Relevant bibliographies by topics / Horror

Academic literature on the topic 'Horror'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Horror"

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Dappa, Debora, and Kalis Stevanus. "Analisis Pemahaman dan Perilaku Remaja Kristen Penyuka Film Horor Mengenai Setan dan Pekerjaannya." HARVESTER: Jurnal Teologi dan Kepemimpinan Kristen 9, no. 1 (June 30, 2024): 46–63. http://dx.doi.org/10.52104/harvester.v9i1.169.

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Teenagers are very fond of horror movies because they believe that watching horror films can test their bravery. Also, to satisfy their high curiosity about mystical things. However, horror films always present frightening and terrifying things that can have a negative impact on teenagers' understanding and behavior regarding demons and their work. This study aims to determine the understanding of Christian teenagers who like horror films and their influence on their behavior. To answer the research objectives, the author chose to use qualitative research methods. The results show that Christian teenagers who like horror films mostly do not have a correct understanding of demons and their work, and horror films tend to negatively influence teenage behavior.AbstrakRemaja sangat menyukai film horor karena beranggapan bahwa menonton film horor dapat menguji keberanian. Selain itu juga untuk memenuhi rasa ingin tahu yang tinggi terhadap hal-hal yang bersifat mistis. Meskipun demikian, film horor selalu menyuguhkan hal-hal yang bersifat menakutkan dan meneror sehingga dapat berdampak buruk terhadap pemahaman dan perilaku remaja mengenai setan dan pekerjaannya. Penelitian ini bertujuan mengetahui pemahaman remaja Kristen penyuka film horor dan pengaruhnya terhadap perilaku mereka. Untuk menjawab tujuan penelitian tersebut, penulis memilih menggunakan metode penelitian kualitatif. Hasilnya bahwa ternyata remaja Kristen penyuka film horor sebagai besar tidak memiliki pemahaman yang benar mengenai setan dan pekerjaannya serta film horor lebih cenderung memengaruhi perilaku remaja secara negatif.
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Noer, Achmad Ridwan. "We Choose What to Fear in Indonesian Horror Cinema." Communicare : Journal of Communication Studies 8, no. 1 (January 7, 2021): 62. http://dx.doi.org/10.37535/101008120215.

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Horror movies in Indonesian cinemas have seen a recent surge of viewers despite being associated with exploiting sensualism under the blanket of horror. Meanwhile, the top ten viewed Indonesian horror movies in recent years managed to somewhat acquire the trust of Indonesians to come back to watch more horror movies in their favourite cinemas. This paper employs the qualitative content analysis method to better grasp what movie trailer elements are employed by the top 10 viewed Indonesian horror movies and see what are the similarities and differences in the elements of horror they present. Ultimately, as the market demands it, a natural selection for the kinds of horrors Indonesians watch is currently on going.
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Devaraj, Navin Kumar. "Article Rejection - The Horror, The Horrors." MARCH 2023 19, no. 2 (March 13, 2023): 1. http://dx.doi.org/10.47836/mjmhs.19.2.1.

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Meliala, Dedi Sukatno Sembiring, and Michael Bezaleel. "Analisis Film Horor Indonesia Produksi Tahun 2014 (Studi Kasus: Mall Klender dan Kamar 207)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 01 (March 26, 2018): 1–14. http://dx.doi.org/10.33633/andharupa.v2i01.979.

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Abstrak Film horor erat kaitannya dengan tokoh antagonis yang menimbulkan ketakutan pada penonton dalam bentuk makhluk supranatural seperti hantu, roh jahat dan sebagainya. Karakteristik film dengan genre horor membuat penonton terbawa suasana dengan alur ceritanya yang menakutkan. Namun, beberapa dari film horor Indonesia menyajikan adegan-adegan yang kurang sopan bahkan tergolong asusila atau porno. Untuk itu, penelitian ini ingin melihat apakah terdapat konten pornografi pada film Mall Klender dan Kamar 207 yang merupakan film horor Indonesia terlaris di tahun 2014. Analisis dilakukan dengan melihat pandangan dan penilaian 30 responden dengan karakteristik yaitu penonton film horor Indonesia yang berusia 20-40 tahun. Berdasarkan hasil analisis, tidak didapatkan konten pornografi pada film Mall Klender dan Kamar 207. Adegan-adegan yang terindikasi sebagai konten pornografi ternyata masih dapat diterima oleh penonton sebagai adegan yang berada dalam batas kewajaran dan mendukung pembawaan suasana dan kesan dalam cerita yang disampaikan. Kata Kunci: film horror Indonesia, analisis konten, pornografi Abstract The horror film is closely related to the antagonist that causes fear for audience in the form of supernatural creatures such as ghosts, demons and so on. Characteristic of the horor film is to make the audience carried away with the scary plot. However, some of the existing Indonesian horror film presents scenes that classified as obscene or pornographic. Therefore, this study wanted to see if there are any pornographic content on the film Klender Mall and Room 207 is the best-selling Indonesian horror movie in 2014. The analysis was done by looking at the view and assessment of 30 respondents which are Indonesian horror movie goers aged 20-40 years. Based on the analysis, there is no founding of pornographic content on the film Klender Mall and Room 207. The scenes that indicated as pornographic content was still acceptable by the audience as the scenes that are within reasonable limits and supports the innate atmosphere and the impression conveyed in the story. Keywords: horror movie, reception analysis, pornography
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Fa, Jong Li, Dwi Leyli Ningsih, Wahyu Rismayuda Dwitama, and M. Aries Taufiq. "Language Style of Horror Movies and Audiences’ Psychological Response." Modality Journal: International Journal of Linguistics and Literature 3, no. 2 (January 16, 2024): 107. http://dx.doi.org/10.30983/mj.v3i2.8003.

