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Journal articles on the topic 'Horror'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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

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Teenagers are very fond of horror movies because they believe that watching horror films can test their bravery. Also, to satisfy their high curiosity about mystical things. However, horror films always present frightening and terrifying things that can have a negative impact on teenagers' understanding and behavior regarding demons and their work. This study aims to determine the understanding of Christian teenagers who like horror films and their influence on their behavior. To answer the research objectives, the author chose to use qualitative research methods. The results show that Christian teenagers who like horror films mostly do not have a correct understanding of demons and their work, and horror films tend to negatively influence teenage behavior.AbstrakRemaja sangat menyukai film horor karena beranggapan bahwa menonton film horor dapat menguji keberanian. Selain itu juga untuk memenuhi rasa ingin tahu yang tinggi terhadap hal-hal yang bersifat mistis. Meskipun demikian, film horor selalu menyuguhkan hal-hal yang bersifat menakutkan dan meneror sehingga dapat berdampak buruk terhadap pemahaman dan perilaku remaja mengenai setan dan pekerjaannya. Penelitian ini bertujuan mengetahui pemahaman remaja Kristen penyuka film horor dan pengaruhnya terhadap perilaku mereka. Untuk menjawab tujuan penelitian tersebut, penulis memilih menggunakan metode penelitian kualitatif. Hasilnya bahwa ternyata remaja Kristen penyuka film horor sebagai besar tidak memiliki pemahaman yang benar mengenai setan dan pekerjaannya serta film horor lebih cenderung memengaruhi perilaku remaja secara negatif.

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2

Noer, Achmad Ridwan. "We Choose What to Fear in Indonesian Horror Cinema." Communicare : Journal of Communication Studies 8, no. 1 (January 7, 2021): 62. http://dx.doi.org/10.37535/101008120215.

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Horror movies in Indonesian cinemas have seen a recent surge of viewers despite being associated with exploiting sensualism under the blanket of horror. Meanwhile, the top ten viewed Indonesian horror movies in recent years managed to somewhat acquire the trust of Indonesians to come back to watch more horror movies in their favourite cinemas. This paper employs the qualitative content analysis method to better grasp what movie trailer elements are employed by the top 10 viewed Indonesian horror movies and see what are the similarities and differences in the elements of horror they present. Ultimately, as the market demands it, a natural selection for the kinds of horrors Indonesians watch is currently on going.

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Devaraj, Navin Kumar. "Article Rejection - The Horror, The Horrors." MARCH 2023 19, no. 2 (March 13, 2023): 1. http://dx.doi.org/10.47836/mjmhs.19.2.1.

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

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

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Fa, Jong Li, Dwi Leyli Ningsih, Wahyu Rismayuda Dwitama, and M. Aries Taufiq. "Language Style of Horror Movies and Audiences’ Psychological Response." Modality Journal: International Journal of Linguistics and Literature 3, no. 2 (January 16, 2024): 107. http://dx.doi.org/10.30983/mj.v3i2.8003.

