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
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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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Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq)
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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Luz, Juliana Homem da. "Do horror ao amor." Florianópolis, SC, 2009. http://repositorio.ufsc.br/xmlui/handle/123456789/92882.
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Disertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Ciencias da Saude. Programa de Pós-Graduação em EnfermagemMade available in DSpace on 2012-10-24T13:30:35Z (GMT). No. of bitstreams: 1 265364.pdf: 2738493 bytes, checksum: a056cab2620ad9deedb8d88a9ab90ae4 (MD5)
O presente estudo trata de uma Pesquisa Convergente Assistencial de abordagem qualitativa, cujo objetivo geral foi compreender o significado de estar hospitalizado no cotidiano de crianças e adolescentes com doenças crônicas. O Interacionismo Simbólico foi o referencial teórico que apoiou toda a trajetória da pesquisa desenvolvida no segundo semestre de 2008, no Hospital Infantil Joana de Gusmão, situado em Florianópolis # SC. Os sujeitos participantes foram uma criança com leucemia e três adolescentes, sendo dois com insuficiência renal crônica e um com osteogênese imperfeita, que vivenciam o cotidiano da doença crônica e da hospitalização. A coleta de dados foi realizada através do processo de interação em enfermagem, utilizando-se a técnica de observação participante, baseada na escuta sensível e no desenho infantil. Durante o processo de interação reforçou-se a concepção, de que o desenho não foi apenas uma estratégia eficaz que permitiu a expressividade das crianças e dos adolescentes em relação às interações vivenciadas no cotidiano da sua hospitalização, mas, também, possibilitou momentos agradáveis aos sujeitos, permitindo a expressão de seus sentimentos, criatividade e imaginação, fazendo com que eles reflitam sobre sua situação de saúde-doença e hospitalização de uma forma sensível. A análise dos dados seguiu quatro processos: apreensão, síntese, teorização e transferência. Ao analisar os significados encontrados, percebeu-se a sintonia desses tanto com os pressupostos e os conceitos sensíveis trazidos pelo Interacionismo Simbólico, quanto com os aspectos que envolvem o comportamento e a resposta de crianças e adolescentes frente ao cotidiano da doença crônica e da hospitalização. De tal modo que estar hospitalizado significa: estar doente, longe de casa, exposto a procedimentos dolorosos, sentir tristeza, sofrimento, nervosismo, ter vontade de chorar e responder com agressividade em alguns momentos, ao mesmo tempo, em que significa ter possibilidades de tratamento e cura, ser cuidado por enfermeiros, médicos, outros profissionais e pela família, fazer novas amizades, estar em reciprocidade com a natureza e vivenciar #experiências agradáveis# através do cuidado, da paixão, do amor, da felicidade e de brincadeiras. Dos significados encontrados, destacou-se a capacidade da criança e dos adolescentes em reagrupá-los e transformá-los sob o olhar da situação na qual estão inseridos, tudo isso, expressos através de seus lindos desenhos, permeados de significados e lições de vida. This study is about a Caring Convergent Research of qualitative approach, with the general aim of understanding the meaning of being hospitalized in the daily lives of children and teenagers with chronic diseases. Symbolic Interactionism was the theoretical referential that supported the pathway of research developed during the second semester of 2008, at Joana de Gusmao children.s Hospital, in Florianopolis . SC. Participants were a child with leukaemia and three teenagers, two with chronic kidney failure and one with osteogenesis imperfecta, living the daily life of the chronic disease and hospitalization. Data collection was done by an interaction process in nursing, making use of participant observation, based on sensitive hearing and child drawing. During the interaction process it was reinforced that the conception that drawings are not just an effective strategic that allows children and teenager.s expressivity in relation to lived interactions in their daily hospitalization lives, but also it allows for pleasant moments to the patients, allowing the expression of their feeling, their creativity and imagination, where they can reflect on their health-disease situation and hospitalization in a sensible manner. Analysis of data was done in four processes: apprehension, synthesis, theorization and transference. By analysing resulting meanings, the wavelength of these was perceived as well as the sensible presumptions and concepts presented by the Symbolic Interactionism, as well as aspects involving behaviour and answers of children and teenagers upon the daily life of chronic diseases and hospitalization. In a way that being hospitalized means: being sick, away from home, exposed to painful procedures, feeling sad, suffering, being nervous, wanting to cry and to answer aggressively at some times, and at the same time, it means having possibilities of treatment and cure, being cared by nurses, doctors and other professionals and by family members, making new friends, being in reciprocity with nature and experiencing ¡°pleasant experiences¡± through care, passion, love, happiness and games. From the meanings found, it was prominent the ability of the child and teenagers in regrouping these and changing them under the view of the situation they are inserted into, all of that, expressed by their beautiful drawings, permeated by meanings and lessons for life.
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Scales, Adam. "Logging into horror's closet : gay fans, the horror film and online culture." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59454/.
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Harry Benshoff has boldly proclaimed that ‘horror stories and monster movies, perhaps more than any other genre, actively invoke queer readings’ (1997, p. 6). For Benshoff, gay audiences have forged cultural identifications with the counter-hegemonic figure of the ‘monster queer’ who disrupts the heterosexual status quo. However, beyond identification with the monstrous outsider, there is at present little understanding of the interpretations that gay fans mobilise around different forms and features of horror and the cultural connections they establish with other horror fans online. In addressing this gap, this thesis employs a multi-sited netnographic method to study gay horror fandom. This holistic approach seeks to investigate spaces created by and for gay horror fans, in addition to their presence on a mainstream horror site and a gay online forum. In doing so, this study argues that gay fans forge deep emotional connections with horror that links particular textual features to the construction and articulation of their sexual and fannish identities. In developing the concept of ‘emotional capital’ that establishes intersubjective recognition between gay fans, this thesis argues that this capital is destabilised in much larger spaces of fandom where gay fans perform the successful ‘doing of being’ a horror fan (Hills, 2005). This, I argue, illustrates that gay horror fandom is constructed and performed differently across fan spaces as a means to articulate gay identity in culturally meaningful ways. In presenting the voices of gay fans, the significance of this thesis lies in challenging existing models of horror fandom by suggesting its multiplicity for the fans researched. Indeed, whilst the ‘knowledgeability’ (Hills, 2005) of horror fans is important, this study explores the meaningful connections that gay fans establish with one another and the cultural significance of horror to the identity work of fans across distinctive online spaces.