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<p class="abstrak" align="center"><strong>Abstract</strong></p><p class="abstrak">The development of technology in Indonesia has an impact on the development of the entertainment world, including movies. Movies consist of various genres, one of which is horror. Among Indonesians, horror is a popular genre, especially highlighting customs, rituals, and traditions. Horror movies aim to cause fear and disgust in the audience by providing entertainment. This study aims to determine whether horror genre movies are the favorite movies of Indonesian people. The method used in this research is qualitative research by interviewing respondents and distributing questionnaires online on social media. The results in the study reveal that the horror films use material and attributive processes in delivering dialog. In terms of psychological aspect, the horror genre in Indonesia is one of the genres favored by the audience. The large population in Indonesia and the culture and customs inherent in Indonesia such as belief in mystical or supernatural things in horror movies can be said to have various impacts. Impacts such as adrenaline, fear, and so on are what make it interesting so that the audience likes it.</p><p class="abstrak" align="left"><strong>Keywords:</strong> fans, horror, movie</p><p class="abstrak" align="center"><strong>Abstrak</strong></p><p> </p><p><em>Perkembangan teknologi di Indonesia berdampak pada perkembangan dunia hiburan, termasuk film. Film terdiri dari berbagai macam genre, salah satunya adalah horor. Di kalangan masyarakat Indonesia, horor merupakan genre yang banyak digemari, terlebih mengangkat adat istiadat, ritual, dan tradisi. Film horor bertujuan untuk menimbulkan rasa takut dan jijik pada penonton dengan sifat memberi hiburan. Penelitian ini bertujuan untuk mengetahui apakah film bergenre horor menjadi film favorit masyarakat Indonesia. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan cara mewawancarai responden dan menyebarkan kuesioner secara online di media sosial. Hasil dalam penelitian mengungkapkan bahwa </em><em>f</em><em>ilm-film horor menggunakan proses material dan atributif dalam menyampaikan dialog.</em><em> Dari sisi psikologis, </em><em>genre horor di Indonesia menjadi salah satu genre yang digemari para penonton . Banyaknya jumlah penduduk di Indonesia dan budaya serta adat istiadat yang melekat di Indonesia seperti kepercayaan akan hal-hal mistis atau supranatural dalam film horor dapat dikatakan memberikan berbagai dampak. Dampak-dampak seperti memacu adrenalin, rasa takut, dan lain sebagainya inilah yang membuatnya menarik sehingga disukai penonton.</em></p><p><em> </em></p><p class="abstrak"><strong><em>Kata Kunci: </em></strong> <em>fans, horor, </em><em>film</em></p>
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Kusumadinata, Kamilia. "THE INTERSECTION BETWEEN FAITH AND HORROR: THE VAMPIRIC ANGELS OF NETFLIX’S MIDNIGHT MASS." SUSASTRA: Jurnal Ilmu Susastra dan Budaya 10, no. 2 (November 14, 2023): 70–81. http://dx.doi.org/10.51817/susastra.v10i2.119.

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When it comes to on-screen depictions, oftentimes religion and horror are placed at opposing sides. Religion in film is the antithesis of horror, rarely does it venture into the concept of religion itself as the source. Netflix's Midnight Mass (2021) by Mike Flanagan explores this topic in a deeper yet subtle manner. Since the series was released less than two years before this article was written, most of the articles found are focused on the cinematic aspect and the performance of actors. This article examines the use of overt religiousness to push forward the horror narrative, particularly the interchangeable nature of angels and vampires. By using textual analysis as a method, the writer concludes that horror can only be recontextualized into a holy perspective because religion is the origin of said horror.AbstrakDalam perfilman, agama dan horor seringkali di tempatkan di sisi yang berlawanan. Agama dalam film merupakan antitesis dari horor, terdapat sedikit film horor yang menggunakan konsep agama sebagai sumber dari teror. Acara Netflix Midnight Mass (2021) oleh Mike Flanagan mengeksplorasi topik ini dengan cara yang lebih dalam namun halus. karena acara tersebut dirilis kurang dari dua tahun sebelum naskah ini ditulis, sebagian besar naskah yang ditemukan berfokus pada aspek sinematik dan penampilan para aktor. Jurnal ini mengkaji penggunaan religiusitas yang terang-terangan untuk mendorong narasi horor, khususnya karakteristik-karakteristik malaikat dan vampir yang dapat disamakan. Dengan menggunakan metode analisis tekstual, penulis menyimpulkan bahwa horor hanya dapat di kontekstualisasi ulang menjadi perspektif suci karena agama itu sendiri yang menjadi sumber horor tersebut.
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Korvela, Paul-Erik. "The Horror, the Horror!" Redescriptions: Political Thought, Conceptual History and Feminist Theory 14, no. 1 (January 1, 2010): 193. http://dx.doi.org/10.7227/r.14.1.11.