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<p class="abstrak" align="center"><strong>Abstract</strong></p><p class="abstrak">The development of technology in Indonesia has an impact on the development of the entertainment world, including movies. Movies consist of various genres, one of which is horror. Among Indonesians, horror is a popular genre, especially highlighting customs, rituals, and traditions. Horror movies aim to cause fear and disgust in the audience by providing entertainment. This study aims to determine whether horror genre movies are the favorite movies of Indonesian people. The method used in this research is qualitative research by interviewing respondents and distributing questionnaires online on social media. The results in the study reveal that the horror films use material and attributive processes in delivering dialog. In terms of psychological aspect, the horror genre in Indonesia is one of the genres favored by the audience. The large population in Indonesia and the culture and customs inherent in Indonesia such as belief in mystical or supernatural things in horror movies can be said to have various impacts. Impacts such as adrenaline, fear, and so on are what make it interesting so that the audience likes it.</p><p class="abstrak" align="left"><strong>Keywords:</strong> fans, horror, movie</p><p class="abstrak" align="center"><strong>Abstrak</strong></p><p> </p><p><em>Perkembangan teknologi di Indonesia berdampak pada perkembangan dunia hiburan, termasuk film. Film terdiri dari berbagai macam genre, salah satunya adalah horor. Di kalangan masyarakat Indonesia, horor merupakan genre yang banyak digemari, terlebih mengangkat adat istiadat, ritual, dan tradisi. Film horor bertujuan untuk menimbulkan rasa takut dan jijik pada penonton dengan sifat memberi hiburan. Penelitian ini bertujuan untuk mengetahui apakah film bergenre horor menjadi film favorit masyarakat Indonesia. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan cara mewawancarai responden dan menyebarkan kuesioner secara online di media sosial. Hasil dalam penelitian mengungkapkan bahwa </em><em>f</em><em>ilm-film horor menggunakan proses material dan atributif dalam menyampaikan dialog.</em><em> Dari sisi psikologis, </em><em>genre horor di Indonesia menjadi salah satu genre yang digemari para penonton . Banyaknya jumlah penduduk di Indonesia dan budaya serta adat istiadat yang melekat di Indonesia seperti kepercayaan akan hal-hal mistis atau supranatural dalam film horor dapat dikatakan memberikan berbagai dampak. Dampak-dampak seperti memacu adrenalin, rasa takut, dan lain sebagainya inilah yang membuatnya menarik sehingga disukai penonton.</em></p><p><em> </em></p><p class="abstrak"><strong><em>Kata Kunci: </em></strong> <em>fans, horor, </em><em>film</em></p>

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Kusumadinata, Kamilia. "THE INTERSECTION BETWEEN FAITH AND HORROR: THE VAMPIRIC ANGELS OF NETFLIX’S MIDNIGHT MASS." SUSASTRA: Jurnal Ilmu Susastra dan Budaya 10, no. 2 (November 14, 2023): 70–81. http://dx.doi.org/10.51817/susastra.v10i2.119.

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When it comes to on-screen depictions, oftentimes religion and horror are placed at opposing sides. Religion in film is the antithesis of horror, rarely does it venture into the concept of religion itself as the source. Netflix's Midnight Mass (2021) by Mike Flanagan explores this topic in a deeper yet subtle manner. Since the series was released less than two years before this article was written, most of the articles found are focused on the cinematic aspect and the performance of actors. This article examines the use of overt religiousness to push forward the horror narrative, particularly the interchangeable nature of angels and vampires. By using textual analysis as a method, the writer concludes that horror can only be recontextualized into a holy perspective because religion is the origin of said horror.AbstrakDalam perfilman, agama dan horor seringkali di tempatkan di sisi yang berlawanan. Agama dalam film merupakan antitesis dari horor, terdapat sedikit film horor yang menggunakan konsep agama sebagai sumber dari teror. Acara Netflix Midnight Mass (2021) oleh Mike Flanagan mengeksplorasi topik ini dengan cara yang lebih dalam namun halus. karena acara tersebut dirilis kurang dari dua tahun sebelum naskah ini ditulis, sebagian besar naskah yang ditemukan berfokus pada aspek sinematik dan penampilan para aktor. Jurnal ini mengkaji penggunaan religiusitas yang terang-terangan untuk mendorong narasi horor, khususnya karakteristik-karakteristik malaikat dan vampir yang dapat disamakan. Dengan menggunakan metode analisis tekstual, penulis menyimpulkan bahwa horor hanya dapat di kontekstualisasi ulang menjadi perspektif suci karena agama itu sendiri yang menjadi sumber horor tersebut.

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Korvela, Paul-Erik. "The Horror, the Horror!" Redescriptions: Political Thought, Conceptual History and Feminist Theory 14, no. 1 (January 1, 2010): 193. http://dx.doi.org/10.7227/r.14.1.11.