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Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.
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Yau, Suk-ying Shirley. "Where has all the horror gone? : a study of horror in contemporary cinema /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B42575175.
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Hutchings, Peter. "The British horror film : an investigation of British horror production in its national context." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329537.
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Dutra, Daniel Iturvides. "O horror sobrenatural de H. P. Lovecraft : teoria e praxe estética do horror cósmico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128999.
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H.P. Lovecraft, em seus ensaios e cartas, nos oferece uma reflexão riquíssima sobre a narrativa de horror e como esta deve se expressar na literatura. O autor cunhou o termo Horror Cósmico para denominar sua teoria estética. Porém, mais do que ser uma teorização sobre o horror na literatura, o Horror Cósmico é uma teorização sobre como deve ser a narrativa que Lovecraft julga ser a ideal para as histórias que deseja contar. Nessa perspectiva, a análise de sua ficção, acompanhado dos conhecimentos adquiridos pela análise pormenorizada de seus ensaios e cartas sobre o tema, permitem ao leitor compreender melhor sua obra, chegando assim a uma interpretação aproximadamente correta de sua ficção. O objetivo deste trabalho, portanto, é compreender como suas teorizações se refletem em seus textos ficcionais. Os contos e respectivas transposições fílmicas selecionadas foram analisados sobre o prisma destas teorizações. Para alcançarmos esse objetivo primeiro analisamos os seus contos comparativamente com os textos não ficcionais, a fim de compreendermos a forma como o autor expressa o conceito de Horror Cósmico em sua prosa ficcional. Após a compreensão dos elementos teóricos de Lovecraft em sua ficção, analisamos as transposições fílmicas selecionadas sob esse mesmo prisma. Pesquisas bibliográficas foram realizadas com o objetivo de construir um referencial teórico para a abordagem proposta.H.P. Lovecraft, in his essays and letters, offers the reader powerful insights into the subject of horror and how it should be expressed in literature. The author coined the term Cosmic Fear to name his aesthetic theory. However, in addition to being a theory about horror in literature, Cosmic Fear is a theory about how the ideal horror story (as Lovecraft wishes to write it) should be. From this perspective, the analysis of Lovecraft´s fiction, accompanied by the knowledge acquired through a detailed analysis of his essays and letters on the subject, allows the reader to better understand his work, thus reaching an approximately correct interpretation of his fiction. The goal of our research, therefore, is to understand how Lovecraft´s aesthetic theory works in his fiction. The short stories, novels and the filmic transpositions we selected for this research were analyzed under the prism of these theories. To achieve this goal we analyzed his fiction by comparing it first to his non-fiction in order to understand the concept of Cosmic Fear in his fiction. After understanding Cosmic Fear in Lovecraft´s fiction, we analyzed the selected filmic transpositions under the same prism. Bibliographic references were used with the purpose of building a theoretical framework for the proposed approach.
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Lewitzki, Alexander. "Taking control of the horror : Working with visuals in the psychological horror game genre." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-63981.
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Horror, one of the most popular genres of entertainment, can be quite hard to get right. This report explores the visual subject of psychological horror in games, aiming to answer the following questions: How is the genre handled in movie production? How have previous game developers done this, both for bigger productions as well as indie games? How well did the chosen movies and games manage to translate the horror feeling into the visuals? The chosen method to determine this is image analyses and surveys. The results showed that there are not many differences between how the genre is handled in movies compared to games, though there are a few. Results from the surveys showed that games are more often perceived scary and disturbing on a higher degree than movies.Skräck, en av de mest populära genrerna inom underhållning, kan vara ganska svår att få till. Den här rapporten utforskar de visuella ämnenena inom psykologisk skräck i spel, utifrån följande frågeställningar: Hur hanteras genren inom filmproduktion? Hur har tidigare spelutvecklare genomfört detta, både för större produktioner och för indiespel? Hur väl har de utvalda filmerna och spelen lyckats översätta skräckkänslan i det visuella? Den valda metoden för att fastlägga detta är bildanalyser och enkätundersökningar. Resultaten visar att det inte finns många skillnader mellan hur genren hanteras inom film jämfört med spel, även om det finns några. Resultat från enkätundersökningarna visar på att spel oftast ses som läskigare och obehagligare på en högre nivå än filmer.
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Jeknavorian, Michael. "The Pessimism of Horror Cinema: A Comparative Study Between Modernist and Postmodernist Horror Cinema." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/2029.
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This qualitative thesis examines levels of pessimism as they relate to modern and postmodern horror cinema. Beyond assumed differences in levels of pessimism between the two genres, the study also examines implicit and explicit moralization of these categories. Specifically, the study questions if postmodern horror cinema's characteristic increase in pessimism is simply a change in the genre's convention, yet a change that is irrespective of either genre's capabilities to moralize. First, the study singularly examines the conventions of each genre as it relates to levels of pessimism. Second, the study discusses works that bridge the two genres. And third, the study speculates on the future of pessimism in postmodern horror cinema, specifically examining the genre's increased reliance on a combination of narrative and documentary techniques. In addition, this study uses content analysis as its methodological framework, whereby representative works of horror cinema (the data) are subjected to in-depth personal reading and textual analysis given the levels of pessimism between the two genres (the coding) via text immersion. Nonetheless, this study should be viewed more as a guided and informed exploration of certain characteristics regarding the genres and less of a defense since the data will not be quantified.
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GURGEL, PATRICIA PALOMBINI DE ALENCAR. "HORROR NEWS: A PSYCHOANALYTIC STUDY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30537@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente trabalho tem como objetivo fazer da exposição do horror pela indústria da comunicação um meio de abordagem, talvez privilegiado, de determinadas formas de experiência de algo do real - tal como Lacan o concebeu no Seminário 17, a saber, como o impossível - na cultura. Partiremos da premissa de que toda experiência de real se dá na cultura-linguagem, o que não nos compromete com a crença na homogeneidade dessa experiência. Formularemos, então, duas possíveis hipóteses. A primeira é de que se pode ter notícias do real sobre a forma de ruptura. Já em nossa segunda hipótese, examinaremos se podemos ter dele notícias de forma adequada ao funcionamento e aos objetivos culturais. Tomaremos esse recorte teórico como a base para a nossa análise sobre o horror, verificando em que medida a exposição do horror pela indústria da comunicação pode entrar em conformidade com nossas duas hipóteses. O chiste e a latusa nos servirão, desse modo, como vias de acesso a experiências com algo do real, uma vez que tais experiências se dão a partir do objeto e são internas às criações culturais. Será pela via desses conceitos que entenderemos que o capitalismo e a psicanálise possuem um importante ponto de contato e será também através deles que tentaremos apontar para um ponto fundamental em que a psicanálise e os ditos da indústria da comunicação se diferenciam.