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Misky, Fatma. "Penggunaan Mitos Minyak Kuyang pada Ritual Pesugihan dalam Game Horor “Pulang: Insanity”." Urban: Jurnal Seni Urban 3, no. 2 (February 18, 2020): 141–54. http://dx.doi.org/10.52969/jsu.v3i2.37.

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Indonesia has various myths and beliefs. This is in line with the diversity of cultures in Indonesia. The belief in myths in Indonesia is still very strong, which also shows the strong belief in religious rituals and ancestors. One of them is a famous myth in Kalimantan about the ritual of pesugihan using kuyang oil to get wealth instantly. The ritual of the pesugihan, which until now is still not believed by the people of Kalimantan, was adapted and combined with two other myths from Java and Bali in the narrative of the horror game “Pulang: Insanity” by adding a horror aspect. The addition of this horror aspect is implemented in the game’s narrative structure, thus creating a new and complex mythical story about the ritual of pesugihan using kuyang oil. Some of the elements from these three are used to finally create a horror narrative with Indonesian myths and make the ritual of this pesugihan have a more complex horror aspect.Indonesia memiliki mitos dan kepercayaan yang beragam. Kepercayaan terhadap mitos itu masih sangat kental karena dipengaruhi kuatnya kepercayaan terhadap ritual keagamaan untuk menghormati roh para leluhur. Tulisan ini akan memaparkan salah satu mitos yang terdapat di daerah Kalimantan tentang ritual pesugihan dengan menggunakan minyak kuyang untuk mendapatkan kekayaan secara instan. Ritual pesugihan yang sampai saat ini masih dipercaya oleh masyarakat daerah Kalimantan ini merupakan hasil adaptasi dan penggabungan dua mitos lain dari daerah Jawa dan Bali. Data penelitian ini diambil dari narasi game horor “Pulang: Insanity”. Penambahan aspek horor pada game ini diimplementasikan lewat struktur naratif game sehingga tercipta cerita mitos baru yang kompleks tentang ritual pesugihan menggunakan minyak kuyang dengan tampilan latar baru yang lebih horor dan mistis.
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De León Ramírez, Francisco Javier. "CERTAIN AESTHETICS OF HORROR, CERTAIN HORRORS OF AESTHETICS." Brumal. Revista de investigación sobre lo Fantástico 6, no. 2 (December 22, 2018): 229. http://dx.doi.org/10.5565/rev/brumal.496.

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Dwi Kurniawan, Muhammad Lutfi, Hadi Prasetyo, Aditya Wicaksono, and Fian Ulumul Akmal. "DEGRADASI PUITIKA DALAM KONTESTASI LITERASI CERITA KKN DI DESA PENARI." Poetika 7, no. 2 (December 28, 2019): 216. http://dx.doi.org/10.22146/poetika.v7i2.51571.

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Cerita KKN di Desa Penari merupakan sebuah sastra siber yang populer karya Simpleman dengan genre horor. Kepopuleran tersebut tidak terlepas dari strategi puitika dan pengaruh media yang digunakan. Dalam cerita horor KKN di Desa Penari, strategi puitika akan ditinjau dari kepenuhperistiwaan cerita yang membentuk sensitivitas-konteks di dalam teks, sedangkan pengaruh media akan dilihat dari transformasi sastra siber ke sastra cetak yang berimplikasi pada konsekuensi-konsekuensi teks dalam tatanan literasi. Melalui hal tersebut, penelitian ini bertujuan menganalisis strategi puitika sebagai pembangunan eventfulness dan melihat praktik transformasi media yang berimbas pada intensitas puitika. Adapun temuan penelitian ini adalah sebagai berikut. Pertama, sebagai cerita horor, KKN di Desa Penari menawarkan beberapa strategi puitika dalam meleburkan paradigma fiksi dan fakta. Hal tersebut dicapai melalui evaluative device, berupa refleksi karakter, repetisi peristiwa, dan disnarasi yang menciptakan eventfulness sehingga terbentuk sensitivitas-konteks. Kedua, praktik transformasi media mengakibatkan perubahan bentuk teks dari nonliterasi menuju literasi. Melalui hal tersebut, cerita horor KKN di Desa Penari menerima konsekuensi berupa formalisasi bahasa karena standardisasi media. Selain itu, keterlibatan cerita horor KKN di Desa Penari ke dalam zona literasi merupakan kendali kekuasaan dari agenda kapitalisme dalam bentuk print-capitalism. Dengan demikian, dapat ditarik muara analisis bahwa cerita horor KKN di Desa Penari yang terlibat ke dalam zona literasi justru dihadapkan pada degradasi puitika. Kata Kunci: horor, literasi, puitika, transformasi media The story of KKN di Desa Penari is a popular cyber literacy by Simpleman which horror genre. It popularity can’t be separated from poetics and media that used. The story of KKN di Desa Penari's poetical strategy will be seen from eventfulness that shapes context-sensitivity on the text, at the same time, media will be seen as a transformation from cyber literacy into print-literacy that has implified the text consequences from the construction of literacy. Through that, this research aims to analyze the poetical strategy as an eventfulness development and see the practice of media transformation which has an impact on poetical intensity. The discovery of this research is as follows. First, as a horror story, KKN di Desa Penari offer a few poetical strategy to immersed fictional and factual paradigm. This was achieved through evaluative device, that is character reflection, repetition of events, and the disnarrative that creates eventfulness thus developing context-sensitivity. Second, the practice of media transformation inflict the transliteration of text from nonliteration to literacy. Through this, the horror story of KKN di Desa Penari received the consequence of formalization of language inflicted by media standardization. Moreover, the involvement the horror story of KKN di Desa Penari into the literacy zone was a power control over the capitalism agenda in the form of print-capitalism. Therefore, this analysis comes down the horror story of KKN di Desa Penari that was involved in the literacy zone was exposed to poetical degradation. Keywords: horror, literacy, poetics, media transformation
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Dissertations / Theses on the topic "Horror"