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

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Indonesia has various myths and beliefs. This is in line with the diversity of cultures in Indonesia. The belief in myths in Indonesia is still very strong, which also shows the strong belief in religious rituals and ancestors. One of them is a famous myth in Kalimantan about the ritual of pesugihan using kuyang oil to get wealth instantly. The ritual of the pesugihan, which until now is still not believed by the people of Kalimantan, was adapted and combined with two other myths from Java and Bali in the narrative of the horror game “Pulang: Insanity” by adding a horror aspect. The addition of this horror aspect is implemented in the game’s narrative structure, thus creating a new and complex mythical story about the ritual of pesugihan using kuyang oil. Some of the elements from these three are used to finally create a horror narrative with Indonesian myths and make the ritual of this pesugihan have a more complex horror aspect.Indonesia memiliki mitos dan kepercayaan yang beragam. Kepercayaan terhadap mitos itu masih sangat kental karena dipengaruhi kuatnya kepercayaan terhadap ritual keagamaan untuk menghormati roh para leluhur. Tulisan ini akan memaparkan salah satu mitos yang terdapat di daerah Kalimantan tentang ritual pesugihan dengan menggunakan minyak kuyang untuk mendapatkan kekayaan secara instan. Ritual pesugihan yang sampai saat ini masih dipercaya oleh masyarakat daerah Kalimantan ini merupakan hasil adaptasi dan penggabungan dua mitos lain dari daerah Jawa dan Bali. Data penelitian ini diambil dari narasi game horor “Pulang: Insanity”. Penambahan aspek horor pada game ini diimplementasikan lewat struktur naratif game sehingga tercipta cerita mitos baru yang kompleks tentang ritual pesugihan menggunakan minyak kuyang dengan tampilan latar baru yang lebih horor dan mistis.

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De León Ramírez, Francisco Javier. "CERTAIN AESTHETICS OF HORROR, CERTAIN HORRORS OF AESTHETICS." Brumal. Revista de investigación sobre lo Fantástico 6, no. 2 (December 22, 2018): 229. http://dx.doi.org/10.5565/rev/brumal.496.

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

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

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Wald, Jonathan. "Horror." Environmental Humanities 14, no. 2 (July 1, 2022): 367–70. http://dx.doi.org/10.1215/22011919-9712434.

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Winter, George. "Horror." British Journal of Neuroscience Nursing 11, no. 6 (December 2, 2015): 270. http://dx.doi.org/10.12968/bjnn.2015.11.6.270.

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Wortis, Joseph. "Heterophobia: Horror feminae and Horror viri." Biological Psychiatry 34, no. 8 (October 1993): 505–6. http://dx.doi.org/10.1016/0006-3223(93)90191-f.

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Grella-Możejko, Piotr. "Aldo Clementi—Horror pleni/Horror vacui." Contemporary Music Review 28, no. 6 (December 2009): 543–55. http://dx.doi.org/10.1080/07494467.2009.494064.

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Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (February 2, 2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.

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ABSTRACT Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to the formation of the devil Mahakali figure, the application of rules in film is also worked out in such a way as to produce a film work that can give the impression of horror to the audience. It is hoped that the works of secondhand horror puppet films will become an offer or a new style in the world of puppet creativity as well as being a useful contribution to the development of arts and sciences. ABSTRAK Bekasakan merupakan sebuah karya film horor dengan menggunakan media wayang kulit sebagai objek pemerannya. Karya ini bertujuan untuk menciptakan sebuah genre baru dalam dunia pewayangan terutama dalam mengemas tema-tema horor sebagai lakon pertunjukan secara khusus. Berpijak dari pertunjukan wayang yang kemudian diangkat ke dalam perspektif film menjadikan karya ini sebagai salah satu tawaran menarik bagi dunia pewayangan. Kebaruan dari karya ini adalah pembentukan sosok setan Mahakali yang direalisasikan dengan penggambaran anatomi tubuh yang aneh sekaligus memberi kesan seram bagi penonton. Selain terbentuknya sosok setan Mahakali juga penerapan kaidah-kaidah dalam perfilman digarap sedemikian rupa sehingga menghasilkan suatu garap karya film yang dapat memberi kesan horor bagi pernonton. Karya film wayang horor bekasakan diharapkan dapat menjadi tawaran atau gaya baru dalam dunia kreativitas pewayangan sekaligus dapat menjadi sumbangan berguna bagi perkembangan ilmu seni dan ilmu pengetahuan.