The objective of this paper is to make the communication industry s exposition of horror be a perhaps privileged way of approaching certain forms of experiencing something real - as Lacan conceived in Seminar 17, that is, like the impossible - in culture. We will rely on the premise that all experience of what is real takes place in culture-language, which does not require us to the believe in the homogeneity of that experience. We will formulate, then, two possible hypotheses. The first is that one can have real news about the form of rupture. In our second hypothesis, we will examine whether we can receive real news in a way that is adequate to cultural functioning and goals. This theoretical framework will be the basis for our analysis of horror, verifying to what extent the communication industry s exposition of horror conforms to our two hypotheses. Wit and latusa will thereby serve as paths of access to experiences with something real to them, since such experiences come from the object and are internal to cultural creations. It will be by means of these concepts that we will understand that capitalism and psychoanalysis have an important point of contact, and it will also be through them that we will try to indicate a fundamental point in which psychoanalysis and the communication industry s messages differ.
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Camargo, Ailton Luiz. "O horror em Horácio Quiroga." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-11122015-143426/.
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A proposta deste trabalho é refletir de que forma a construção do horror presente em alguns contos de Horácio Quiroga revela aspectos da dicotomia, civilização e barbárie do Facundo de Sarmiento. Trata-se de buscar entender os contornos que o horror recebe deste contista uruguaio, a partir do horizonte estético e temático das suas influências ou pressupostos, bem como discutir alguns aspectos possíveis do Estado Nacional Argentino em suas fantasmagorias, enquanto espaço de inclusão e exclusão de atores e cenários sociais e históricos.The purpose of this paper is to reflect on how the construction of horror in some tales of Horacio Quiroga reveals aspects of dichotomy, civilization and barbarism of Facundo de Sarmiento. It seeks to understand the contours that receives this Uruguayan horror short story writer, from the aesthetic and thematic horizon of their influence or assumptions, as well as discuss some possible aspects of the Argentine Government in its phantasmagoria, for as much as an area of inclusion and exclusion of actors and social and historical settings.
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Terêncio, Marlos Gonçalves. "O horror e o outro." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/122622.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Psicologia, Florianópolis, 2013.Made available in DSpace on 2014-08-06T17:09:43Z (GMT). No. of bitstreams: 1 323944.pdf: 1840861 bytes, checksum: b960be41130b9d5f7c5c4d79c569ce94 (MD5) Previous issue date: 2013
Esta tese objetivou caracterizar a importância do artigo freudiano Das Unheimliche (1919) para a compreensão das teorias da angústia em Freud e Lacan. Com esse enfoque, o trabalho percorreu os principais textos freudianos sobre a angústia, assim como o décimo seminário de Lacan. Os vínculos entre o Unheimlich (aqui traduzido como ?o sinistro?) e a angústia foram desenvolvidos por meio de três grandes eixos que enfatizam a relação do sujeito com o outro especular, com a castração e com o desejo do Outro. Paralelamente, o trabalho dialogou com a ficção de horror na literatura e no cinema. As respostas encontradas demonstraram uma interpenetração dos campos da angústia e do sinistro, cujos conceitos esclarecem-se mutuamente. Em primeiro lugar, enfatizou-se a figura sinistra do duplo presente na ficção de horror como ilustração maior do caráter angustiante e ambivalente presente na relação do sujeito com o seu semelhante. Na sequência, demonstrou-se como o Unheimlich constitui um campo de provas privilegiado para a tese freudiana da fantasia de castração como motor fundamental da angústia. Finalmente, abordou-se, com Lacan, o Unheimlich como expressão fenomenológica da angústia do sujeito perante o desejo do Outro. O sinistro é, enfim, a forma paradigmática da angústia sinal primeiramente teorizada por Freud, alertando o sujeito acerca do perigo de sua posição desamparada de objeto para o desejo e para o gozo do Outro. Para produzir a passagem do tempo do gozo ao tempo do desejo na clínica psicanalítica, observa-se a necessidade da travessia do caráter sinistro da fantasia fundamental, o que leva à queda do Outro consistente ou "monstruoso'?.
Abstract : This thesis aimed to characterize the importance of the freudian article Das Unheimliche (1919) for the understanding of the theories of anguish in Freud and Lacan. With this approach, the paper analyzed the key freudian texts concerning the anguish, as well as Lacan?s tenth seminar. The links between the Unheimlich (translated here as ?the sinister") and the anguish were developed through three major axes that emphasize the subject's relationship with the specular other, with castration and with the desire of the Other. At the same time, the work conversed with horror fiction in literature and cinema. The responses found show an interpenetration of the fields of anguish and the sinister, whose concepts illuminate each other. First, we emphasized the sinister figure of the double in horror fiction as an illustration of the anguished and ambivalent relationship of the subject with his peer. Further, it is shown how the Unheimlich is a favored proving ground for the freudian theory of the castration fantasy as a key driving force of anguish. Finally, along with Lacan, the Unheimlich is approached as a phenomenological expression of the subject?s anguish in relation to the desire of the Other. The sinister is, in short, the paradigmatic form of the signal anguish first theorized by Freud, alerting the subject about the danger of his helpless position of object to the desire and the jouissance of the Other. To produce the passage from the time of jouissance to the time of desire in psychoanalitic clinic, it is necessary to cross the sinister character of the fundamental fantasy, leading to the fall of the consistent or "monstrous" Other.
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Labbate, Ettore. "Horror vocis / horror vacui : formes du vide dans la langue et l'oeuvre de Giacomo Lubrano." Caen, 2009. http://www.theses.fr/2009CAEN1551.