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Villacorta, Santamato Jorge Luis. "Horror." Universidad Peruana de Ciencias Aplicadas (UPC), 2015. http://hdl.handle.net/10757/581582.

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Haynes, Simon. "Narrating horror : the horror film as cultural construct." Thesis, Keele University, 1997. http://eprints.keele.ac.uk/3841/.

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This thesis examines horror films through an application of cultural analysis (primarily the work of Pierre Bourdieu) to selected texts in order to answer critics employing psychoanalytic perspectives to horror. It argues that psychoanalysis misses much of the heart of horror texts through its claims that textual 'meaning' lies within individuals rather than in the society in which horror texts were produced. Bourdieu's hypotheses are applied to films, along with the work of more specific horror analysts such as Mark Jancovich, amending and fusing these approaches in order to question psychoanalytic criticism. The thesis argues that a limited academic canon of texts is employed in the (still relatively rare) analysis of horror, and that such a narrowing of the field is inappropriate and limiting. It argues that the study of extreme and banned material in analysis is constructive academically,accessing underground horror production through an extended focus on horror fan culture, following Robin Wood's assertion that horror aficionados form horror's main body of consumers. Through an examination of how fan culture perceives and defends itself, material previously neglected by academia, though potentially of great interest to cultural analysis (such as the underground and banned films) is analysed alongside canonical texts. The thesis focuses mainly on post-1968 films, and so examines the influence of post-Fordist economics and ideals on the texts that it studies, arguing that at every level these structures construct the subtle fears of horror's audiences, delimited through what texts present as frightening. This is developed alongside a consideration of important historical events and cultural ideals surrounding the production of texts. It is argued that such events exert subtle influences during textual creation, and that they help to exacerbate the audience fears that horror films exploit. It is also argued that, with amendment, auteur theory may be applied to some horror directors, despite the majority of internal textual meanings being generated by a film's cultural frame rather than purely its director. Though, through the horror underground and accepted academic canons many types of horror film are considered, especial attention is given to the Slasher and Possession genres, which, it is argued, oppose directly each other's subtextual, ideological agendas. Analysis of other genres and the texts (both canonical and underground/banned)t hat compose them is present throughout the thesis. Underlying all analysis is a consideration of how the mass (British and U. S) media seeks to demonise horror and its consumers, and how legislation against texts and individuals brings together fans in an alternative culture through the fanzines that they read. It is hoped that through such an approach and emphasis on the non-canonical as well as the canonical, future academic analysis of horror will be more comprehensive in its choice of studied texts. This could occur, I suggest, through an acknowledgement that, following Wood, central to the analysis of horror is an understanding of its aficionados and the culture that they forge for themselves.
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Svensson, Peter. "Hearty Horror." Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2735.

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I denna text diskuterar jag produktionen av Hearty Horrors, ett spel programmerat och designat helt i flash. Jag diskuterar svårigheterna för de olika delarna i att skapa ett spel. Tankar och jämförelser mellan onda och goda karaktärer och vad man, som speldesigner, bör och inte bör göra för att få spelare att känna sig manade att spela vidare. In this text I discuss the production of Hearty Horrors, a game programmed and designed completly in flash. I discuss the difficulties of diffrent parts in the making of a game. Thoughts and comparances are made between evil and good characters and what you, as a gamedesigner, should and should not do to make the player want to continue playing.
Detta är en reflektionsdel till en digital medieproduktion.
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Heuer, Thomas. "Plotting Horror." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19947.

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Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt. Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert. Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation.
The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines. Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction. Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
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Boey, Danny. "The national specificity of horror sources in Asian horror cinema." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50769/1/Danny_Boey_Thesis.pdf.