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McClanahan, Bill. "Earth–world–planet: Rural ecologies of horror and dark green criminology." Theoretical Criminology 24, no. 4 (January 4, 2019): 633–50. http://dx.doi.org/10.1177/1362480618819813.

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This article responds to green criminology. Drawing on an ethnographic case study of the coal-producing region of Appalachia and the processes of mountaintop removal mining, the article engages contemporary philosophy, ecocriticism, and “dark ecology” to suggest that green criminology rethink its linguistic categories and epistemological assumptions. The article employs an analysis of some examples of horror cinema to suggest criminological engagement with “ecologies of horror” and the “horrors of ecology” that condition life in the shadow of harmful modes of resource extraction. It concludes with some thoughts on the potential of a “dark” green and green-cultural criminology.

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Aziz, Rebar Abdulghaffar. "The Theme of Horror in The Novel (The Virgin of Sinjar): A Thematic Study." Journal of AlMaarif University College 34, no. 1 (February 27, 2023): 87–104. http://dx.doi.org/10.51345/.v34i1.648.g331.

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This study examines the theme of horror in Iraqi Novelist Ward Badr Salem's novel "The Virgin of Sinjar" This novel was inspired by the horror and bloodshed that the Yazidis experienced during the terrorist organization ISIS's control of their cities and villages. This study looked at some of the horrors mentioned by the author in the novel, including murder, slaughter, bloodshed, captivity, rape, burning, imprisonment, and flogging. We decided to study and analyze because these manifestations, in our opinion, formed the internal dynamic of the novel and allowed the rest of the narrative elements to form and extend.

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Walsh, Richard. "The Horror, The Horror: What Kind of (Horror) Movie is the Apocalypse?" Journal of Religion and Popular Culture 22, no. 3 (September 2010): 1. http://dx.doi.org/10.3138/jrpc.22.3.001.

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Sakina, Cintya Dara, and Esther Risma Purba. "Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body)." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 2 (October 31, 2022): 366–83. http://dx.doi.org/10.22219/satwika.v6i2.22952.

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Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divisualisasikan secara lebih spesifik, yaitu ditampilkan dalam wujud hantu balas dendam. Terdapat paradoks hantu balas dendam sebagai tokoh jahat dalam cerita yang di sisi lain dimaklumi karena semasa hidupnya ia mengalami ketidakadilan dan penindasan oleh laki-laki. Penelitian ini dilakukan untuk menganalisis film Kuime yang menampilkan bahwa narasi dan visualisasi hantu perempuan Jepang merupakan sebuah diskursus dari pemahaman masyarakat Jepang mengenai perempuan. Metode yang digunakan dalam penelitian ini adalah studi pustaka dengan pendekatan kualitatif menggunakan teori analisis wacana kritis oleh Norman Fairclough. Teori tersebut mencakup analisis deskripsi linguistik dari teks, interpretasi hubungan antara proses diskursif dengan teks, serta hubungan antara proses diskursif dengan proses sosial. Hasil dari penelitian ini adalah terdapat diskursus posisi dan peran perempuan dalam masyarakat Jepang yang memengaruhi pembentukan mitos hantu perempuan pada karya bergenre horor di Jepang. Dengan adanya diskursus tandingan dalam paradoks hantu dan pembunuh perempuan pada film Kuime, dapat disimpulkan bahwa terdapat perubahan pada pemaknaan perempuan dalam film horor Jepang yang pada awalnya dimaknai sebagai bentuk manifestasi ketakutan laki-laki terhadap perempuan menjadi pemaknaan yang berpusat pada keberdayaan perempuan. The horror genre often portrays women as terrible Gambars. Women are deliberately represented as a menace to men. As a result, a frightening and terrible Gambar is identified as a woman. Related to the most of horror genre that represents women as terrifying Gambars with terror and grim appearance, Japanese horror, known as kaidan (怪談) also still maintains this practice. In kaidan, women are narrated and visualized more specifically in revenge ghost Gambars. There is a paradox in the vengeful female ghost who is seen as an evil character in the story, but her revenge is understandable because she was wronged and oppressed by men. This research was conducted to analyze Kuime, a Japanese horror film which shows that the narration and visualization of Japanese female ghosts is a discourse on the stereotypes about women in Japanese culture. The method used in this research is a literature study with a qualitative approach using the theory of critical discourse analysis by Norman Fairclough. The theory includes the analysis of the linguistic description of the text, the interpretation of the relationship between the discursive process and the text, and the relationship between the discursive process and the social process. The result of this research shows that discourse about the position and role of Japanese women builds the myth of female ghosts in Japanese horror. By the counter-discourse in the paradox of ghosts and female killers in Kuime, it can be concluded that there is a change in the meaning of women in Japanese horror films, which was interpreted as a manifestation of men's fear of women becoming centered to women's empowerment.