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Le napolitain Giacomo Lubrano (1619-1693), poète et prédicateur jésuite, est l'un des représentants de la fin du baroque littéraire italien. Son œuvre, assez vite oubliée après la mort de l'auteur, n'a été redécouverte par la critique qu'à partir de la deuxième moitié du XXème siècle : les compositions en prose, comme les sermons des Prediche quaresimali, ainsi que les recueils de vers en latin (Suaviludia Musarum ad Sebethi ripam) ou en italien (Scintille poetiche), répondent à une vision moderne du langage, qui, si elle témoigne d’une sensibilité historique bien précise, s'insère de manière plus large dans le cadre d'une réflexion sur l'écriture poétique et oratoire appréhendée comme l'exercice apophatique de la voix (vox) ne pouvant retranscrire le Verbe divin (Verbum). À partir de l'analyse textuelle des trois œuvres mentionnées, notre recherche a donc voulu montrer cette modernité, en dégageant d'une part les caractéristiques d'une poétique du silence propre à G. Lubrano, pour qui le discours est toujours la manifestation d'une aphasie, et en proposant d'autre part la traduction française d'un choix de sonnets tirés des Scintille poetiche
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Jeknavorian, Michael. "The pessimism of horror cinema : a comparative study between modernist and post-modernist horror cinema." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003115.
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Topinka, Jiří. "Golden disc." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232430.
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Wessinger, Alyssa L. "A Deconstruction of Horror, Fear and Terror: Using Horror Films as Didactic Tools in Art Education." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/85.
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This arts-based study discusses using the horror film and monsters as a means of exploring the personification of fear in contemporary society. The paper incorporates the viewing and dissection of horror films into an artistic process to explore fears in order to further artistic expression. It additionally shows how this process can be used in an art classroom within the context of contemporary art to empower students and facilitate art criticism discussions.
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Harrington, Erin Jean. "Gynaehorror: Women, theory and horror film." Thesis, University of Canterbury. Cultural Studies, School of Humanities and Creative Arts, 2014. http://hdl.handle.net/10092/9586.
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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of this subgenre outside of the dominant modes of inquiry by placing an emphasis upon philosophies of sex, gender and corporeality, rather than focussing on psychodynamic approaches. Thirdly, I consider not only what these theories may do for the study of horror films, but what spaces of inquiry horror films may open up within these philosophical areas.
To do this, I focus on six broad streams: the current limitations and opportunities in the field of horror scholarship, which I augment with a discussion of women’s bodies, houses and spatiality; the relationship between normative heterosexuality and the twin figures of the chaste virgin and the voracious vagina dentata; the representation and expression of female subjectivity in horror films that feature pregnancy and abortion; the manner in which reproductive technology is bound up within hegemonic constructions of gender and power, as is evidenced by the figure of the ‘mad scientist’; the way that discourses of motherhood and maternity in horror films shift over time, but nonetheless result in the demonisation of the mother; and the theoretical and corporeal possibilities opened up through Deleuze and Guattari’s model of schizoanalysis, with specific regard to the 'Alien' films. As such, this thesis makes a unique contribution to the study of women in horror film, while also advocating for an expansion of the theoretical repertoire available to the horror scholar.
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Gibbons, Anne-Louise Carleton University Dissertation English. "Horror and terror: Lovecraft's alienated protagonists." Ottawa, 1985.
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Bodley, Antonie Marie. "Gothic horror, monstrous science, and steampunk." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Summer2009/a_bodley_052109.pdf.
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Stewart-Shaw, Lizzie. "The cognitive poetics of horror fiction." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/43340/.
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This thesis explores the emotional experience of reading horror fiction from a cognitive-poetic perspective. The approach adopted in this thesis combines thorough consideration of Text World Theory, attention and resonance, emotion studies, and online reader responses to provide a detailed analysis of the texture of the horror-reading experience. Three classic contemporary horror novels are the analytical focus of this investigation: Ira Levin’s (1967) Rosemary’s Baby, Stephen King’s (1986) IT, and William Peter Blatty’s (1971) The Exorcist. These popular novels were chosen for their ability to evoke anxiety, fear, and disgust in readers, respectively. The primary intention of this thesis is to be an original contribution to the fields of stylistics, cognitive poetics, and the literary critical understanding of horror fiction. This thesis argues for a multifaceted approach to understanding the emotional experience of horror fiction, which is considered in terms of movement. As the conceptual metaphor EMOTION IS MOVEMENT recurs as an experiential effect of the horror-reading process throughout the reader-response data in this thesis, the frameworks applied aim to give insight to the readerly experience of conceptual movement. This thesis proposes that negation and other negatively oriented lexis establish the macabre ambience of the text-world space and that manipulation of movement through world-switching contributes to negative emotions evoked through the experience of these horror text-worlds.
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Melo, Marcelo Briseno Marques de. "ZÉ DO CAIXÃO: PERSONAGEM DE HORROR." Universidade Metodista de São Paulo, 2010. http://tede.metodista.br/jspui/handle/tede/894.
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Previous issue date: 2010-03-15This work attempts to understand the character Zé do Caixão (Coffin Joe) in two correlated aspects: 1) As a character which can be classified as one that belongs to the horror genre and; 2) Using a comparative procedure between this character and the character of Dracula, a central reference in the horror genre. To subsidize this discussions, firstly, we set up the main lines of a theoretical framework of the concept of the horror genre; after that, we focus in the construction of Dracula as a character. Finally, we concern ourselves with the character of Zé do Caixão, attempting to understand his specificity within the genre.(AU)
Esse trabalho busca entender a personagem Zé do Caixão em dois aspectos correlacionados: 1) enquanto uma personagem passível de ser classificada como pertencente ao gênero horror e; 2) no enfoque comparativo entre essa personagem e a personagem Drácula, referência central no gênero horror. Para subsidiar essas discussões, em primeiro lugar, esboçamos as linhas principais de um quadro teórico conceitual do gênero horror; e a seguir, nos detivemos na construção da personagem Drácula. Por fim, nos detemos na personagem Zé do Caixão buscando entender sua especificidade dentro do gênero.(AU)
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Krause, Shane Peter. "Not welcome : writing horror in Australia." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16449/1/Shane_Krause_-_Acolytes.pdf.
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"Not Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called "Not Welcome": Writing Horror in Australia.
