Journal articles on the topic 'Horror films – psychological aspects'
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1
Liu, Yike. "The application of the pseudo-documentary form in the film "The Evil”." Advances in Education, Humanities and Social Science Research 1, no. 3 (January 30, 2023): 129. http://dx.doi.org/10.56028/aehssr.3.1.129.
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"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology involved. This article through to the concept of pseudo documentary definition, origin and classification analysis, "The Possessed", for example, from the structure of the film the real context technique and USES the imaginary space of the narrative Angle of view to create two aspects, to illustrate how the pseudo documentary its style characteristics under the guidance of the theory of thematic to complete the actual filming and production, In this way, we will discuss what the film is worth learning and drawing lessons from and explore the innovation of the film director. Consider how domestic horror films should localize the emerging film form, how to rely on the form of "pseudo-documentary" to deepen the level of horror, so that the audience can experience the immersive film watching experience.
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Kholod, Oleksandr. "The peer-reviewed monograph of Batalina Khrystyna Fridrikhivna "The Child as the Embodiment of Evil in Horror Films of the Second Half of the 20th to the Beginning of the 21st Century"." Social Communications: Theory and Practice 15, no. 1 (December 2, 2023): 152. http://dx.doi.org/10.51423/2524-0471-2023-15-1-9.
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H. F. Batalina's monograph is devoted to the problem of creating the image of a child as the embodiment of evil in horror films of the second half of the 20th - beginning of the 20th century. The topic formulates an important problem, primarily of a moral and psychological nature. The relevance of the work lies in the fact that "a certain niche, currently unfilled in the Ukrainian cultural space, is being explored in a situation where Ukrainian cinema is beginning to take steps to meet the audience and enter wide distribution with genre films" [p. 22 of the manuscript]. H.F. Batalina points out that "the study of the problem of the child as a cinematographic object, except for a few exceptions, is not developed in the scientific film literature, although such a need is increasingly expressed as one of its important tasks" [p. 22 of the manuscript]. It should be added to the above that the research is also relevant because the image of a child in horror films is not a norm for post-Soviet society, is not inherent in the culture of modern Ukraine, but is planted by cultural traditions of Western countries (for example, the planting of the Halloween holiday). Therefore, the research of H.F. Batalina allows us to understand where and why other traditions appear in the culture of Ukrainians. We are convinced that the degree of validity of scientific statements, conclusions and prospects for solving the problem of finding archetypal and semiotic during the creation of the image of children in films of the horror genre, which is reflected in the monograph, has a sufficient level to recommend the above-mentioned scientific work for publication. We consider the specification of the categorical and terminological apparatus of film horror based on the philosophical and aesthetic aspects of the problem to be an important achievement of H. F. Batalina's research. We respect H. F. Batalina's confident attempt to offer the scientific community an author's vision of the paradigm of genre features of horror films. Time will demonstrate the functionality of the proposed features, and reveal the shortcomings and dominant advantages of such a paradigm. Since we are followers of the principle of Karl Popper's fallibilism (in the understanding of the concept of "fallibilism" by Charles Peirce), which implies the axiom that any scientific knowledge is fundamentally not final, but only an intermediate interpretation of the truth, which involves the subsequent replacement by a better interpretation, we assert: the author's vision of the paradigm of genre features of the horror film has the right to exist and needs further practical verification, which, in our opinion, is already a victory for scientists. F. Batalina and the victory of scientific thought in the field. The monograph is made at a sufficient scientific level, contains important theoretical provisions and has practical significance. We have an individual, theoretically and operationally supported research position that contributes to the formation of modern theory.
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Gautam, Devi Prasad. "Responsible Writing of Violence: A Study of Select Partition Stories." Advances in Social Sciences Research Journal 8, no. 7 (July 9, 2021): 8–25. http://dx.doi.org/10.14738/assrj.87.10477.
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This paper analyzes select Partition stories such as Bhisham Sahni’s “Pali,” K. S. Duggal’s “Pakistan Zindabad,” Ishmat Chughtai’s “Roots,” S.H. Vatsyayan’s “The Avenger,” and Atin Bandhopadhyay’s “Infidel” which realistically portray the cataclysmic times of the Subcontinent in 1947. The paper shows that though the stories depict some chilling scenes, they concentrate more on the psychological impact of violence on the characters and the positive aspects of humanitarian gestures seen during the dismal days in South Asian history. With much tact, the authors approach the subject and document the dreadful events of the Subcontinent’s painful past. Also, while dexterously registering the public resistance to the unspeakable horrors of Partition violence, the authors also honestly present their own ethical stance on the events. The article argues that the authors have documented the tragic history in a mature and convincing manner by presenting its balanced and holistic picture by employing an impartial and unbiased perspective. The texts stand as testimonies to the writers’ sense of responsibility at recording tragic incidents not only because of their objective and holistic approach but also because of their cautious use of language so that they do not trigger any further violence through their writing.
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Millar, Becky, and Jonny Lee. "Horror Films and Grief." Emotion Review 13, no. 3 (July 2021): 171–82. http://dx.doi.org/10.1177/17540739211022815.
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Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.
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Baako, Logan. "The Evolution of Horror Films: From Classic Monsters to Psychological Terrors." Art and Society 2, no. 5 (October 2023): 1–10. http://dx.doi.org/10.56397/as.2023.10.01.
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This paper delves into the fascinating journey of the horror film genre, tracing its evolution from classic monster themes to the emergence of psychological terrors. Through an exploration of key trends, shifts in audience preferences, and the cultural impact of horror films, this review provides insights into how the genre has transformed over time. From the foundational classic monsters to the rise of supernatural horror and the exploration of the human psyche, this paper offers a comprehensive analysis of the dynamic progression of horror cinema.
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Sbravatti, Valerio. "Acoustic Startles in Horror Films." Projections 13, no. 1 (March 1, 2019): 45–66. http://dx.doi.org/10.3167/proj.2019.130104.
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The acoustic blast is one of the most recurrent sound devices in horror cinema. It is designed to elicit the startle response from the audience, and thus gives them a “jump scare.” It can occur both in the form of a diegetic bang and in the form of a nondiegetic stinger (i.e., a musical blare provided by the score). In this article, I will advance the hypothesis that silence plays a crucial role in contemporary horror films, both perceptually, since it leaves the sound field free for the acoustic blast, and cognitively, since it posits the audience in an aversive anticipatory state that makes the startle more intense. I will analyze the acoustic startle using a neurofilmological approach, which takes into account findings from experimental sciences in order to better understand the relationship between physiological and psychological factors that make such an effect possible during the filmic experience.
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Bozkurt, Ferdi, and Mandana Kolahdouz Mohammadi. "A Corpus-Based Socio-Onomastic Analysis On Turkish And American Horror Film Naming." CINEJ Cinema Journal 11, no. 2 (December 20, 2023): 418–45. http://dx.doi.org/10.5195/cinej.2023.589.
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Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were investigated. The hypothesis was that Turkish horror film naming uses religious elements due to religious background. But according to the present study's findings, religious elements are also available in USA horror film naming. Yet, while making and naming their films, American horror film producers pay more attention to cultural events than Turkish filmmakers. On the other hand, the keywords used in naming Turkish and American horror films, regardless of their languages, were the same.
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McAndrew, Francis T. "The Psychology, Geography, and Architecture of Horror: How Places Creep Us Out." Evolutionary Studies in Imaginative Culture 4, no. 2 (October 1, 2020): 47–62. http://dx.doi.org/10.26613/esic.4.2.189.
