Journal articles: 'New horror cinema'

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Wada-Marciano, Mitsuyo. "J-Horror: New Media's Impact on Contemporary Japanese Horror Cinema." Canadian Journal of Film Studies 16, no. 2 (October 2007): 23–48. http://dx.doi.org/10.3138/cjfs.16.2.23.

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Walker, Johnny. "A Wilderness of Horrors? British Horror Cinema in the New Millennium." Journal of British Cinema and Television 9, no. 3 (July 2012): 436–56. http://dx.doi.org/10.3366/jbctv.2012.0099.

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Wajda, Piotr. "Specters of postcolonialism in HBO’s Folklore." Panoptikum, no. 28 (December 29, 2022): 86–97. http://dx.doi.org/10.26881/pan.2022.28.05.

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This paper aims to present the Asian take on the folk horror subgenre. The author focuses on the HBO-produced anthology Folklore (2018–), which states the starting point for further analyses. Wajda starts by pointing to difficulties in defining ‚folk horror’ and its meaning for the development of global cinemas. The author describes and compares different approaches to this term and takes a closer look at relations between horror, its literary beginnings, and folk stories filled with grim and gruesome events. Concerning the above, Wajda observes that folk horror was primarily associated with British cinema in the late 1960s and 1970s, later developing into other countries. Furthermore, the author compares British folk horror with the new themes on the Asian ground presented in Folklore. Wajda points out that the current cycle of folk horror is a global phenomenon successfully adopted by Asian filmmakers.

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Gavrilov, Lev, and Yulia Vetoshkina. "THE HORROR OF TECHNOLOGY AND THE TECHNOLOGY OF HORROR." Культурный код, no. 2024-2 (2024): 7–19. http://dx.doi.org/10.36945/2658-3852-2024-2-7-19.

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The subject of research in this article is the horror genre, which until recently was most fully represented in the cinema. However, in the modern world, the phenomenon of the “terrible” is also constructed in the new forms of analog horror and its continuation - digital horror, which are the main objects of study of this article. Exploring new phenomena, the authors come to the conclusion that analog and digital horror are created through the use of two strategies: understanding the terrifying side of technology (horror of technology) and using technology to create a frightening effect (horror technology). Since the development of the technological process is inexorable, there is reason to assume that in the future, with the development of horror technologies, the most frightening forms of technology horror will be created.

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Palmer, Tim. "Frontier poetry: new adventures in contemporary French horror cinema." Modern & Contemporary France 30, no. 1 (November 10, 2021): 1–17. http://dx.doi.org/10.1080/09639489.2021.1978414.

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Sinha, Alia. "Book Review: Meraj Ahmed Mubarki, Filming Horror: Hindi Cinema, Ghosts and Ideologies." Social Change 47, no. 2 (June 2017): 302–5. http://dx.doi.org/10.1177/0049085717696379.

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Campoli, Alessandra. "A Ghostly Feminine Melancholy: Representing Decay and Experiencing Loss in Thai Horror Films." Plaridel 12, no. 2 (August 30, 2015): 14–35. http://dx.doi.org/10.52518/2015.12.2-02cmpli.

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By analysing significant Thai horror films from 1999—the year Nonzee Nimitbut’s emblematic Nang Nak was released—to 2010, this essay focuses on the presence and representation of female ghosts and undead spirits from traditional Thai myths in contemporary Thai cinema. More precisely, this essay highlights traditional female characters as mediators between horror and love, and fear and mourning, instead of as traditionally frightening entities. This distinction was made possible after the Thai “New Wave.” As ancestral mirror of inner fears and meaningful images reflecting societal concerns, female spirits in contemporary Thai cinema become the emblem of a more complex “monstrous femininity,” merging fear with melancholy, and an irreparable sense of loss with reflections on the ephemeral.

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De Oliveira, Sérgio Eduardo Alpendre. "JOE DANTE, O HORROR E O BAIXO ORÇAMENTO: PIRANHAS, GRITOS DE HORROR E DESENHOS ANIMADOS." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 4, no. 2 (July 25, 2016): 28. http://dx.doi.org/10.22475/rebeca.v4n2.357.