The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the "truth" is often murky and far from clear-cut.
The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.
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Krause, Shane Peter. "Not Welcome: Writing Horror in Australia." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16449/.
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"Not Welcome" is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called "Not Welcome": Writing Horror in Australia. The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it's an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse--it has a true crime-scene ambience. The power of the story lies in its truth--the truth that it seeks to uncover and the truth of the style of its telling--and, just as is the case with real-life crime, the "truth" is often murky and far from clear-cut. The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects.
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Doria, Kim Wilheim. "O horror não está no horror: cinema de gênero, anos Lula e luta de classes no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-09032017-104856/.
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Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a dinâmica sociopolítica na história recente do país.This work aims to interpret the dialogue made by works of contemporary Brazilian cinema with the repertoire of genre cinema. As from issues raised by film analysis of works such as The Trespasser (Beto Brant, 2002) and Hard Labour (Juliana Rojas and Marco Dutra, 2011), it seeks to reflect on the totalizing discourse formally operated in the contemporary fiction cinema, on the canonical values of our critical tradition and its relation to film genres and on the socio-political dynamics in Brazil\'s recent history.
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Donaldson, Lucy Fife. "Engaging with Performance in Post-Studio Horror." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533781.
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Wilkinson, Simon Andrew. "Exploiting fear : directing the Hollywood horror franchise." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:7053.
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Downes, Sarah. "Bodily sensation in contemporary extreme horror film." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17114.
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Bodily Sensation in Contemporary Extreme Horror Film provides a theory of horror film spectatorship rooted in the physiology of the viewer. In a novel contribution to the field of film studies research, it seeks to integrate contemporary scientific theories of mind with psychological paradigms of film interpretation. Proceeding from a connectionist model of brain function that proposes psychological processes are underpinned by neurology, this thesis contends that whilst conscious engagement with film often appears to be driven by psychosocial conditions – including cultural influence, gender dynamics and social situation – it is physiology and bodily sensation that provide the infrastructure upon which this superstructure rests. Drawing upon the philosophical works of George Lakoff, Mark Johnson and Alain Berthoz, the argument concentrates upon explicating the specific bodily sensations and experiences that contribute to the creation of implicit structures of understanding, or embodied schemata, that we apply to the world round us. Integrating philosophy with contemporary neurological research in the spheres of cognition and neurocinematics, a number of correspondences are drawn between physiological states and the concomitant psychological states often perceived to arise simultaneously alongside them. The thesis offers detailed analysis of a selection of extreme horror films that, it is contended, conscientiously incorporate the body of the viewer in the process of spectatorship through manipulation of visual, auditory, vestibular, gustatory and nociceptive sensory stimulations, simulations and the embodied schemata that arise from everyday physiological experience. The phenomenological film criticism of Vivian Sobchack and Laura U. Marks is adopted and expanded upon in order to suggest that the organicity of the human body guides and structures the psychosocial engagement with, and interpretation of, contemporary extreme horror film. This project thus exposes the body as the architectural foundation upon which conscious interaction with film texts occurs.
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Ainslie, Mary Jane. "Contemporary Thai horror film : a monstrous hybrid." Thesis, Manchester Metropolitan University, 2012. http://e-space.mmu.ac.uk/556479/.
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This thesis aims to dispute derogatory and disdainful attitudes towards contemporary Thai film, ones that follow a long history of viewing Thailand and Thai culture as inferior. Through conducting a case study of the popular horror genre I illustrate that New Thai cinema follows a hybrid film form that has resulted in such condescending interpretations. This is an amalgamation of an earlier post-war 'characteristically Thai' film style that is a product of the lower-class rural context and the globally dominant EuroAmerican 'Natural Language' of horror. Furthermore, I illustrate that while Thai film in the post-war era targeted the provincial lower-classes, the post-97 New Thai industry has now shifted to an elite-sponsored model that promotes social conformity in the face of social crisis. My research indicates that the continued presence of lower-class characteristics from this earlier era of film disrupts the ideologically conservative agenda of New Thai productions and functions as a traumatic expression of lower-class subjectivity in this increasingly elitist age. The film form of contemporary Thai productions can therefore ultimately be attributed to the continuing and increasing level of social inequality within the country and the increasing political polarisation of Thai society in recent years.
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Bottos, Júnior Norival. "O Ritornelo do Horror em Milton Hatoum." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8382.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This study seeks to reflect on the theme of postcolonial horror in the Amazon region and understand it as a fundamental aesthetic-political category in Milton Hatoum's four early novels as a crucial category in the early four novels of Milton Hatoum, Relato de um Certo Oriente (2014), Dois Irmãos (2007), Órfãos do Eldorado (2008) e Cinzas do Norte (2012). The main goal of this research is to understand how the impression of horror becomes inseparable from the ills of the contemporary Amazonian world. According to Luiz Costa Lima (2003), the origin of modern horror refers to the European colonial expansion in the African and Asian continents from the sixteenth century until it reached the shores of the American continent, precipitating to the modern man, victim of colonial and postcolonial exploitation, into the abyss from which he can not return anymore. Epistemologically the horror could be considered an inseparable part of the experience of mankind born in the marginalized regions of the world, including the marginalized of the West itself. We analyze in this thesis three fundamental aspects of modern horror considered fundamental and that are connected in the formation of the ritornello, be it in terms of territory, deterritorialization and reterritorialization, physical or in existential terms: the resonances of the colonial adventure on the African continent reflected in the works of Joseph Conrad, especially the novel In the Heart of Darkness (2010), which prefigures the foundations of the horror of postcolonial extraction that will be reflected in the works of authors appearing in the peripheral regions of the Western world, as seems to be the case of the Amazonian writer Milton Hatoum; the role of the "minor writer", a term coined by Gilles Deleuze (2014), and which concerns the political status of the writer who must assume the role in resisting the petrified image of authoritarian forms of domination through official language, is also discussed to the writer of the margins to sabotage and to destabilize the discourse of the colonizer, breaking with its political and cultural precepts. Finally, it is reflected on the extreme figure of the horror, namely, the image of the narrator who must rescue the past and the memory through the use of the witness, an interval figure, present and absent at the same time, the one who has to report what , however, belongs to the unspeakable, the experience of the unheard and silence, the supreme requirement of the narrators in Milton Hatoum reside in this ambiguous task, the obligation to report what can not in any way be said, the memory of the narrators becomes insufficient in the task of salvaging the debris of the past the Amazonian world that disappeared. This idea refers to the concept of ritornello proposed by Gilles Deleuze and Félix Guattari (2011) and meaning a return without return of a ruined cycle that, however, does not come to an end. As a methodology, we use bibliographical research, especially the epistemological current that is part of the so-called philosophy of the difference, such as Jacques Derrida (2005), Edward W. Said (2009), Michel Foucault (2010), Giorgio Agamben (2008), Gilles Deleuze and Félix Guattari (2011). Among the possible conclusions, we observe that in these four novels dealing with a recent historical period in the history of the Amazon, they constitute a true cartography of the physical and psychic violence perpetrated by the successive waves of European colonization and exploration in the region. It was also possible to conclude that the way the region stood against oppression was by way of silence, an instrument of resistance capable of transforming even memory into an intriguing system of ruins. The last conclusion is that the narrators are not able to carry through to the final form of the testimony of destruction and violence of the horror. Witnessing in this case means witnessing to the limitless experience of the unspeakable.