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Abstract Why do some types of settings and some combinations of sensory information induce a sense of dread in humans? This article brings empirical evidence from psychological research to bear on the experience of horror, and explains why the tried-and-true horror devices intuitively employed by writers and filmmakers work so well. Natural selection has favored individuals who gravitated toward environments containing the “right” physical and psychological features and avoided those which posed a threat. Places that contain a bad mix of these features induce unpleasant feelings of dread and fear, and therefore have become important ingredients of the settings for horror fiction and films. This article applies McAndrew and Koehnke's (2016) theory of creepiness to the study of classic horror settings and explores the role played by architecture, isolation, association with death, and other environmental qualities in the experience of creepiness and dread.
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Sultana, Irem, Arshad Ali, and Ifra Iftikhar. "Effects of Horror Movies on Psychological Health of Youth." Global Mass Communication Review VI, no. I (March 30, 2021): 1–11. http://dx.doi.org/10.31703/gmcr.2021(vi-i).01.
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The current study is an explanatory study on the effects of watching horror movies on the psychological health of teenagers in the city area of Faisalabad. Researchers tried to explain the mental health and psychological problems like phobias, nightmares, sleep disorder, harsh behavior etc., in teenagers and their preferences of movies watching. The study explains that the majority of teenagers are used to watching movies, and they prefer Horror and Action movies via the internet, and these movies are affecting their psychological health. They choose films to watch for entertainment, but such kind of enjoyment has deep down affected their brains and social behaviors. Responses were collected through a survey questionnaire.
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Sengupta, Sarada, and Dr Anindita Chowdhury. "Distorted Reflections: Gender and Horror in ‘Black Swan’." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 085–88. http://dx.doi.org/10.22161/ijels.92.14.
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In Black Swan, the themes of gender and horror are intricately woven into the fabric of the narrative. The film delves into the psychological nuances of its protagonist, Nina, as she navigates the demands of her art and the pressures of perfection. The exploration of gender identity and the inherent horror within the competitive world of ballet converge to create a compelling and thought-provoking cinematic experience. This paper aims to dissect the manifestations of gender dynamics and horror elements within the film, shedding light on their significance in shaping the narrative and character development. The analysis will encompass the contemporary ballet, femininity, Irigarayan horror, character interactions, and overarching themes that contribute to the film’s exploration of gender and horror. By examining these aspects, this study seeks to provide a deeper understanding of the complexities and nuances present in “Black Swan” while also showcasing the film’s prowess in challenging traditional tropes and expectations within the realm of both gender representation and horror storytelling.
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Perrello, Tony, and Nathan Wilke. "“The name is Blacula!”: Identity and Palimpsest in William Marshall’s Vampire Diptych." Studies in the Fantastic 16, no. 1 (January 2024): 14–38. http://dx.doi.org/10.1353/sif.2024.a923181.
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Abstract: In the early 1970s, a new cinematic genre, the Blaxploitation film, emerged from a creative scene which saw Black actors, writers, and directors enabled to produce their own original works for the first time. Often accused of trafficking in unsavory racial tropes, Blaxploitation films nevertheless displayed aspects of America’s racial problems and subtly complicated Black stereotypes while capitalizing on them to entertain both Black and White audiences. Films such as Sweet Sweetback’s Baadasssss Song (dir. Melvin Van Peebles, 1971) and Shaft (dir. Gordon Parks, 1971) may be most recalled as having catapulted this genre to fame, but an often-overlooked subgenre—the Blaxploitation horror film—also offered its unique brand of cultural insight. William Crain’s seminal Blaxploitation horror film, Blacula (1972), and its fast-tracked sequel, Scream Blacula Scream (dir. Bob Kelljan, 1973), demonstrate the power of the Blaxploitation framework to transcend its harmful stereotypes and to expose oppressive cultural practices. Our analysis of this pair of Blaxploitation horror films focuses upon two aspects of their position as representatives of their subgenre: first, their influence upon the wider cinematic culture, particularly the culture of horror cinema; second, the ability of Blacula and its sequel to play with and against their racial stereotypes.
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Jancovich, Mark. "‘It’s About Time British Actors Kicked Against these Roles in “Horror” Films’: Horror stars, psychological films and the tyranny of the Old World in classical horror cinema." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 214–33. http://dx.doi.org/10.1080/01439685.2013.798077.
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Troy, Maria Holmgren. "Body Horror in Octavia E. Butler’s Clay’s Ark." Humanities 12, no. 5 (October 16, 2023): 120. http://dx.doi.org/10.3390/h12050120.
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African American science fiction writer Octavia E. Butler’s works have attracted a great deal of academic interest since the 1990s onwards. Clay’s Ark (1984), however, has not gained as much scholarly attention as some of her other novels, and the centrality of Gothic aspects, in particular those related to body horror, has not been addressed. By focusing on how these aspects inform the structure, setting, and characters’ actions and relationships in this novel about an extraterrestrial infection that threatens and changes humanity, this article demonstrates how Butler employs and adapts strategies and conventions of Gothic horror and body horror in order to explore various attitudes towards difference and transformation, paralleling these with a particular brand of antiblack racism growing out of American slavery. Although the 1980s are already receding into American history, and a few aspects of the imagined twenty-first century in this novel may feel dated today (while many are uncomfortably close to home), Clay’s Ark is a prime example of how aspects of popular culture genres and media—such as science fiction, the Gothic, and horror films—can be employed in an American novel to worry, question, and destabilize ingrained historical and cultural patterns.
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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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Benson-Allott, Caetlin. "On Platforms." Film Quarterly 72, no. 2 (2018): 71–76. http://dx.doi.org/10.1525/fq.2018.72.2.71.
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Between 2014 and 2018, a cycle of artistically-ambitious and philosophically-complex scary movies have enlivened U.S. horror filmmaking. Popular with critics if not always with genre fans, these films comprise an alternative cycle to the contemporaneous conservative horror hits that are making record profits in the U.S. and abroad. The films of the current horror renaissance borrow from international genre conventions to assemble thoughtful allegories for contemporary American anger and despair. Featuring families perverted by fear or prejudice, deeply flawed heroines, and abject heroes, Creep (Patrick Brice, 2014), The Gift (Joel Edgerton, 2015), The Witch (Robert Eggers, 2015), It Comes at Night (Trey Edward Shults, 2017), and Hereditary (Ari Aster, 2018) focus on the psychological repercussions of supernatural monsters and paranormal events rather than on the extraordinary threats themselves. In this manner, they acknowledge that America's core values are corrupt and its status quo untenable.
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Telotte, J. P. "Lewtonian space: Val Lewton's films and the new space of horror." Horror Studies 1, no. 2 (November 1, 2010): 165–75. http://dx.doi.org/10.1386/host.1.2.165_1.