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Donskikh, Oleg A. "Horror Zivilisationis, or the Horror of Subjectivity." Beacon: Journal for Studying Ideologies and Mental Dimensions 2, no. 2 (October 1, 2019): 020110205. http://dx.doi.org/10.55269/thebeacon.2.020110205.

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In the paper, the problem of the relationship between culture and civilisation, is studied. Civilisation is understood as the external expression of culture, while culture represents the content of civilisation. The relationships between culture and civilisation are always tense. The author also considers civilisation as the death of culture. The fear of the individual, the subjectivity ultimately results from the fact that humanity can no longer survive being soulless, only in the form of rationally determined civilisation. It is shown that modern civilisations suffer from the discrepancy between the increasing speed of the movement of communities towards a unified globalised humanity – a movement that is partly carried out with the help of technical progress that puts society and people into one orbit and transforms a human being into an objective, a controllable component – and the level of understanding the nature of this movement.

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Shand, John Preston, Susan Hatters Friedman, and Fernando Espi Forcen. "The horror, the horror: stigma on screen." Lancet Psychiatry 1, no. 6 (November 2014): 423–25. http://dx.doi.org/10.1016/s2215-0366(14)00014-5.

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Weston, Gavin, Jamie F. Lawson, Mwenza Blell, and John Hayton. "Anthropologists in Films: “The Horror! The Horror!”." American Anthropologist 117, no. 2 (February 2015): 316–28. http://dx.doi.org/10.1111/aman.12233.

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Hill, Kristen Miller. "‘We lie best when we lie to ourselves’: Stephen King’s It and the horrors of nostalgia." Horror Studies 12, no. 2 (October 1, 2021): 249–63. http://dx.doi.org/10.1386/host_00041_1.

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Stephen King’s 1986 novel It follows a traditional horror story arc of restoration of order through defeat of a monster, but the interlude sections of the novel complicate this narrative structure with an alternate story arc in which the people of Derry are also a source of horror within the novel, who enable the monster with their desire to sanitize the past of the town. This arc, in which the townspeople are perpetrators and enablers of horrors, reflects a cultural tendency towards nostalgic views of the past that would have been noticeable in political and cultural movements of the 1980s. As nostalgic currents have returned to prominence in political movements surrounding the election of Donald Trump and other populist movements, re-examining the interlude sections of It reveals commentary about the horrors of nostalgia that, like the cyclical reawakening of the novel’s monster, are relevant once again.

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Pająk, Patryk. "Zdarzenie – między horrorem a baśnią." Slavia Meridionalis 16 (October 21, 2016): 520–40. http://dx.doi.org/10.11649/sm.2016.025.