Este estudo busca refletir sobre o tema do horror pós-colonial na região amazônica e entendê-lo como uma categoria estético-política fundamental nos quatro romances iniciais de Milton Hatoum, Relato de um Certo Oriente (2014), Dois Irmãos (2007), Órfãos do Eldorado (2008) e Cinzas do Norte (2012). O objetivo principal desta pesquisa é analisar de que maneira a impressão do horror se torna indissociável das mazelas do mundo amazônico contemporâneo. De acordo com Luiz Costa Lima (2003), a origem do horror moderno remete à expansão colonial europeia nos continentes africanos e asiáticos desde o século XVI até atingir as margens do continente americano, precipitando o homem moderno, vítima da exploração colonial e pós-colonial, para o abismo do qual não poderá retornar. O horror se constituiria, nesse caso, numa parte inseparável da experiência do homem que nasce nas regiões marginalizadas do mundo, incluindo o próprio Ocidente. Analisamos nesta tese três aspectos fundamentais do horror moderno considerado fundamental e que se conectam na formação do ritornelo, seja em termos de território, desterritorialização e reterritorialização, física ou em termos existenciais: as ressonâncias da aventura colonial no continente africano refletidas nas obras de Joseph Conrad, especialmente o romance No Coração das Trevas (2010), que prefigura as bases do horror de extração pós-colonial que se refletirá nas obras de autores surgidos nas regiões periféricas do mundo ocidental, como nos parece o caso do escritor amazonense Milton Hatoum; também se discute o papel do “escritor menor”, termo cunhado por Gilles Deleuze (2014) e que diz respeito ao estatuto político do escritor que deve assumir o papel na resistência contra a imagem petrificada das formas autoritárias de dominação através da linguagem oficial, caberia ao escritor das margens sabotar e desestabilizar o discurso do colonizador, rompendo com seus preceitos culturais, políticas e culturais. Por fim, reflete-se sobre a figura extrema do horror, a saber, a imagem do narrador que deve resgatar o passado e a memória através do recurso da testemunha, figura intervalar, presente e ausente ao mesmo tempo, aquele que cabe relatar o que, no entanto, pertence ao indizível, a experiência do inaudito e do silêncio, a exigência suprema dos narradores em Milton Hatoum residem nesta tarefa ambígua, a obrigação de relatar o que não pode de forma alguma ser dito, a memória dos narradores se torna insuficiente na tarefa de resgatas dos escombros do passado o mundo amazônico que desapareceu. Tal ideia remete ao conceito de ritornelo proposto por Deleuze e Guattari (2011) um retorno sem retorno de um ciclo arruinado que, no entanto, não chega a seu termo. Como metodologia , servimo-nos de pesquisa bibliográfica, especialmente a corrente epistemológica que se insere na chamada filosofia da diferença, como Jacques Derrida (2005), Edward W. Said (2009), Michel Foucault (2010), Giorgio Agamben (2008), Gilles Deleuze e Félix Guattari (2011). Entre as conclusões possíveis, observamos que nestes quatro romances que tratam de um período histórico recente na história do Amazonas, constituem uma verdadeira cartografia da violência física e psíquica perpetradas pelas sucessivas ondas de colonização e exploração europeias na região. Pôde-se concluir também que a forma como a região se posicionou contra a opressão foi pela via do silêncio, instrumento de resistência capaz de transformar até mesmo a memória em um intrigado sistema de ruínas. A última conclusão é de os narradores não são capazes levar a termo a forma final do testemunho de destruição e violência do horror. Testemunhar, nesse caso, significa dar testemunho da experiência limite do indizível.
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Stropa, Rogério Vicente. "A poética do horror em Amândio Sobral." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19338.