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During the 1940s the Val Lewton unit at RKO Studios produced a string of horror films that were highly lauded for their subtle approach to the genre, which represented a distinct break from earlier horror films that were characterized by their emphasis on monstrous figures and exaggerated, expressionist-influenced imagery. A significant element of that influence, however, has so far gone unexplored, particularly what we might term the space of horror. Drawing on architectural developments and theory in the late modernist period, particularly as articulated by Anthony Vidler, this article examines how the Lewton films drew on this new sense of space, a space that emphasized not structures or containment, but rather the emerging psychological and social dimensions of the era. Because of wartime restrictions and the economical practices of B-film production, the Lewton films (and as illustrations this article draws examples from each of the three directors who worked in this unit Jacques Tourneur, Mark Robson and Robert Wise) almost had to function in a different register than the earlier wave of horror films with their emphases on old dark houses and castles, on werewolves and vampires. The new spatial strategy that they evolved, however, not only accommodated those period and industrial limitations, but also opened up a new possibility for representing narratives of power and dread one that mobilized space as a placeholder for all of our psychic projections and fears.
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Kovanen, Marjo, and Sirkku Kotilainen. "Transcultural perspectives in Teaching Children's Horror Films." Seminar.net 14, no. 1 (June 28, 2018): 31–42. http://dx.doi.org/10.7577/seminar.2581.
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Transcultural perspective has recently raised more academic attention due to the internationalization of higher education and migration all over the globe. Thus the objective of the paper is to open the discussion on film education, especially teaching children’s horror films from the transcultural perspectives through an empirical case study among university students in media education. We concentrate on students attitudes and perception on children´s horror from the perspective of film education. Our question is, how to increase the students understanding of children´s horror culture and pedagogies related to it? The paper consists of the first research results based on the course including lecturers’ research diaries, students' interviews, their film life studies and practical assignments such as films made during the two-week workshop.
The preliminary results show that the perceptions and attitudes vary a lot depending on cultural backgrounds. Students’ pre-understandings of film culture and film literacy as a pedagogical practice mostly were professional-oriented and colored with the aesthetic perception on film. The most visible impact of the course was the minds-opening for wider understanding of film as education and uses of film in teaching. Taking up the aspects of children´s horror in the course was surprising, even irrelevant to students: they didn´t expect this kind of perspective at all. As a result the course was able to create open, safe spaces for reflection and changing students’ mindsets. Based on the results, situated approaches to film education is suggested to reinforce multiliteracy model with creation of safe space for discussion and supplementing emotional skills.
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Wünsch, Michaela. "Framing Anxiety. Intermedial Techniques of the Uncanny." Acta Universitatis Sapientiae, Film and Media Studies 24, no. 1 (November 1, 2023): 217–28. http://dx.doi.org/10.2478/ausfm-2023-0022.
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Abstract The article deals with techniques of the uncanny that are used in horror films, especially in movies that show frames within the image frame and particularly frames of television sets. The author situates the concrete device of framing in the context of medial technology and intermediality, not least the mediality of the television, its representation in movies and the resultant uncanny aspects. Distinctions are then made between the uncanny and anxiety with regard to the effects of framing, especially in relation to the specific status of a framed gaze. The author uses examples from Japanese and US-American horror films.1
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Parrish, Jordan. "Less is more: The horror of suggestion in Jacques Tourneur’s Cat People." Horror Studies 12, no. 1 (March 1, 2021): 83–95. http://dx.doi.org/10.1386/host_00030_1.
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Someone, or something, is following Alice (Jane Randolph). In the famous scene from Jacques Tourneur’s Cat People (1942), Irena (Simone Simon), who is married to the man with whom Alice just went out, tails Alice as she walks home. While Irena appears to stop following her at one point, it is here that Alice notices she is being followed by something else. She sees and hears nothing, but somehow feels that something, invisible, unseen, is nevertheless in close proximity. Certainly a classic horror scene, Tourneur nevertheless takes here an unusual approach to scaring audiences. Instead of directly showing its horror element, Irena as a cat person, Cat People instead suggests its presence. The subtle way in which Tourneur films this horrific scene seems at odds with conventional definitions of the horror genre, frequently defined in scholarship by its depictions of excess. By reorienting our relation to the horror genre in this way, Tourneur creates a concept that forces us to rethink the genre’s parameters, aspects and definitions. This article argues that Tourneur’s films centre around a main concept, suggestion and that this conceptual creation makes him, in turn, a philosopher of horror who pushes our understandings of the genre into unconventional directions. Through a close analysis of suggestive horror in Cat People and his other films, I argue that this suggestive style of horror is just as effective and horrific as the excessive one, that it is neither better nor worse, but achieves similar ends through different means. The article proceeds with three main objectives: to define Tourneur’s concept of suggestion with the associated problem of caricature to which it responds, to delineate the formal ways that Tourneur’s horror philosophy appears in suggestion-images and to place Tourneur’s philosophy of suggestion in conversation with existing horror scholarship that defines the genre through excess. By doing so, I argue that Tourneur’s philosophy, as evidenced in Cat People, forces us to think differently about the horror genre than ways which posit excess as its defining feature, ultimately envisioning a heretofore untheorized aspect of the genre: the horror of suggestion.
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Delgado Rodríguez, Darío. "Abismos, espejos y ojos: el terror elevado a través de Jordan Peele." Latente Revista de Historia y Estética audiovisual 21 (2023): 25–77. http://dx.doi.org/10.25145/j.latente.2023.21.02.
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High terror is characterized by its minimalist stylization and profound themes that explore dark aspects of the human condition, diverging from the conventional resources of commercial horror cinema. Using the cinema of Jordan Peele as an example, this article seeks to delve into this cycle of films, deepening into their techniques and the meanings that are hidden beneath the terror narratives they unfold. Likewise, we propose that as powerful generators of meanings, this is something we find present in horror cinema throughout the history of the medium.
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Nastiti, Anisa Efani Yulandara, and Anton Sutandio. "THE PORTRAYAL OF THE FEMALE PROTAGONIST IN DARREN ARONOFSKY’S BLACK SWAN USING FREUD’S PSYCHOANALYTIC THEORY OF PERSONALITY AND DEFENSE MECHANISMS." Capture : Jurnal Seni Media Rekam 14, no. 2 (July 4, 2023): 92–106. http://dx.doi.org/10.33153/capture.v14i2.4993.
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Black Swan is a psychological horror movie by Darren Aronofsky. This movie tells of a ballerina named Nina Sayers, who desires to be a perfect ballerina. On her way to achieving her desire, Nina experiences psychological problems where she often hallucinates and even hurts herself. It results from Nina’s anxiety that causes her to be afraid that her desire will not be fulfilled. This article aims to examine Nina’s psychological state during the process of achieving her dreams. To reveal the psychological issues experienced by Nina, a characteristic analysis was carried out using Sigmund Freud’s theory of psychoanalysis, the theory of human defense mechanisms, and the cinematographic aspects of this film. The results showed that uncontrolled desires could cause psychological disorders that influence a person’s characteristics.
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Soman, S., J. Parameshwaran, and J. KP. "Films and fiction leading to onset of psycho-phenomenology: Case reports from a tertiary mental health center, India." European Psychiatry 41, S1 (April 2017): S747. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1385.