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An Event – between horror and fairy taleAn Event (Događaj, 1969) is one of the few Croatian horror movies. In comparison to other examples of the use of the horror genre in Croatian cinema, the film is distinguished by its aesthetic sophistication and skilful use of fairy-tale elements. The director Vatroslav Mimica evokes the mood of horror primarily through a suitably chosen space (the movie takes place mainly in the forest and two homes) as well as the right dosage and gradation of scenes of violence. The topic of An Event is the child’s initiation into adulthood. To highlight the most important stages and milestones of the initiation process, Mimica uses the plot and symbolic elements taken from the fairy-tale convention, such as the figures of false mother and magical helper as well as the motif of fear of abandonment and the motif of incorporation. Presentation of the topic of initiation by means of fairy-tale horror allows the director to describe suggestively the key problem in horror films that is the traumatogenic interaction between the natural and cultural factors that shape human life. Zdarzenie – między horrorem a baśniąZdarzenie to jeden z niewielu chorwackich horrorów. Na tle pozostałych przykładów użycia tej konwencji w kinie chorwackim wymieniony film wyróżnia się estetycznym wyrafinowaniem oraz umiejętnym wykorzystaniem pierwiastków baśniowych. Reżyser – Vatroslav Mimica – wywołuje nastrój grozy przede wszystkim za pomocą odpowiednio dobranej przestrzeni (film rozgrywa się głównie w lesie i dwóch domach) oraz dozowania i stopniowania scen przemocy. Tematem Zdarzenia jest inicjacja dziecka w dorosłość. Aby uwydatnić najważniejsze etapy i punkty zwrotne procesu inicjacyjnego, Mimica wykorzystuje składniki fabularno-symboliczne zaczerpnięte z konwencji baśni, takie jak postacie fałszywej matki i magicznego pomocnika oraz motywy lęku przed opuszczeniem i inkorporacji. Prezentacja tematu inicjacji za pomocą baśniowego horroru pozwala reżyserowi sugestywnie nakreślić kluczowy dla kina grozy problem traumatogennej interakcji między naturalnymi a kulturowymi czynnikami kształtującymi ludzkie życie.

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Have, Henk Ten. "Horror regulationum." Hastings Center Report 34, no. 4 (July 2004): 16. http://dx.doi.org/10.2307/3528688.

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Tandoc, Amado III. "Horror Vacui." Philippine Journal of Pathology 2, no. 2 (November 28, 2017): 4. http://dx.doi.org/10.21141/pjp.2017.010.

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Hutchings, Peter. "Horror London." Journal of British Cinema and Television 6, no. 2 (August 2009): 190–206. http://dx.doi.org/10.3366/e1743452109000879.

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Waller, Sara, and Chris Meyers. "Disenstoried Horror." Film and Philosophy 4, no. 2 (2001): 117–26. http://dx.doi.org/10.5840/filmphil20014212.

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Wenaus, Andrew. "Rhizomatic Horror." Extrapolation 53, no. 1 (April 2012): 1–23. http://dx.doi.org/10.3828/extr.2012.2.

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Schaeffer, Jacqueline. "Horror feminae." Revue française de psychanalyse 57, no. 5 (1993): 1761. http://dx.doi.org/10.3917/rfp.g1993.57n5.1761.

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Bates, Jane. "Horror show." Nursing Standard 22, no. 30 (April 2, 2008): 25. http://dx.doi.org/10.7748/ns.22.30.25.s30.

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Bates, Jane. "Lock horror." Nursing Standard 24, no. 12 (November 25, 2009): 27. http://dx.doi.org/10.7748/ns.24.12.27.s33.

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Masiza, Zondi. "Horror stories." Bulletin of the Atomic Scientists 55, no. 3 (May 1, 1999): 76–77. http://dx.doi.org/10.2968/055003022.

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Harder, Ben. "Flora Horror." Science News 169, no. 7 (February 18, 2006): 104. http://dx.doi.org/10.2307/3982325.

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Howe, Fanny. "Wonder-Horror." Religion and the Arts 14, no. 5 (2010): 606–15. http://dx.doi.org/10.1163/156852910x529368.