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This work aims to find the restricted terror literature field in Brazil; for this, we analyzed the horror effects present in three tales of the author Amândio Sobral: O homem que matou um morto, A estranha cavalgada de Ivan Palinskyand A podridão viva, these stories present in the work Contos Exóticos, published in 1934. For the realization such intent, the dissertation is divided into four chapters. In the first, Tale: a genre that says a lot in a few words, we analyze the theories of the story in order to point out the main characteristics of this genre. We rely here on considerations made by theorists such as Julio Cortazar, Ricardo Piglia and Edgar Allan Poe. In the second chapter, horror aesthetic variations, we analyze the fantastic genre and its relationship with the unusual, gothic, horror, the grotesque and the sublime. For this we use the theories of Marcelo Briseno Marques de Melo, Maurício Cesar Menon, Wolfgang Kayser, Tzvetan Todorov and Lainister de Oliveira Esteves. The third chapter, Amândio Sobral: a seemingly text out of context, in turn, has the purposeof presenting the author and his context and point out some of its predecessors literary influences regarding the use of the horror and the fantastic in literature Brazil, using this aspect, the reflections of Antonio Candido, Alfredo Bosi, Randal Johnsonand Luis Bueno. At last, Suspense, fear and horror: the tales of Amândio Sobral, we present the analysis of the works and the strategies employed by the author to generate the horror effect and fear in his short stories, using, for this, the H.P. Lovecraft considerations, Alcides Ribeiro, Gaston Bachelard and Benedito Nunes
Este trabalho tem a finalidade de pesquisar o restrito campo da literatura do terror no Brasil; para isso, analisamos os efeitos de terror presentes em três contos do autor Amândio Sobral: O homem que matou um morto, A estranha cavalgada de Ivan Palinskye A podridão viva, contos esses presentes na obra Contos Exóticos, publicada em 1934. Para a realização de tal intento, a dissertação está dividida em quatro capítulos. No primeiro deles, Conto: um gênero que diz muito em poucas palavras, analisamos as teorias sobre o conto, a fim de apontarmos as principais características desse gênero. Baseamo-nos, aqui, nas considerações feitas por teóricos como Julio Cortázar, Ricardo Piglia e Edgar Allan Poe. No segundo capítulo, Variações da estética do horror, analisamos o gênero fantástico e sua relação com o insólito, o gótico, o terror, o grotesco e o sublime. Para isso, fizemos uso das teorias de Marcelo Briseno Marques de Melo, Maurício Cesar Menon, Wolfgang Kayser, Tzvetan Todorov e Lainister de Oliveira Esteves. O terceiro capítulo, Amândio Sobral: um texto aparentemente fora do contexto, por seu turno, tem a finalidade de apresentar o autor e seu contexto, bem como apontar algumas de suas predecessoras influências literárias no que concerne ao uso do horror e do fantástico na literatura brasileira, recorrendo, neste aspecto, às reflexões de Antônio Candido, Alfredo Bosi, Randal Johnson e Luís Bueno. No último, Suspense, medo e horror: os contos de Amândio Sobral, apresentamos a análise das obras e as estratégias empregadas pelo autor para gerar o efeito de horrore medo em seus contos, utilizando, para isso, das considerações de H.P. Lovecraft, Alcídes Ribeiro, Gaston Bachelard e Benedito Nunes
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Hitchcock, Stuart John. "The veneer of fear : understanding movie horror." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/402369/.
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Over the past half century, theorists have grappled with the issue that spectators engage with, and are emotionally affected by, fiction. In particular, film fiction has aroused interest because of the strength of emotional response. Traditional thinking about film accepted that illusion was a component of a spectator’s experience of film. However, contemporary theory has veered significantly from this and assumed that the spectator is always aware of the fictional nature of the content. In this thesis I argue that certain horror movies do, in fact, lead to an experience that is best characterized and understood in terms of illusion. Analysing key theories that attempt to explain an audience’s emotional responses to fiction, I aim to demonstrate that popular non-illusionistic theories fail to acknowledge both sides of the filmatic relationship (the spectator and the film) and have mistakenly attempted to provide an explanation for all emotional responses across media. A more refined approach is needed, both to emotion and the medium through which it is evoked. Thus, I incorporate an empirical analytical method in my philosophical project, analysing a number of paradigm horror movies and drivers of film spectatorship, to demonstrate how conditions for illusion are present. I also place emphasis on the phenomenological account of the spectator. My thesis offers an account of a type of horror movie experience that considers both the causal and conceptual issues of emotionally responding to film fiction. This explanation also offers a solution to the paradox of fiction but one that is not required to accord with those that attempt to explain other emotions evoked by works of art.
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Persson, Jens Alexander. "Puzzles combined with horror in digital games." Thesis, Malmö högskola, Fakulteten för teknik och samhälle (TS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20948.
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Den här uppsatsen handlar om hur pussel och skr äck kan kombineras i ett och sammadigitala spel. Hur man som utvecklare kan f å en j ämn balans mellan skr äcken och pusslensom presenteras f ör spelaren i spelet. Den typ av skr äck som den h ar uppsatsen har fokuspå är genren 'Survival-Horror' och anv änder sig av den typ av skr äck som i digital spelkategoriserats som 'Survival-Horror'-spel.Den här uppsatsen visar en analys av 'Survival-Horror', samlar information om pusseloch skr äck f or att utforma en hypotes hur dessa kan kombineras. F ör att kontrolleraom hypotesen st ämmer utf ördes en intervju innan pussel- och skr äckmomenten implementeradesi ett digitalt spel. Efter implementationerna genomf ördes det speltester i tv åomg ångar f ör att analysera resultatet mellan de tv å omg ångarna.
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Christensen, Michelle Rae. "MONSTROUS FUTURES: QUEER-POSTHUMANITY IN TELEVISED HORROR." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1470441501.
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Schönfuß-Krause, Renate. "Ein Horror-Erlebnis - Der Pferdewagen ohne Kutscher." Teamwork Schönfuß, 2021. https://slub.qucosa.de/id/qucosa%3A75274.
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Es geschah nicht selten, dass am frühen Abend ein Pferdewagen, hoch beladen mit aufgetürmtem Heu oder mit Strohgarben, die Lotzdorfer Straße entlangfuhr. Hohl klapperten die Pferdehufe auf dem Straßenpflaster, und wie bei einem Geisterfahrer war kein Mensch bei dieser seltsamen Fuhre zu sehen... Was steckte dahinter? Über die schwere Arbeit der Bauern beim Einbringen der Ernte.
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Årnell, Tobias, and Nikola Stojanovic. "Horror game design – what instills fear in the player? : A study on the effects of horror game design theories and level design patterns on player behaviour in a horror environment." Thesis, Södertörns högskola, Medieteknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-40778.
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This research paper aimed to study how to make a scary horror game and what in turn makes these games scary. This study utilizes an original game called The House specifically designed and created by us. This is done in order to study the effects of implementing level design and navigation patterns and horror game design theories in an original horror game on player behaviour and reaction in relation to these theories. The study was done with the use of 10 participants, who each took part in a 15 minute play session, and were later interviewed using the data gathering method stimulated recall. The result of the study shows that level design had no significant effect on the amount of fear that the participants expressed. The implementation of proven horror game design theories proved successful at contributing to the general horror experience, and combining elements of level design and horror game theories in horror game design proved successful at scaring the participants.Denna forskningsstudie syftade till att studera hur man skapar och designar ett skrämmande skräckspel och vad som gör ett skräckspel skräckinjagande. Denna studie använder ett originellt spel vid namn The House som var specifikt utformat och skapat av oss. Detta gjordes för att studera effekterna av implementering av nivå design och navigationsmönster samt skräckspelsteorier på spelarens beteende och reaktion i relation till dessa teorier. Studien gjordes med användning av 10 deltagare, som var och en deltog i en 15-minuters spelsession och intervjuades senare med hjälp av datainsamlingsmetoden stimulated recall. Resultatet av studien visar att nivådesign inte hade någon signifikant effekt på mängden rädsla som deltagarna uttryckte. Implementeringen av beprövade teorier om skräckspelsdesign visade sig framgångsrika då de bidrog till den allmänna skräckupplevelsen, och att kombinera element av nivådesign och skräckspelsteorier i skräckspelsdesign visade sig mycket framgångsrika att skrämma deltagarna.