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Mind is influenced by socio-cultural religious belief systems, experiences and attributions in the development of psychophenomenology. Film viewing is a common entertainment among young adults.ObjectivesInfluence of repetitive watching of films of fiction and horror genres on onset phenomenology in young adults.MethodTwo case reports on onset of psychotic features and mixed anxiety depressive phenomenology were seen in two patients aged 16 and 20 years respectively and based on the fantastic imagination created by films. The 28-year-old female patient diagnosed with schizoaffective disorder had onset at 16 years of age and the course of phenomenology was influenced by the fiction movie ‘Jumanji’ with partial response to medications over 10 years. The depressive and anxiety symptoms of less than 6 months duration of a 20-year-old male patient was influenced by film ‘Hannibal’ and responded to antidepressant and cognitive behavior therapy.ConclusionsHorror and fiction films can influence the thinking patterns and attribution styles of a young adult by stimulating fantasy thinking which if unrestrained can lead to phenomenology. Viewing films compulsively, obsessive ruminations on horror and fictional themes can lead to onset of psychopathology of both psychosis and neurotic spectrum. Further research on neurobiological, psychological correlates is needed. Parental guidance and restricted viewing of horror genre films with avoidance of repeated stimulatory viewing of same genre movies in children, adolescents, young adults and vulnerable individuals is required.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Edwards, Makayla. "Taking the "Psycho" out of "Psycho-Killer"." Digital Literature Review 10, no. 1 (April 18, 2023): 37–49. http://dx.doi.org/10.33043/dlr.10.1.37-49.
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“Psycho”, “maniac”, and “madman” are all words that are found to be synonymous with serial killers and criminal activity. For decades, the media has perpetuated an extremely harmful image that those suffering from mental illness are violent and dangerous. These portrayals can be found across mediums from fictional books and movies to docuseries and podcasts. In the realm of fiction, specifically, some of the most harmful depictions can be found in horror films. These films tend to paint their villains to be caricatures of various psychiatric disorders including schizophrenia, bipolar disorder, dissociative identity disorder (formerly known as multiple personality disorder), and narcissistic personality disorder. These misrepresentations are not only grossly exaggerated but also highly inaccurate. In this piece, I will explore and expose the negative distortions of mental illness in various horror films. The scope will focus on two of the most influential psychological thrillers in the industry: Psycho and The Shining. These films each depict an antagonist who displays exaggerated traits indicative of mental illness. By deconstructing and comparing these traits with modern research on the mental illnesses they are meant to represent, I will expose the inaccuracies of these portrayals. Furthermore, I will outline the lasting impacts of these inaccuracies on both the public perceptions of mental illness, as well as help-seeking among individuals suffering from psychological disorders. Even if the characters in these popular films are fictional, the stigma they direct toward mental illness is very real and must be addressed.
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Pop-Curșeu, Ioan. "Actes sexuels, horreur et sorcellerie au cinéma. La copulation avec le Diable : une perspective psychanalytique." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 109–33. http://dx.doi.org/10.24193/subbdrama.2021.1.07.
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"Sexual Acts, Horror and Witchcraft in Cinema. The Copulation with the Devil: a Psychoanalytical Perspective. This paper tries to approach, taking as a starting point a Romanian painting from the 18th century, a scene with a strong phantasmatic load: the sexual act of a woman, who is considered a witch, with the devil. Several films are analyzed: Häxan by Benjamin Christensen (1922), Rosemary’s Baby by Roman Polanski (1968), L’Anticristo by Alberto de Martino (1974), Angel above, Devil below by Dominic Bolla (1975). These films share some common features, important for the analytical process: the copulation with the devil, the presence of traumatized characters who are submitted to a psychological cure, the recycling of psychoanalytical vocabulary, especially “hysteria”, the problems with parental instances. In order to interpret these films, there is a coming back to Freud’s ideas on the Devil, as expressed in the letters to Wilhelm Fliess or in the study A Seventeenth-Century Demonological Neurosis (1923). The devil as an image of unconscious impulsions or as a substitute of the father are the main Freudian intuitions used here for an optimal interpretation of the chosen films. Keywords: sex, sexual act, horror, witchcraft, psychoanalysis, Freud, cinema. "
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Jancovich, Mark. "‘Another, more sinister reality’: Class, Youth and Psychopathology from Saturday Night and Sunday Morning to Endless Night." Journal of British Cinema and Television 16, no. 2 (April 2019): 213–32. http://dx.doi.org/10.3366/jbctv.2019.0469.
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This article analyses how the protagonists of films such as Saturday Night and Sunday Morning (1959), The Collector (1965), Blow Up (1966), Twisted Nerve (1968) and Endless Night (1972) were understood in relation to debates over the supposed perils of the new affluence and the erosion of class distinctions that it was presumed to entail. In particular it examines the terms in which these issues were discussed within contemporaneous reviews of the films, terms that were insistently psychological. These protagonists, as well as, to a certain extent, the actors who played them, were seen as representing a nightmare image of a ‘new’ working class that no longer ‘knew its place’, and as manifesting psychological problems that were associated with this intermediate status. Their psychologies were interpreted by many critics as being distinguished by a sense of isolation from external reality and by a hostile relationship to the world characterised by a psychopathic lack of empathy. Such concerns could be seen as establishing certain parallels between working-class realism and the contemporaneous horror film, and indeed the reviews cited in this article demonstrate that working-class realism and horror were seen as having shared points of interest in the 1960s, points that have often been repressed by the tendency to compartmentalise British cinema history into separate or even opposed ‘traditions’.
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Kellner, Douglas. "O apocalipse social no cinema contemporâneo de Hollywood." Matrizes 10, no. 1 (August 23, 2016): 13. http://dx.doi.org/10.11606/issn.1982-8160.v10i1p13-28.
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Films provide important insights into the psychological, socio-political, and ideological make-up of a society and culture. Reading film diagnostically allows one to gain insights into social problems and conflicts and to appraise the dominant socio-political problems and crises of the contemporary moment. This article engages Hollywood films that contain allegories of catastrophe within the context of the Bush-Cheney era. As I attempt to show, horror, fantasy and other popular film genres articulate fears of the present moment concerning the state and the military, ecological and social crisis, and other phenomena, and can thus provide critical images and provide experiences that raise questions about the existing society
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Fatha, Basyarayni Mawla, and Alvanov Zpalanzani Mansoor. "The structural analysis of indonesian horror webtoon’s visual and narrative." South Florida Journal of Development 3, no. 1 (February 24, 2022): 1624–36. http://dx.doi.org/10.46932/sfjdv3n1-126.
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The popularity and the appeal of horror media among Indonesian have been explicated as a close relation to the psyche of Indonesians which is generally inherent to the Eastern culture. This specific pattern of preferences rooted in Indonesians’ cultural fixation has been profited off across many forms of popular media; from radio broadcasts to online podcasts, from TV series to cinematic movies, and from printed comics to webtoons. Webtoon or webcomic is a term originally coined in Korea to refer to a form of graphic narrative that interweaves words and images as also found in printed comic, however, its utilization of digital information technologies implies a fundamental difference between the two. Webtoon’s vertical orientation is also one of the few discrete factors that excludes webtoon from the printed comic category. This research aims to find out how the visual narrative structures of Indonesian horror webtoon are particularly employed in evoking fear within the readers’ minds by examining some representative examples of popular Indonesian horror webtoon: Creep by Ino Septian and Gloomy Sunday by Fanky Landerson. This analysis is conducted by applying Zpalanzani-Tabrani and Cohn's triangulation analysis model enhanced by adding the structural affect theory of stories developed by Brewer and Lichtenstein and some supplemental analysis units such as gutter space and color analyses. This study suggests that there are some idiomatic similarities between Indonesian horror webtoons and horror films in general, both in terms of visual composition and units and in terms of sequence to construct a sense of suspense in an engaging and ceaseless horror experience. These findings are applicable to obtain an effective formulation in designing horror webtoon for Indonesian readers on one hand, and to draw out some encouraging remarks for further improvement on some aspects on the other hand.