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This dissertation explores the relationship between horror films and the national contexts in which they are produced by analyzing several Asian horror movies – Ringu (Japan), The Eye (Hong Kong) and Shutter (Thailand). Utilizing these films as case studies, the dissertation examines the degree to which genre cinemas are nationally-specific, and the degree to which it is possible to make genre films that can enter international markets and be comprehensible in various national markets as well. The dissertation also makes the following claims on the national specificity of genre cinema: i) The sources of frightening elements in horror films are nationally-specific. ii) There is a regional "Asian" horror because of the intertwining national histories and shared cultural elements across several Asian countries.
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Hauka, David Phillip. "Eschato-horror films." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50296.

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This thesis studies American studio feature films whose narratives are inspired by the Bible’s Book of Revelation. I identify these films as belonging to a subgenre of supernatural horror I have named ‘eschato-horror’. American eschato-horror films reflect Christian eschatology and its violent visions of cosmic war between divine and satanic forces. While supernatural horror films exploit our fear of death and evil, American Eschato-horror ups the cultural stakes through its representations of pseudo Catholic and other Christian ritual, scripture, and iconography in its mission to frighten the viewer. Other national cinemas produce their own eschatology inspired films, but the American rendering of the genre as produced and exported by major Hollywood studios and distribution companies dominates screens world-wide. In order to better understand the cultural importance and usefulness of American Eschato-horror for film fans as well as self-identifying American Christian audiences, this thesis will study three examples of the genre, Constantine (Lawrence, 2005), Knowing (Proyas, 2009) and Legion (Stewart, 2010), all of which were produced by or for major American motion picture companies and distributors. Demonstrating that the version of eschatology found in their narratives reflects an identifiable American Protestant Christianity will be accomplished though an historical overview tracing Christianity from its roots as the marginalized, millennially-inspired “Jesus Cult,” to its evolution into one of the most powerful forces shaping American history and culture. The narrative elements associated with eschato-horror (monstrous women, self-sacrificing heroes, faithless priests, etc.), will be seen to be as much an expression of our collective fear of death and evil – forces James Carse associates with religion – as the Biblical illiteracy and confused understanding of Christianity identified by Stephen Prothero and Richard T. Hughes so central to contemporary America’s view of itself as being “a Christian Nation.” The reception of American Eschato-horror films as seen on film fan and Christian websites, especially in light of discourse similarities identified in film fan cults and religious cults, will be considered through the work of Matt Hills, Ernest Mathijs, Jamie Sexton and Jeff Hunter.
Arts, Faculty of
Theatre and Film, Department of
Graduate
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Pessoa, Juliana Lopes da Silva. "Horror? Que horror!?: forma??o docente e ensino de literatura de horror nas s?ries iniciais do Ensino Fundamental." PROGRAMA DE P?S-GRADUA??O EM EDUCA??O, 2017. https://repositorio.ufrn.br/jspui/handle/123456789/24267.

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O estudo investigou a interface da literatura de horror com a educa??o. Sua relev?ncia consiste em valorizar a presen?a do conto de horror na sala de aula, visto que o medo experimentado por meio desse g?nero ? um modo de conhecer e de fortalecer nossas estruturas emocionais para fazer face aos horrores da vida. O medo ? o sentimento mais antigo, mais forte da humanidade e, destes, o medo do desconhecido talvez seja o mais poderoso. A pesquisa foi realizada em uma escola p?blica do munic?pio de Natal/RN,Brasil, em uma turma de 5? ano do ensino fundamental com 17 sujeitos. Filia-se ? pesquisa de abordagem qualitativa, na qual se privilegiou a observa??o participante com interven??o. Como instrumentos para constru??o de dados, recorreu-se ? grava??o em v?deo, a entrevistas e ao di?rio de campo. A professora titular da turma recebeu forma??o para atuar como mediadora do processo. As sess?es de leitura de literatura de horror foram apoiadas na metodologia de andaimagem (scaffolding) descrita por Graves e Graves (1995). O foco de an?lise privilegiou a forma??o docente e a experimenta??o do leitor ao medo atrav?s das aulas de Literatura de Horror. O corpus liter?rio foi composto pelos contos dos livros ?Sete ossos e uma maldi??o? de Rosa Amanda Strausz (2013) e ?Sete hist?rias para balan?ar o esqueleto? de Angela Lago (2011) em um total de 8 sess?es de leitura de literatura. O aporte te?rico fundamenta-se em estudos da literatura e inf?ncia: Amarilha (2009), Bettelheim (2015), Zilberman (2004). Literatura de Horror: Burke (2013), Eco (1994), Fran?a (2008), Lovecraft (2007), Todorov (2010; 2014), dentre outros. Os resultados apontam para a necessidade de haver forma??o espec?fica para o trabalho com o conto de horror, que pode encontrar resist?ncia por parte do mediador; os aprendizes se engajaram nas sess?es de leitura, demonstraram apreciar o g?nero e apresentaram criticidade aos temas abordados. A literatura de horror provoca no leitor o sentimento de medo f?sico ou psicol?gico; o crit?rio final de autenticidade de uma obra de horror n?o ? o enredo, mas o tipo de sensa??o que ela ? capaz de produzir. Se a literatura de horror lida com sentimento t?o fundamental do ser humano - o medo, ent?o, ? relevante que ela seja acess?vel aos jovens leitores, como um ensaio geral para a vida.
The study investigated the interface between horror literature and education. Its relevance refers to the valorization of the presence of horror stories in the classroom once the fear experienced through this genre is a way of knowing and strengthening our emotional structures to face horrors in life. Fear is the oldest feeling, the strongest of mankind, and among its several kinds, the fear related to the stranger is perhaps the most powerful. The research was carried out in a public school in the city of Natal/RN, Brazil, in a class of 5th grade of elementary school with 17 students. The study is based on a qualitative research that focused on the participant observation with intervention. Video records, interviews and field diary were used as instruments for data construction. The teacher of the class was trained to act as mediator of the process. The reading sessions of horror literature were supported by the scaffolding methodology described by Graves and Graves (1995). The focus of the analysis was on the teacher training and the fear reader experimentation through Horror Literature classes. The literary corpus was composed by short stories of the book "Sete ossos e uma maldi??o" by Rosa Amanda Strausz (2013) and "Sete hist?rias para balan?ar o esqueleto" by Angela Lago (2011), totalizing 8 literature reading sessions. The theoretical contribution is based on children?s literature studies: Amarilha (2009), Bettelheim (2015), Zilberman (2004); Horror Literature: Burke (2013), Eco (1994), France (2008), Lovecraft (2007), Todorov (2010; 2014), among others. The results point to the need for specific training on the work with horror stories, which may encounter resistance from the mediator; the apprentices engaged in the reading sessions, demonstrating appreciation of the genre and presenting criticality to the themes; horror literature causes the feeling of physical or psychological fear in the reader; the ultimate criterion for a work authenticity is not the plot, but the kind of sensation it is able to produce. If horror literature deals with such a fundamental human feeling - fear - it is relevant, therefore, that it becomes accessible to young readers as a general experiment for life.
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Young, Suzie Sau Fong. "The horrors of pleasure and the pleasures of horror in David Cronenbergs's cinema /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9961763.