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Eng, Jakob. "Genus, feminism och hämnd i esoterisk post-horror : En operationalisering av feministisk skräckfilmsteori på post-horror från 2010-talet." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105209.
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I denna uppsats operationaliseras feministisk skräckfilmsteori på tre nyproducerade filmer ur en filmtyp som kommit att kallas bland annat post-horror. Teorier och koncept ur Carol J. Clovers Men, Women, and Chain Saws och Barbara Creeds The Monstrous-Feminine operationaliseras på tre post-horror-filmer som behandlar esoteriska teman och särskilt lyfter fram kön och genus. Syftet är att undersöka hur kompatibla teorierna är med filmerna, och vad i filmernas representation av genus som ligger utom räckhåll för teorierna. Uppsatsen landar i ett redogörande för teoriernas fortsatta relevans i analysen av genusmässigt kodande av våld såväl som esoterism. Analysen av gestaltning bortom en binär könsuppdelning och transnationella produktionsmodeller utgör aspekter av filmerna som skulle kräva andra teoretiska perspektiv.
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Porco, James Franklin. "Horror in the 1980's : a comparative analysis of violent content in independent studio and major studio horror movies /." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244656069.
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Waller, Vanja. "Gender representation through the horrors of Fatal frame (2001) : Textual analysis into female gender representation in the Japanese survival horror game, Fatal Frame (2001)." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20087.
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Gender representation in the horror genre has many interesting discussions surrounding it through multiple perspectives such as psychoanalysis and culture. This article intends to expand the investigation of how female characters are portrayed in horror games. The research on female representation will investigate the potential connections between horror cinema and horror games in the survival horror game Fatal Frame (2001, Koei Tecmo), the first title of a series that is iconic f0r drawing inspiration from Japanese mythology and horror tropes while simultaneously using a large cast of female characters. To gather information about the audience to support the game analysis, an online survey will be released targeting players of the games. Thereafter, recorded, non-commentary footage of the first game, Fatal Frame (2001), will be observed and textually analysed through a framework with data points, based on the background of psychoanalysis, horror cinema, culture, and game theory.
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Comstock, Hannah Marie. "Deivisceris." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103038.
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Deivisceris is a four-player role-playing tabletop game that focuses on themes of horror. It looks into ideas from the horror genre as a whole while combining aspects from the body horror and cosmic horror subgenres to create a discomforting horror experience. The game features illustrations and written events with a choice-based narrative that can have multiple outcomes depending on a player's decisions, stats, and items. Deivisceris utilizes randomness in order to create a new experience each time it is played through randomized characters and a randomized game board that is built up as it is played. The game reveals its narrative through clues within the gameplay, illustrations, and written text as characters enter the game's world blindly. Deivisceris is an immersive tabletop horror experience that can be further expanded on in the future with the possibility of a larger production.Master of Fine Arts
Deivisceris is a four-player tabletop game that looks into the ways horror can be created in a board game format. It examines various ideas from the horror genre as a whole while taking inspiration more directly from two subgenres of horror: body horror and cosmic horror, each of which has very different ways of evoking horror. The game includes a variety of full-color illustrations and written situations that give players a chance to make their own decisions. Deivisceris utilizes randomness in order to create a new experience every time it is played. The game board is built up differently every time it is played and characters' stats, such as strength, intelligence, and endurance, may be different in each game. The game's story is revealed through clues within the gameplay, illustrations, and text. Deivisceris is a tabletop role-playing horror experience that can be further expanded on in the future with the possibility of a larger production.
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Berndtson, Erik. "Mortal Minds and Cosmic Horrors : A Cognitive Analysis of Literary Cosmic Horror in H.P.Lovecraft's ”The Shadow Out of Time”." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-38854.
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This essay explores how the reader cognitively reacts to reading H. P. Lovecraft’s horror story “The Shadow Out of Time” (1936). I analyse the text to see how it invites readers to beaffected by it. I specifically look at invitations to envisionment, subjective experience andintersubjectivity. The literary horror terms uncertainty and uncanniness are used inconjunction with cognitive theory to explain how the readers may react to readingLovecraft’s stories. These are in turn reinforced by the reader's ongoing envisionment of thestory, and their sharing of the character’s experiences via subjective experience. For example,the separation between the mind and body of the protagonist creates an uncanny dissonanceto his own identity, which disrupts the reader’s understanding of the character. This maycause distress in the reader due to the subjective experience that connects the reader to thecharacter. Additionally, the disrupted sense of reality in the book affects the narrator'sperceptions of both his surroundings and his own mental faculties. Subsequently, the reader’sunderstanding of the text is also in a state of flux which affects their envisionment of thestory. This disrupts understanding and may enhance feelings of unease. My theory istherefore that unease is invited by certain horror techniques, such as uncertainty anduncanniness, which in turn influence the reader specifically through subjective experienceand envisionment.
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Kravina, Carolina. "L'interesse della Feminist Film Theory nei confronti del cinema horror: alcuni esempi di analisi tra Psycho, New Horror e Slasher." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
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Questa tesi si pone l’obiettivo di indagare le letture che la Feminist Film Theory ha fornito rispetto al cinema horror statunitense e a contestualizzare tale interesse in ambito culturale, attraverso casi studio concentrati nel periodo tra anni Sessanta e Settanta. La prima parte prevede un’inquadramento teorico della critica cinematografica femminista, del cinema horror e del contesto produttivo americano del periodo, anche dal punto di vista degli studi culturali. Nella seconda parte verranno prese in esame letture della critica femminista di determinate opere: partendo da Psycho, per passare ad esempi di cinema istituzionale (new horror) e di controcultura (slasher, exploitation).