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Widuhung, Selvy Maria. "EFEK KOMUNIKASI TAYANGAN HOROR YOUTUBE JURNALRISA TERHADAP SUBSCRIBERNYA." Cakrawala - Jurnal Humaniora 21, no. 2 (September 15, 2021): 108–15. http://dx.doi.org/10.31294/jc.v21i2.10510.
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Vlogs or video blogs are becoming a trend in today's society, various types of shows can be easily watched on the Youtube channel. However, what is most interesting is the proliferation of horror content that has won a place in the hearts of Indonesians, along with the increasing production of horror films. One of the horror-themed vlogs with the most subscribers is Jurnalrisa which introduces the life of astral beings through a mediation mechanism. Uniquely, this show not only gives the audience a sensation of fear, but also educates them through the insights gained in interacting with supernatural beings, such as how powerful a prayer is, what happens in the next world when someone dies of suicide and many more. This study uses mass communication theory, which is seen from the cognitive, affective and conative or behavioral aspects to show positive effect on followers or customers after watching Jurnalrisa videos in their real life. Among them is the increased belief and understanding of a better life, realizing that we do live side by side with supernatural beings, and being more careful in living life in order to achieve happiness in the world and in the hereafter.
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Hockenhull, Stella. "Sublime landscapes in contemporary British horror: The Last Great Wilderness and Eden Lake." Horror Studies 1, no. 2 (November 1, 2010): 207–24. http://dx.doi.org/10.1386/host.1.2.207_1.
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Landscape, as distinct from setting, presents its own visual authority, particularly in the horror genre. A number of contemporary British films contain pictorial images of the landscape that are not necessarily pivotal to the narrative. By implementing an analysis of these representations in contemporary British rural horror, and drawing on the theories of romanticism and the Sublime of the eighteenth and nineteenth centuries with their emphasis on the spiritual aspects of nature, allows for setting as more than narrative space. It produces an affect that elicits a certain type of emotion from the viewer, who is invited to experience an intuitive response on encountering the pictorial compositions, aiding narrative meaning. This essay examines what Martin Lebebvre describes as impure or spectator landscapes in two recent films: The Last Great Wilderness (MacKenzie, 2002) and Eden Lake (Watkins, 2008), and finds visual correlations drawn from the contemporary art world. This indicates that, from a socio-cultural perspective, the twenty-first century has witnessed an emergence of Romantic and sublime vocabulary in both film and painting, which indicates the existence of, what Raymond Williams might term, a structure of feeling.
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Florentin, Groh. "“Experiencing Trauma”: Aesthetical, Sensational and Narratological Issues of Traumatic Representations in Slasher Horror Cinema." Arts 12, no. 4 (June 28, 2023): 132. http://dx.doi.org/10.3390/arts12040132.
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In the field of horror film studies, the question of trauma is generally related to the spectator’s experience. The trauma of images occurs in the context of socio-cultural actualization. The degree of violence involved in the images, either graphic or symbolic, implies an experience that marks the viewer. Trauma, in this way, acts as a sensitive degree of perception, the image being an event. We start from this theoretical point but decide to take as our object of study only films where the horrific experience is based on a figurative representation of trauma. Therefore, we want to detach ourselves from a symbolic reading of the horrific image, leaving aside the psychological implications of the image’s effect. We decide to adopt a phenomenological and enactive reading of the image in order to include our spectatorial sensations in the narrative and aesthetic analysis of the representations issues of trauma as a horrific experience. Thus, in our corpus, trauma does not intervene in the cognitive formation of the spectator but is built into the experience of the filmic corpse according to a visual and narrative continuity specific to the films. We designate two types of traumatic events that occur in the corpus films: Halloween II; Friday the 13th: A New Beginning. We try to understand the emergence of the traumatic feeling within the spectator and demonstrate that the trauma experienced by the viewer arises from the horrific experience specific to the aesthetic and narrative aims of the films, mirroring the symptoms and the wounds of the characters.
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Christopher, David. "Horror and the Cube Films: An unlikely medium for the negotiation of Nationalist-Cultural ideologies." Mutual Images Journal, no. 11 (December 20, 2023): 139–70. http://dx.doi.org/10.32926/2023.11.8.
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Over the past several decades, scholarship has come to recognise the unexpected significance of horror cinema ventures as both culturally and politically relevant. One of Canada’s greatest horror film successes was Vincenzo Natali’s 1997 psychological thriller Cube that metaphorically explores the suffocating nature of vocational social relations under the conditions of a patriarchal military-industrial capitalism. So innovative was its premise that US interests quickly acquired the rights to produce and distribute Cube 2: Hypercube (2002) and Cube Zero (2004), but they were just as quick to reformulate the most subversive critique of the original film. Two decades later, in 2021, Japanese producers released a remake of the original film (which was so popular there), although it also re-coded the thematic critique, just as the American sequels had done. With this group of films across three national production traditions arises an opportunity to “detect shifts in the ideological constellation”, as Slavoj Žižek has argued, by “compar[ing] consecutive remakes of the same story” (2011, p. 61). Following primarily Herbert Marcuse’s understanding of political repressive tolerance, this article demonstrates the way in which constructions of cultural identity are negotiated across national traditions in the age of globalisation. Cube and its follow-ups demonstrate the nationalist-inflected limits of critical expression in the way that each subsequent film attempts to re-focus and re-code the horrors of the narrative machine in order to assert their own nationalist sensibilities threatened by the cultural levelling effect of globalisation in an age of transnational cinema distribution.
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Vincze, Janos, and Gabriella Vincze-Tiszay. "The Biophysical Modeling of Psychological Aspects." Advances in Social Sciences Research Journal 9, no. 5 (May 12, 2022): 90–97. http://dx.doi.org/10.14738/assrj.95.12072.
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The notion of stress has became as the same time very popular but is sometimes used improperly or with many exaggerations especially concerning the recommendations of practical solutions suggested for stress management. The stress producing stimuli, many physiological processes go into action, probably through different paths in close connection; the response is, therefore, an interaction between the organism and his environment. The emotional component takes part in the response reactions through the somatic effect of which it influences the behaviour. The man having lost his last connection with the world grieves duple and his environment must pay great attention not to lose also him. Every medico-surgical intervention belongs to the stress factors. Both contain psychopathological elements and a long psychotherapy accomplished by a specialist is needed, considerate-protective environment for the accommodation in the normal life, for the resocialization. The biological stress is a long succession of active, interactive mutual effect. This relation which always consists of the difference of value-power-intensity is, like an example of today, a chain of action of two fighter during which they get the offensive and defensive conduct in exchanged role. From the point of view of the human individual life the psyche (psychism) is a subsystem. If still we take it out of this relationship with investigational aim then we have to consider it a system.
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Király, Hajnal. "Arrested and Arresting: Intermedial Images and the Self-Reflexive Spectator of Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 57–71. http://dx.doi.org/10.2478/ausfm-2020-0003.
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AbstractThe paper departs from the assumption that while the analysis of the systematic effect that popular cinema (genres like melodrama, horror or action movies) has on its spectators has been largely discussed by film theorists, little has been written on the affective dimensions of arthouse cinema. The lasting effect of visually compelling films on the individual spectator’s emotions has been addressed only sporadically by cognitive film theory, film phenomenology and aesthetics. Therefore, the author proposes to bring together terms and concepts from different discourses (film and literary theory, intermediality studies and empirical psychological research of the literary effect) in order to elucidate how intermedial, painterly references in midcult and arthouse films mobilize the associative dimensions of film viewing and may have an impact on spectatorial self-reflexion and emotional growth. Moreover, films that rely on the associative power of still(ed) images, painterly references bring into play the personal and cultural experiences of the viewer. As such, they can be effectively used in professional and cultural sensitivization.
