2 (Juni 2017): 302–5. http://dx.doi.org/10.1177/0049085717696379.
Der volle Inhalt der QuelleCampoli, Alessandra. „A Ghostly Feminine Melancholy: Representing Decay and Experiencing Loss in Thai Horror Films“. Plaridel 12, Nr. 2 (30.08.2015): 14–35. http://dx.doi.org/10.52518/2015.12.2-02cmpli.
Der volle Inhalt der QuelleDe Oliveira, Sérgio Eduardo Alpendre. „JOE DANTE, O HORROR E O BAIXO ORÇAMENTO: PIRANHAS, GRITOS DE HORROR E DESENHOS ANIMADOS“. Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 4, Nr. 2 (25.07.2016): 28. http://dx.doi.org/10.22475/rebeca.v4n2.357.
Der volle Inhalt der QuelleEvernden, Christopher Blake, Cynthia A. Freeland, Thomas Schatz und Frank P. Tomasulo. „Book Reviews“. Projections 13, Nr. 3 (01.12.2019): 121–41. http://dx.doi.org/10.3167/proj.2019.130310.
Der volle Inhalt der QuelleAinslie, Mary. „Thai Horror Film in Malaysia: Urbanization, Cultural Proximity and a Southeast Asian Model“. Plaridel 12, Nr. 2 (30.08.2015): 55–82. http://dx.doi.org/10.52518/2015.12.2-04ansli.
Der volle Inhalt der QuelleDissertationen zum Thema "New horror cinema"
Kravina, Carolina. „L'interesse della Feminist Film Theory nei confronti del cinema horror: alcuni esempi di analisi tra Psycho, New Horror e Slasher“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Den vollen Inhalt der Quelle findenDe, Camilla Lauren. „Female Leads: Negotiating Minority Identity in Contemporary Italian Horror Cinema“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595519031355062.
Der volle Inhalt der QuelleHwang, Yun Mi. „South Korean historical drama : gender, nation and the heritage industry“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.
Der volle Inhalt der QuelleMezzolla, Mario. „L'horror e il comico: la narrazione del corpo nel cinema splatter“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Den vollen Inhalt der Quelle findenCOLLETTI, GUIDO CARLO. „LA FIGURA FEMMINILE NEL FANTASTICO ITALIANO“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58413.
Der volle Inhalt der QuelleThis current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.
COLLETTI, GUIDO CARLO. „LA FIGURA FEMMINILE NEL FANTASTICO ITALIANO“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58413.
Der volle Inhalt der QuelleThis current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.
Bücher zum Thema "New horror cinema"
Pagliardini, Fabio. Brividi nel bel paese: Il cinema dell'orrore In Italia. Lecce: Youcanprint, 2022.
Den vollen Inhalt der Quelle findenPezzella, Nicola. Il soprannaturale e il fantastico nel cinema messicano. Roma: Profondo rosso, 2019.
Den vollen Inhalt der Quelle findenFamiliari, Antonio Fabio. Il seme del male: La natura nel cinema gotico. Reggio Calabria: Città del sole, 2014.
Den vollen Inhalt der Quelle findenBaschiera, Stefano, und Russ Hunter, Hrsg. Italian Horror Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.001.0001.
Der volle Inhalt der QuelleTurnock, Bryan. Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.001.0001.
Der volle Inhalt der QuelleNew Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.
Den vollen Inhalt der Quelle findenNew Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.
Den vollen Inhalt der Quelle findenNew Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.
Den vollen Inhalt der Quelle findenNew Heritage of Horror: The English Gothic Cinema. Bloomsbury Publishing Plc, 2024.
Den vollen Inhalt der Quelle findenSimpson. Urban Terrors : New British Horror Cinema: 1997-2008. Hemlock Books Limited, 2012.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "New horror cinema"
Williams, Jessica L. „Horror Movies, Horror Bodies: Blurring the Freak Body in Cinema“. In Media, Performative Identity, and the New American Freak Show, 37–77. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66462-0_3.
Der volle Inhalt der QuelleHauser, Brian R. „Weird Cinema and the Aesthetics of Dread“. In New Directions in Supernatural Horror Literature, 235–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_12.
Der volle Inhalt der QuelleHarris, Martin. „Cloverfield, 9/11, and the New Normal“. In Horror and Science Fiction Cinema and Society, 191–204. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003372288-14.
Der volle Inhalt der QuelleRodríguez Ortega, Vicente, und Rubén Romero Santos. „Spanish Horror Film: Genre, Television and a New Model of Production“. In European Cinema in the Twenty-First Century, 317–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_18.
Der volle Inhalt der Quelle„New Hollywood Horror“. In Studying Horror Cinema, 159–80. Auteur, 2019. http://dx.doi.org/10.2307/j.ctv138424v.11.
Der volle Inhalt der QuelleTurnock, Bryan. „New Hollywood Horror“. In Studying Horror Cinema, 159–80. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0009.
Der volle Inhalt der QuelleTurnock, Bryan. „Postmodern Horror“. In Studying Horror Cinema, 225–44. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0012.
Der volle Inhalt der QuelleRyan, Mark David, Jonathan Rayner und Lauren Carroll Harris. „HORROR“. In Directory of World Cinema: Australia and New Zealand 2, 126–43. Intellect Books, 2015. http://dx.doi.org/10.2307/j.ctv36xvmdt.19.
Der volle Inhalt der QuelleChurch, David. „Apprehension Engines: Defining a New Wave of Art-Horror Cinema“. In Post-Horror, 1–26. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.003.0001.
Der volle Inhalt der QuelleWalker, Johnny. „British film production and the horror genre“. In Contemporary British Horror Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748689736.003.0002.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "New horror cinema"
Kurtoğlu, Ramazan. „Financial-Economic Crisis and Hollywood’s Social Transformation Operations by Horror Movies“. In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.01055.
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