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Hervey, Benjamin Alan. "Late Victorian horror fiction." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397430.

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Rogers, Alan. "The contemporary horror film." Thesis, Sheffield Hallam University, 1990. http://shura.shu.ac.uk/3121/.

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This thesis approaches the contemporary horror film from a number of directions. Firstly, it is considered in relation to the historical roots of horror fiction, the tradition of the literary Gothic which stretches back as far as the late eighteenth century. The same chapter elaborates the broad outline of a methodology, drawing upon an established body of genre theory in both literary and film studies, which is then applied to the gradual diffusion of the Gothic legacy into the related genres of detective stories/thrillers, horror, and science-fiction, the inter-relatedness of these three genres forming part of the cultural context for modern horror. Chapter 3 considers Alfred Hitchcock's Psycho (1960) in relation to the structures and iconography of the original Gothic, and in the light of its fusion of conventions drawn from the horror film and the thriller. Chapter 4 compares this film with a similarly influential movie - Halloween - made almost two decades later, assessing some of the changes which the genre has undergone in the intervening period. The following five chapters (5-9) discuss a number of films of the period 1968 - 80, paying particular attention to works that have figured prominently in the established critical literarure around the genre, both as an appraisal of existing approaches and as an indication of the immediate context for developments over the last decade. The remaining four chapters (10 - 13) consider some developments of the 1980's, disputing the critical construction of the "body horror" category and providing an account of the horror-comedies which have generally been neglected by critics. The conclusion involves a synthesis of the material covered and a return to the Gothic tradition in order to conceptually situate the findings. There is an extensive biblography involving a variety of material ranging from popular magazines and newspapers to influential academic works, drawn more or less equally from the fields of literary criticism and film studies.
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Books on the topic "Horror"

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Price, Michael H. Forgotten horrors 2: Beyond the horror ban. Baltimore, Md: Midnight Marquee Press, 2001.

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Hardy, Phil. Horror. London: Aurum Press, 1996.

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Cherry, Brigid. Horror. Abingdon, Oxon: New York, 2009.

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1962-, Hantke Steffen, and Paradoxa (Firm), eds. Horror. Vashon Island, Wa: Paradoxa, 2002.

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Bodden, Valerie. Horror. Mankato, MN: Creative Education, 2012.

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1951-, Stuprich Michael Charles, ed. Horror. San Diego, CA: Greenhaven Press, 2001.

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Bodden, Valerie. Horror. Mankato, MN: Creative Education, 2012.

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Jancovich, Mark. Horror. London: Batsford, 1992.

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Mettler, Erinna. Horror. London: BFI National Library, 1998.

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Nicola, Griffith, and Pagel Stephen, eds. Horror. Woodstock, N.Y: Overlook Press, 2003.

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Book chapters on the topic "Horror"

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Darkin, Christian, Chris James Hewitt, Joost Korngold, Mark Towse, Peter Reynolds, Simon Tyszko, and Jon Bounds. "Horror of Horrors." In After Effects Most Wanted, 147–74. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-5149-1_8.

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Braudy, Leo. "Horror." In Handbuch Populäre Kultur, 248–55. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05001-4_49.

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Stiglegger, Marcus. "Horror." In Handbuch Filmsoziologie, 1–16. Wiesbaden: Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-10947-9_46-1.