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Kiejziewicz, Agnieszka. "Voices from a distance: Sámi short film production in 2020." Short Film Studies 11, no. 2 (September 1, 2021): 211–20. http://dx.doi.org/10.1386/sfs_00056_1.
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The sudden outbreak of the COVID-19 pandemic influenced many aspects of film production, which is especially visible in the example of local cinematographies. In this article, I investigate pandemic influence on depicting homeland, memory and locality in Sámi short films. The primary concern in the pre-2000 Sámi short films was the marginalization of Sámi culture, as well as tradition-modernization oppositions. However, in the productions from 2020, a switch into the discourse about the homeland and coping with pandemic in the far north is visible. In this article, I describe productions from 2020, dividing them into three thematic categories: films about the return to the homeland, films focusing on lockdown isolation and films based on genre conventions (such as comedy or horror), used for creating a discursive approach to pandemic. In the proposed article, I analyse Sámi films from the collection of International Sámi Film Institute, produced in Norway, Sweden or Finland.
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Kattelman, Beth. "The sound of evil: How the sound design of Hereditary manifests the unseen and triggers fear." Horror Studies 13, no. 1 (April 1, 2022): 133–48. http://dx.doi.org/10.1386/host_00050_1.
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This article examines the soundtrack and score for Ari Aster’s 2018 film Hereditary, illustrating how the sound design heightens the film’s emotional and psychological impact by delivering unseen elements of the narrative auditorily and through its inclusion of sonic elements that can directly affect audience members physiologically. Hereditary’s narrative is strongly supported by musician Colin Stetson’s evocative score, which relies heavily upon his ability to coax unusual sounds from reed instruments by using uncommon fingerings, accompanying vocalizations, percussive key striking and circular breathing. After a brief synopsis and examination of the film’s themes, the article delves into particular elements that make Hereditary’s soundscape so effective, including the Shepard tone, infrasound, subliminal and corporeal sounds, and the use of silence, exploring in-depth how the sound design supports and enriches the film by building tension, enhancing dread, triggering fear and delivering unseen narrative information in a shorthand way. The article also has a wider application in that it discusses how the critical-yet under-theorized element of sound design is crucial to horror entertainments’ ability to create affect in a variety of ways and shows how the sonic components used in Hereditary have a demonstrated efficacy as shown by their use in a wide variety of horror films and thrillers.
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Fisiak, Tomasz. "What Ever Happened to My Peace of Mind? Hag Horror as Narrative of Trauma." Text Matters, no. 9 (December 30, 2019): 316–27. http://dx.doi.org/10.18778/2083-2931.09.19.
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In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article.
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Mordas, Ekaterina Sergeevna. "The psychological nature of female psychogenic infertility: psychoanalytic reflections." Психолог, no. 1 (January 2024): 47–62. http://dx.doi.org/10.25136/2409-8701.2024.1.39567.
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The theoretical basis of this work are the ideas of Maidi U., Mitchell J., Motz A., Pattis-Zoya E., Reinhold Joseph S., Langer M., Leisinger-Boleber M. The object of research: the phenomenon of psychogenic female infertility in the psychoanalytic understanding. The article shows aspects of the psychogenesis of female psychogenic infertility: the image of the mother, destructiveness and psychogenic infertility, denial of femininity and gender-role identity, violation of identification with the mother and identification with the "dead mother", transgenerational transmission and psychogenic infertility, unconscious conflicts and the Medea complex. These aspects are reflected in two psychoanalytic studies, the results of which are briefly reflected in this publication. The results showed the presence of common signs for women with psychogenic infertility: 1. In fantasies, the future child is endowed with expectations aimed at satisfying a deficient mother; 2. Women have a violation of gender-role identity - identification with the father; the desire to take the place of the father, playing partner and parent roles; 3. Ambivalent perception of the maternal figure; the image of the mother is idealized; 4. Women have a false self, pseudoedipality; 5. Women have a false femininity based not on identification with the mother, but on based on a primitive imitation of her. Identification with the "dead mother" is impossible; 6. The presence of a castration complex in women, reinforced by identification with the father. As a result, the process of childbirth causes horror, correlated with castration, which is denied and covered up by the desire to have a child; 7. The presence of a separation complex, where separation from a "dead mother" is not possible, because then one person will be "dead". 8. Parentification, "dead mother", "dead father", transgenerational transmission of conflicts "crypts and ghosts", untreated traumatization and unlived grief. The leading events in the life history of women suffering from psychogenic infertility are the experience of loss and violence.
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Shah, Sayed Hasnain, and Dr Muhammad Mehrban Barvi. "دور حاضر میں بچوں کی نفسیاتی تربیت کی افادیت سیرت طیبہ کی روشنی میں، تجزیاتی مطالعہ." Al-Duhaa 3, no. 01 (June 1, 2022): 204–24. http://dx.doi.org/10.51665/al-duhaa.003.01.0168.
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This study sheds light on some effective principles for the grooming of children on the basis of different aspects of the biography of the Holy Prophet (Peace & mercy be upon him) compared with modern era training system. Some important points regarding intellectual reformation of the children, with practical examples of living events are discussed. to refresh the intellectual power of the children to keep them connected with religion. Moreover, the psychological grooming of children is discussed. How to prime children psychologically and what are its benefits? What are the disservices of modern-day training for children? The usefulness of psychological training of children in this subject has been explained by the examples of Sirah in which the original sources have been used. The method has been made analytical in which contemporary overview is also presented. After writing this topic, some conclusions have been reached that the training that children are currently undergoing is causing their brain as well as physical weakness and such as horror, boredom and ego in the child's psyche, lack of self-confidence. All these things can be solved when we take the principles of training from Sirah.
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Kartashova, E., and L. Arkhipova. "Socio-Psychological Aspects of Digitalization of Modern Education." Bulletin of Science and Practice, no. 8 (August 15, 2023): 229–34. http://dx.doi.org/10.33619/2414-2948/93/24.
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Digitalization processes affect all spheres of human activity, including the system of modern education. As a result, there are many open questions and socio-psychological problems associated with digitalization. Studies of the ‘influence of numbers’ on the health of people, in particular students of different age groups, are relevant. In this context, it is advisable to study the impact of digitalization on schoolchildren and students from the point of view of medical and psychological approaches. The purpose of this study is to analyze the features of the influence of modern digital technologies in the field of education on the psychological and somatic state of students in connection with the level of general social health of the population.
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Grigorieva, Natalya G. "Psychological Insight in Asgar Farhadi’s Early Films." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 95–106. http://dx.doi.org/10.17816/vgik10295-106.