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AbstractMichel de Certeau and his book, The Possession at Loudun, are the central subjects of this essay, in which the question of belief is addressed. Who can you believe and how? Is belief engendered by a person’s speech, facial expression, or gesture? The revolt of the nuns in Loudun, following the Plague, had, for Certeau, a theatrical dimension as if they were acting out an unexpressed failure of communication between the clergy and the people. Their mass dementia represented a cataclysmic change in social relations. Certeau found two people who spoke with a convincing clarity: Urbain Grandier from his prison cell and Joseph Surin, Jesuit, poet, and exorcist.

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Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 139–59. http://dx.doi.org/10.1215/02705346-8085147.

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In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.

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Wilson, John, and Nicholas Wilson. "Moral horror." Journal of Beliefs & Values 24, no. 3 (December 2003): 321–27. http://dx.doi.org/10.1080/1361767032000156093.

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Van Elferen, Isabella. "Sonic horror." Horror Studies 7, no. 2 (October 1, 2016): 165–72. http://dx.doi.org/10.1386/host.7.2.165_2.

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Doostdar, Alireza, and Morehshin Allahyari. "Horror Refigured." Portable Gray 3, no. 2 (September 1, 2020): 173–80. http://dx.doi.org/10.1086/711987.

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Smith, David Livingstone, and Ioana Panaitiu. "HORROR SANGUINIS." Common Knowledge 22, no. 1 (January 2016): 69–80. http://dx.doi.org/10.1215/0961754x-3322882.

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Kellett, J. M. "Gothic horror?" Psychiatric Bulletin 9, no. 5 (May 1, 1985): 106. http://dx.doi.org/10.1192/pb.9.5.106-c.

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Kellett, John M. "Gothic Horror?" Bulletin of the Royal College of Psychiatrists 9, no. 5 (May 1985): 106. http://dx.doi.org/10.1192/s014007890000208x.

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Richardson, Marilyn, and Susan Sontag. "Photographing Horror." Women's Review of Books 21, no. 1 (October 2003): 12. http://dx.doi.org/10.2307/4024271.

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Dixon, Bernard. "Horror bacteria." Molecular Medicine Today 1, no. 3 (June 1995): 105. http://dx.doi.org/10.1016/s1357-4310(95)80076-x.

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Briefel, Aviva. "Mickey Horror." Film Quarterly 68, no. 4 (2015): 36–43. http://dx.doi.org/10.1525/fq.2015.68.4.36.

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Randy Moore's horror film Escape from Tomorrow (2013) was shot at Disneyland, Epcot, and Disney World, without either the authorization or knowledge of the Disney corporation. The result is a fascinating example of guerrilla filmmaking that makes use of gothic conventions to craft a new narrative of corporate horror. Both the film and its promotional materials narrate the vicissitudes of countering a mass-culture corporation that has become synonymous with American fantasies and imaginaries. And yet, however revolutionary his methods and overall narrative, Moore relies on long-familiar images of monstrous femininity to convey the circumstances of mass-culture seduction. The end result is less an attack on the institution of Disney itself than a gothic account of the parks' co-option by a dangerous female consumerism that nullifies male resistance or escape.

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Virno, Paolo. "Familiar Horror." Grey Room 21 (October 2005): 13–16. http://dx.doi.org/10.1162/152638105774539716.

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Oliver, Kelly. "Revolutionary Horror." Social Theory and Practice 15, no. 3 (1989): 305–20. http://dx.doi.org/10.5840/soctheorpract198915315.

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Mayo, Wendell. "B. Horror." Missouri Review 18, no. 1 (1995): 59–73. http://dx.doi.org/10.1353/mis.1995.0028.

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Pryor, Caitlin. "The Horror." Pleiades: Literature in Context 37, no. 1 (2017): 40–42. http://dx.doi.org/10.1353/plc.2017.0015.

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Leora Lev. "Iterstitial Horror." American Book Review 31, no. 3 (2010): 18–19. http://dx.doi.org/10.1353/abr.0.0098.

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