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Toikkanen, Jarkko. "Horror." In The Intermedial Experience of Horror, 3–15. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137299093_1.

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Stiglegger, Marcus. "Horror." In Handbuch Filmsoziologie, 643–58. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-10729-1_46.

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Benshoff, Harry M. "Horror Before “The Horror Film”." In A Companion to the Horror Film, 206–24. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch12.

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Höch, Kristina. "Universal-Horror." In Körper und Räume, 267–81. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-17481-1_14.

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Taylor, Tosha R. "Hillbilly Horror." In The Palgrave Handbook of Contemporary Gothic, 163–80. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_10.

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Jarvis, Brian. "Universal Horror." In The Palgrave Handbook of Contemporary Gothic, 679–94. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_40.

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Khair, Tabish. "Postcolonial Horror." In The Palgrave Handbook to Horror Literature, 433–39. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_33.

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Conference papers on the topic "Horror"

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Chanthanakone, Peter. "Midnight horror." In SA '17: SIGGRAPH Asia 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3145631.3145637.

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Tárkányi, Ádám. "WHY TEACH HORROR STORIES? A FUNCTIONAL APPROACH TO HORROR." In 17th International Technology, Education and Development Conference. IATED, 2023. http://dx.doi.org/10.21125/inted.2023.1570.

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Haig, Ian. "Body Horror 2.0." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.6.

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Peng, Xiaolan, Jin Huang, Linghan Li, Chen Gao, Hui Chen, Feng Tian, and Hongan Wang. "Beyond Horror and Fear." In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290607.3312832.

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Butler, Mitch. "The smell of horror." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281992.

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Istead, Lesley, Andreea Pocol, Sherman Siu, William Chen, Alex Zdanowicz, Alex Rowaan, and Craig Kaplan. "The Colour of Horror." In CVMP '22: European Conference on Visual Media Production. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3565516.3565523.

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Dantas Costa, Lucas. "“O HORROR! O HORROR...”: HISTÓRIA, JOGOS DE GUERRA E A FRONTEIRA ENTRE HUMANIZAÇÃO E DESSENSIBILIZAÇÃO." In V Semana de História. João Pessoa, Paraíba: Even3, 2020. http://dx.doi.org/10.29327/vsdhufpb.242192.

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Marfievici, Ramona, Pablo Corbalán, David Rojas, Alan McGibney, Susan Rea, and Dirk Pesch. "Tales from the C130 Horror Room." In SenSys '17: The 15th ACM Conference on Embedded Network Sensor Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3143337.3143343.

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Dzieduszko, Janusz W., and Luis H. Oduber. "Substation Horror Story A Consultant's Perspective." In 2008 61st Annual Conference for Protective Relay Engineers. IEEE, 2008. http://dx.doi.org/10.1109/cpre.2008.4515067.

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Bernstein, Mark, and Stee McMorris. "Links Of Darkness: Hypertext And Horror." In HT '22: 33rd ACM Conference on Hypertext and Social Media. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3511095.3531270.

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Reports on the topic "Horror"

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Khan, Mahreen. The Environmental Impacts of War and Conflict. Institute of Development Studies, March 2022. http://dx.doi.org/10.19088/k4d.2022.060.

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In modern warfare, the first widely acknowledged scientific study and documented case of environmental damage during conflict was the (direct and deliberate) use of Agent Orange and other toxic chemicals by US forces, from 1961-1971, during the Vietnam War in a policy known as herbicide. The Vietnam War has been relatively well documented for the sheer horror and magnitude of the devastation to natural habitats and because it was the first war where television and global media brought vivid images and accounts into people’s homes, making the war a matter of political and public conscience This helped stir academic and scientific interest and facilitated evidence collection and documentation of environmental damages. This helpdesk report is a rapid literature review on the main environmental impacts of war and conflict, drawing primarily on academic, and peer reviewed literature and only some policy and practitioner sources, as per the request. Where current situations are discussed, such as the ongoing Ukraine war, a few blogs are referred to. Within the literature focused on the environmental impacts of conflict, common case studies include: the North Atlantic Treaty Organisation (NATO) bombing of Kosovo (1999), and the conflict in the Donbas region of Ukraine (2014). Interestingly there is comparatively less literature on the conflicts in Afghanistan (2001-2021), the Iraq-Iran War (1980-1988), the Gulf Wars (1991 and 2003), the Yemeni civil war (2014 – present) and the ongoing war in Syria (since 2011) despite their relatively greater severity, intensity and duration.
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Franco, Susana, Ander Sánchez, and James Wilson. Euskal Autonomia Erkidegoko ekonomia eta gizarte digitalak. DESI 2023. Edited by Patricia Canto. Universidad de Deusto, 2024. http://dx.doi.org/10.18543/lsup3952.