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The article dwells on the work of Asghar Farhadi, one of the leading Iranian film directors, a proud winner of a number of prestigious international awards. The author proves that modern Iranian filmmakers show preferences to other genres as opposed to those favored in the 1990s; metaphorical ellipses have replaced the obvious conclusions and contemplative moralizing has given way to focusing on characters inner world. The article emphasizes that A. Farhadi was among the first in Iranian cinema to have fully mastered the achievements of European psychological drama. The logic of characters behavior and cause- and-effect relationship appeared to have been the most vulnerable point in the films of Iranian New Wave. The first films by A. Farhadi (Dancing in the Dust, 2003; The Beautiful City, 2004; Fireworks Wednesday, 2006) manifested a significant step forward in this respect. Though these pictures are less known to the audience and not so generously acclaimed and rewarded by international film festivals as his famous Salesman, they show Farhadis skills of a talented psychologist more apparently. The author notes that by turning to psychoanalysis, Farhadi does not reject social aspects, but merely shifts the highlights. His social criticism does not have the acuteness of an open confrontation, but is subtly interwoven into his contemplating narratives, characters reflections and motivations. The article also touches the image of women, which has considerably changed since the late 1990s. The director is less interested in social contradictions and tension caused by the oppressed status of women in an Islamic society. Instead, he is more concerned with their inner world and how they deal with complicated issues.
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Năstase, Florina. "The Blitz Gothic: War and Language in Elizabeth Bowen's "The Demon Lover"." Linguaculture 11, no. 2 (December 10, 2020): 87–94. http://dx.doi.org/10.47743/lincu-2020-2-0174.
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The paper intends to explore Elizabeth Bowen’s stylistic choices in her wartime short story, The Demon Lover (1945), wherein the experience of war is rendered in gothic form as a supernatural occurrence. Bowen’s predilection for framing aspects of war in an inverted manner is well-documented in such novels as The Heat of the Day (1949), and her appeal to the fantastic is part of an Irish tradition, ranging from Bram Stoker to John Banville. The paper attempts to analyze the way in which the gothic mode, particularly at the level of language, contributes to a deconstruction of the war experience and a re-examination of the psychological horror of the Other. To this end, the paper employs theoretical concepts pertaining to the sphere of the “war gothic”, while also placing emphasis on modernist theories of style, specifically as they relate to Bowen’s “willfully tortuous syntax” (Teekell 61) which has an almost physical, claustrophobic effect on the reader.
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Anantharaja, Bavatharani. "IMPERCEPTIBLE EMOTIONS – A PSYCHOLOGICAL INTERPRETATION OF VIRUMAANDI (2004)." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 21, 2022): 299–305. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.86.
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The field of psychology is frequently promoted in films. There are numerous and diverse intersections between psychology and film. Films are often influenced by psychological philosophies. The article focuses on the psychological perspective of the Indian Tamil Movie Virumaandi (2004). The aim of the article is to find out the psychological aspects of the characters portrayed in the movie and how it serves to be the reason for the conflicts that arises in the plot. It showcases how psychological condition affects the emotional stability of the characters and audience, relationships among people and behaviors by identifying the issues dealt with in the movie.
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Ghaemi, Ali, Ladan Vaghef, and Behzad Shalchi. "Validity and reliability of persian version of morbid curiosity scale in students." Medical Journal of Tabriz University of Medical Sciences 45, no. 6 (January 1, 2024): 485–94. http://dx.doi.org/10.34172/mj.2024.001.
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Background. The success of horror films, the attention to violent crimes and the prevalence of violence in the news show that morbid curiosity is a common psychological trait. However, research on morbid curiosity is largely absent in the psychological research literature. one of the reasons being the lack of a suitable Scale for Iranian society. Therefore, the purpose of this study was to investigate the reliability and validity of the Persian version of the Morbid Curiosity Scale. Methods. The research design was descriptive factor analysis and the statistical population of the study was all students of Zanjan University in the academic year 1400-1401, from which 500 people were selected by cluster sampling. For the study, Morbid Curiosity Scale was used. Results. The results showed that Cronbach's alpha for the subscales of the Minds of Dangerous People is 0.79, Body Violation is 0.81, Supernatural Danger is 0.79, and Interpersonal Violence is 0.80 and the total scale is 0.85. The results of Confirmatory Factor Analysis also confirmed the significant relationship between explicit variables and latent structures and showed that the four-factor structure has a good fit in the samples. Conclusion. The morbid curiosity scale among students has good reliability and validity and the use of this scale in future research is reliable. Practical Implications. The findings of this research can be used in psychotherapy, psychological research, media psychology, and advertising psychology.
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Antaridha, Rabbi, and Widya Fhitri. "In-Between Discipline And Control: Ari Aster's Midsommar As An Allegory For Hypercapitalist Society." Jurnal Penelitian Dan Pengkajian Ilmiah Sosial Budaya 1, no. 1 (January 30, 2022): 166–74. http://dx.doi.org/10.47233/jppisb.v1i1.421.
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Horror’s disruptive quality in that it continually demonstrates how the monstrous and evil circulate, invading complacent individuals, turning them into what they think as their opposites. This means that horror films possess a potential to show people that there is a possibility that the evil of the primal and primitive resides behind the veil of moral superiority and intellectual achievement of the modern world. Ari Aster’s horror film entitled Midsommar (2019) exploits the metaphorical power of the horror in revealing how the archaic is actually in the possession of the modern/“cultured”/“civilized”. The film is a reflection of the monstrosity of the systems that govern the contemporary society—a hypercapitalist society that is in-between Disciplinary Society and the Society of Control; Society of (Semi-)Control. This study mainly draws from Deleuze, Foucault, and Neo-Marxists. Data is collected by using observation method. As for data analysis methods, this study utilizes formalist technique called close reading and then apply the theoretical frameworks in an accordance with the methodological implications found in them. It is found that the narrative and visual elements of the film allegorically depict crucial aspects of a Disciplinary Society, Society of (Semi-)Control, and hypercapitalist society. The film unveils the oppressive and repressive nature of late-stage capitalism and Society of (Semi-)Control. This is shown through the customary suicide of old people because they are assumed to have past their productive years in a ritual called ättestupa; the strict division of labor; the deliberate reproduction of disable people; and the restriction to express one’s ownership of personal pain and sadness could be interpreted as elements that construct an allegory for a hypercapitalist society. Moreover, through its heroine, Dani, Midsommar also explores the process of how Disciplinary Society transforms into Society of (Semi-)Control.
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Muzakki, Muhammad Ariq, Choiru Pradhono, and Adriyandi Adriyandi. "Unsur Sinematik dalam Membentuk Genre Found Footage pada Film Keramat Karya Monty Tiwa." ROLLING 6, no. 2 (October 30, 2023): 104. http://dx.doi.org/10.19184/rolling.v6i2.42645.
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This study aims to reveal and determine the role of cinematic elements contained in found footage genre films. The formation of the found footage genre contained in the film, seen from the aspects of mise en scene (setting, lighting, makeup and costumes as well as players and movements), cinematography, sound and editing. The research method used is a qualitative research method with a descriptive approach. The object of research chosen was the Sacred (2009) by director Monty Tiwa. Data in the study were obtained from observation, literature studies and documentation about films. The theory used in analyzing cinematic elements is the theory of cinematic elements by Himawan Pratista based on the theory of found footage by Alexandra Heller and Nicholas. The results of this study showed that 22 scenes were selected as objects identifying cinematic elements in forming the found footage genre. In this film, cinematic elements play an important role in supporting the packaging of found footage horror genre films so that they can build audience confidence in reality and suspense through mise en scene, cinematography, sound and editing. Acting players and subjective cameras with long-duration handheld camera techniques on films, giving greater influence to the realistic impression of found footage genre films. Keywords: Cinematic Elements, Genre Found Footage, Sacred Film.
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Verma, Richa, and Gauri Soni. "An Expression of Complex Psychology in the Character of Aunt Patience: As a Gothic Component of Jamaica Inn." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 252–57. http://dx.doi.org/10.22161/ijels.92.38.
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Daphne Du Maurier builds a fairy tale narrative in Jamaica Inn, with a classic villain and a conflicted damsel-in-distress in gothic romances, brought together within a toxic marital bond. This paper aims on scrutinizing the character of ‘Aunt Patience’ as an inspiration behind ‘marriage’ motivating an exercise of patriarchal control, through invasion of female psychology. Recurring instances of terror, crime, incest and domestic violence, still celebrate the triumph of female strength and undying passion for freedom. ‘Aunt Patience’, in the face of psychological and bodily threat, falls prey to a classic tragedy, with ‘supernatural’ as an integral part of her life. Horror and unrest consume her psyche, manipulating important aspects of her life to a degree of becoming ‘normal’. Home and family become synonymous to danger, compromising female sanity, with special focus on problematic social categorization of women. The aim here is to portray gothic events of Jamaica Inn, leading to mystery and social dilemma, considered as strong voices in Du Maurier classics, largely based on toxic marriages, consummation, desire and female intellectuality.
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Kulakevych, Lyudmyla. "Artistic means of a silent film in I. Dniprovsky's psychological action «Zarady nei» («For Her Sake»)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 31–38. http://dx.doi.org/10.34079/2226-3055-2020-13-22-31-38.
Full textAbstract:
In the present paper a short story written by I. Dniprovsky's is analyzed. In accordance with the action canon, the main character has to find his beloved in the shortest possible time so that they could catch the train and escape from the enemy. In the twists and turns of the story the archetypal plot of lovers’ escape / rescue from the monster can be traced. It descends from folk tales and legends where a young man sacrifices himself for the sake of his beloved. By analogy with receptions in tense feature films (thrillers, horror films, catastrophes), the single-line plot «For Her sake» consists of annoyingly insidious concourse of circumstances. They create the feeling as if the whole world, even the closest people and character’s personal belongings, want to thwart his rescue. It is emphasized that, similar to the techniques in the action movies, a linear storyline in the short story consists of the treacherously irritating coincidences. However, while an action-adventure meta-genre normally has a happy ending, in the present short story the ending is more appropriate for a novella: the Bolsheviks shoot the hero as a deserter. It is established that the defining feature of the story is the lack of description of the characters’ appearances and their speech is reduced to minimum, which was a general feature of silent film scripts. A tense atmosphere of anxiety and fear is created through the acoustic and visual micro-images with the semantics of panic and horror. The gloomy urban landscapes, the hostility of the world and the sense of the fatal doom of the heroes refer to the German expressionist cinema of the early XX century. It is revealed that the story never mentions the struggle of ideologies or the enemy who seeks to seize Petro's native land. The enemy appears as an invisible and terrifying force, an element that creates chaos and makes it difficult to maintain human dignity. The key to understanding of this on border crazy motivation of the main character is the archetypal theory of C. G. Jung. In the story of I. Dniprovsky, a brave soldier (Persona Petra) in attempt to save himself together with Hanka (Anima), subconsciously seeks to save his Self-Identity. Moreover, a Wise Old Man (Hanka's father) and a Big Mother with a Child are present in the story as well. However, none of them is helpful to Petro and does not encourage the latter to make any attempts for escape. According to the artistic concept of the short story, when escaping from death, a person experiences tremendous stress, which breaks his psyche, so in a borderline situation collective experience fails, everyone tries to save himself. It is emphasized that the story's ending is unexpected: the hero finds himself in the city again, however, he is now in the status of unidentified enemy, whom he tried to escape and now he dies at the hands of the redhead leader.
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Scrivner, Coltan. "An Infectious Curiosity: Morbid Curiosity and Media Preferences during a Pandemic." Evolutionary Studies in Imaginative Culture 5, no. 1 (June 1, 2021): 1–12. http://dx.doi.org/10.26613/esic.5.1.206.
Full textAbstract:
Abstract In this study conducted during the 2020 Coronavirus pandemic, I explored how trait morbid curiosity was related to interest in 1) factual information about Coronavirus that was specifically morbid; 2) general factual information about Coronavirus; 3) pandemic and virus genres of films and TV shows; and 4) genres of film and TV shows that center around threat more broadly. Participants (n = 125) who scored high in morbid curiosity reported increased interest, compared to usual, in pandemic/virus genres as well as horror and thriller genres. Morbidly curious participants were also more interested specifically in morbid information about Coronavirus. Furthermore, disgust sensitivity was unrelated to these preferences. These results provide initial evidence that trait morbid curiosity can predict particular media preferences in the face of a real threat, and that morbid curiosity may reflect an adaptive predisposition in some individuals toward learning about the dangerous and disgusting aspects of a threat.
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Wulandari, Putri Ayu, and Kastam Syamsi. "Unravelling Images of Women in the Wedding Agreement Film: A Feminist Study." International Journal of Linguistics, Literature and Translation 6, no. 2 (February 4, 2023): 114–21. http://dx.doi.org/10.32996/ijllt.2023.6.2.15.
Full textAbstract:
This study aims to determine the image of women in the wedding agreement film that aired on the Indonesian big screen on August 8, 2019. The wattpad script was written by the pen name Mia Chuz whose real name is Eria Chuzaimiah. There are three images of women raised in this study: 1) the image of women in the psychological aspect, 2) the image of women in the physical aspect, and 3) the image of women in the social aspect of society. This study uses a descriptive qualitative method by collecting data through films that the researchers watched carefully; the theory used in this study is the feminism theory; the results of this study are that there are 10 images of women in psychological aspects, 3 images of women in physical aspects, and 5 images of women in physical aspects. The Image of Women in the Social Aspects of Society.
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Chalmers, Beverley. "The Medical Manipulation of Reproduction to Implement the Nazi Genocide of Jews." Conatus 4, no. 2 (December 31, 2019): 127. http://dx.doi.org/10.12681/cjp.20993.
Full textAbstract:
Holocaust literature gives exhaustive attention to direct means of exterminating Jews, by using gas chambers, torture, starvation, disease, and intolerable conditions in ghettos and camps, and by the Einsatzgruppen. In some circles, the term “Holocaust” has become the ultimate description of horror or horrific events. The Nazi medical experiments and practices are an example of these. Nazi medical science played a central and crucial role in creating and implementing practices designed to achieve a “Master Race.” Doctors interfered with the most intimate and previously sacrosanct aspects of life in these medical experiments – reproductive function and behavior – in addition to implementing eugenic sterilizations, euthanasia, and extermination programs. Manipulating reproductive life – as a less direct method of achieving the genocide of Jews – has been less acknowledged. The Nazis prevented those regarded as not meeting idealized Nazi racial standards – and particularly Jewish women – from having sex or bearing children through legal, social, psychological and biological means, as well as by murder. In contrast, they promoted reproductive life to achieve the antithesis of genocide – the mass promotion of life – among those deemed sufficiently “Aryan.” Implementing measures to prevent birth is a core feature of the UN Convention on the Prevention and Punishment of Genocide. As with many other aspects of the Holocaust, science and scientists were inveigled into providing legitimacy for Nazi actions. The medical profession was no exception and was integrally involved in the manipulation of birth to implement the Holocaust.