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"Euskal Autonomia Erkidegoko Ekonomia eta Gizarte Digitalak. DESI 2023" txostenaren aurtengo edizioa Europako Batzordeak Hamarkada Digitalaren testuinguruan garatu duen metodologia berrira egokitu dugu, Euskal Autonomia Erkidegoaren bilakaera Europar Batasuneko estatu kideenarekin alderatuko duen diagnostikoa egiteko, 4 dimentsiok osatutako panela erabiliz: (i) gaitasun digitalak; (ii) azpiegitura digitalak; (iii) enpresen eraldaketa digitala; eta (iv) zerbitzu publikoen digitalizazioa. Analisiaren emaitzek erakusten dute Euskal Autonomia Erkidegoak hobera egin duela adierazle guztietan. Horrek erakusten du gure ekonomiaren eta gizartearen digitalizazioan etengabe ari garela aurrera egiten. Hala ere, adierazleen gorakada joera orokorra da lurralde guztietan, eta, horregatik, Euskal Autonomia Erkidegoak gainerako lurraldeekiko duen kokapenak eta kokapen horren azken urteetako bilakaerak argi-ilunak eta ñabardurak ditu dimentsioetako bakoitzean.
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Mosquera Castro, Tania, Roberto Bartolomé Abraira, Mario César Vila, Esperanza Martín Hernández, and Francisco Alonso Toucido. Horno U.I-7C. Institut Català d’Arqueologia Clàssica, 2022. http://dx.doi.org/10.51417/figlinae_063.

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Ficha del yacimiento Horno U.I-7C ubicado a Lugo (Lugo) incluida en el proyecto "Figlinae Hispanae (FIGHISP). Catálogo en red de las alfarerías hispanorromanas y estudio de la comercialización de sus productos".
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Okulitch, A. V. Bedrock geology, Horton River, Mackenzie-Franklin. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1992. http://dx.doi.org/10.4095/183829.

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Okulitch, A. V. Geology, Horton River, Northwest Territories-Nunavut. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2000. http://dx.doi.org/10.4095/211240.

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Mosquera Castro, Tania, Roberto Bartolomé Abraira, Mario César Vila, Esperanza Martín Hernández, and Francisco Alonso Toucido. La Fuente del Horno. Institut Català d’Arqueologia Clàssica, 2022. http://dx.doi.org/10.51417/figlinae_039.

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Ficha del yacimiento La Fuente del Horno ubicado a Santa María del Monte de Cea (León) incluida en el proyecto "Figlinae Hispanae (FIGHISP). Catálogo en red de las alfarerías hispanorromanas y estudio de la comercialización de sus productos".
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Journeay, J. M., S. P. Williams, and J. O. Wheeler. Tectonic assemblage map, Horton River, Northwest Territories. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2000. http://dx.doi.org/10.4095/211070.

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Mosquera Castro, Tania, Roberto Bartolomé Abraira, Mario César Vila, Esperanza Martín Hernández, and Francisco Alonso Toucido. Horno de San Lourenzo de Aguiar. Institut Català d’Arqueologia Clàssica, 2022. http://dx.doi.org/10.51417/figlinae_057.

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Ficha del yacimiento Horno de San Lourenzo de Aguiar ubicado a Outeiro de Rei (Lugo) incluida en el proyecto "Figlinae Hispanae (FIGHISP). Catálogo en red de las alfarerías hispanorromanas y estudio de la comercialización de sus productos".
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Atkinson, E. A. Regional mapping and qualitative petroleum resource assessment of the Magdalen Basin, Gulf of St. Lawrence, Quebec, Prince Edward Island, New Brunswick, Nova Scotia, and Newfoundland and Labrador. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331452.

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The Geological Survey of Canada conducted a broad regional study of the Magdalen Basin in the Gulf of St. Lawrence, as part of the Marine Conservation Targets initiative. MCT is a national initiative to protect more of Canada's offshore areas, and resource assessment and related regional mapping are part of the review process. This study assembled a large seismic and geologic database that allowed new regional mapping of several key horizons in this basin. Digital seismic data was donated by industry, and reprocessing undertaken both in-house and with contractors. Wells were correlated and tops from literature were used to indentify regional reflection packages. Regionally consistent two-way time interpretations add to confidence. Depth conversion used regional time-depth functions from literature, which were developed from refraction data, with a residual correction for the water column. Nine regional depth maps and eight isopach maps were produced, including Pre-Horton Basement, Horton Group Isopach, Base Windsor Group, Top Salt, Top Bradelle Formation, Bradelle / Cumberland Isopach, and Top Cable Head Formation. These maps illustrate that the Pre-Horton basement is about 15 km deep in the centre of the basin. Two main trends are visible in the Horton Grabens, which may relate to basin formation, and no significant reactivation of deeper Appalachian structure is observed. In the basin centre, the more robust Base Windsor Unconformity horizon reaches about 12 km deep, and a key reservoir and source sequence in the Bradelle Formation reaches 7 km. These maps are useful for considering regional stratigraphy. The new mapping also constrained basin models and became the input for our Qualitative Petroleum Potential map. Basin modelling reveals scenarios where oil may be preserved. The petroleum potential of the region is highest north of Îles de la Madeleine and southeast of Îles de la Madeleine and northwest of Cape Breton.
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Okulitch, A. V. Géologie de la roche en place, Horton River, Mackenzie-Franklin. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1992. http://dx.doi.org/10.4095/183830.

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