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Neste artigo estudaremos os dois primeiros longas que Joe Dante realizou após Hollywood Boulevard (codirigido por Allan Arkush), sua estreia no cinema: Piranha (1978) e Grito de horror (1981). São dois longas de horror, de baixo orçamento, que exploram duas vertentes distintas do gênero: catástrofes naturais (provocadas por experimentos genéticos) e o filme de lobisomem. O primeiro teve produção da New World Pictures, de Roger Corman; o segundo, da Avco Embassy. Ambos mostraram o talento que o diretor iria desenvolver em projetos futuros, trabalhando com maior orçamento.

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Evernden, Christopher Blake, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo. "Book Reviews." Projections 13, no. 3 (December 1, 2019): 121–41. http://dx.doi.org/10.3167/proj.2019.130310.

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Rikke Schubart, Mastering Fear: Women, Emotions, and Contemporary Horror (New York: Bloomsbury, 2018), 384 pp., $117 (hardback), ISBN: 9781501336713.Xavier Aldana Reyes, Horror Film and Affect: Towards a Corporeal Model of Viewership (New York: Routledge, 2016), xii + 206 pp., $49.95 (paperback), ISBN: 9781138599611.David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (Chicago: University of Chicago Press, 2017), 592 pp., $30.00 (paperback), ISBN: 9780226639550.Todd Berliner, Hollywood Aesthetic: Pleasure in American Cinema (Oxford: Oxford University Press, 2017), 320 pp., $39.95 (paperback), ISBN: 9780190658755.

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Ainslie, Mary. "Thai Horror Film in Malaysia: Urbanization, Cultural Proximity and a Southeast Asian Model." Plaridel 12, no. 2 (August 30, 2015): 55–82. http://dx.doi.org/10.52518/2015.12.2-04ansli.

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This article examines Thai horror films as the most frequent and visible representation of Thai cultural products in Malaysia. It outlines the rise of Thai horror cinema internationally and its cultivation of a pan-Asian horrific image of urbanization appropriate to particular Malaysian viewers. Through a comparison with Malaysian horror film, it then proposes a degree of “cultural proximity” between the horrific depictions of these two Southeast Asian industries which point to a particularly Southeast Asian brand of the horror film. Despite such similarity however, it also indicates that in the changing and problematic context of contemporary Malaysia, the ‘trauma’ that is given voice in these Thai films can potentially offer the new urban consumer an alternative depiction of and engagement with Southeast Asian modernity that is not addressed in Malaysian horror.

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Edwards-Behi, Nia. "Lindsey Decker, Transnationalism and Genre Hybridity in New British Horror Cinema." Journal of British Cinema and Television 18, no. 4 (October 2021): 546–49. http://dx.doi.org/10.3366/jbctv.2021.0597.

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Coulthard, Lisa, and Chelsea Birks. "Desublimating monstrous desire: the horror of gender in new extremist cinema." Journal of Gender Studies 25, no. 4 (February 18, 2015): 461–76. http://dx.doi.org/10.1080/09589236.2015.1011100.

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Hext, Kate. "Victorians in the Closet: Oscar Wilde's Monstrous Hollywood Legacy." Victorian Literature and Culture 49, no. 4 (2021): 711–29. http://dx.doi.org/10.1017/s1060150320000303.

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This essay offers a new perspective on the Victorians’ representation in early cinema. It argues that the profile of Oscar Wilde and the decadent movement was such, in early twentieth-century America, that its movies often viewed the Victorians through a decadent lens. Situating its discussion in a detailed exposition of Hollywood's interest in late-Victorian decadence, this essay discusses the reciprocal relationship between Oscar Wilde's imagination and cinematic horror. It sketches the inherently cinematic qualities in decadent writing and, focusing on Wilde's The Picture of Dorian Gray (1891), offers a new reading of how it incorporates different cinematic technologies to create a sense of supernatural horror. The essay goes on to examine how Wilde's novel inspired early American horror films, with close analysis of how its dialogue and visual effects were incorporated into the genre-defining adaptation of Jekyll and Hyde (1920).

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Fallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero." Horror Studies 12, no. 1 (March 1, 2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.

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Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as Dawn of the Dead offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory and a media industries methodology, I shed new light on Romero’s efforts to cultivate a boundaryless independent cinema unbeholden to institutional norms, demonstrating challenges to leadership roles, market orientation, financing and genre. While Romero’s typecasting as a horror auteur was ultimately delimiting, I also consider the filmmaker’s complicity in this codification, scrutinizing his knowing attempts to parlay brand-name recognition into a lasting platform for non-Hollywood production. This article offers a unique insight into the industrial and business contexts of horror cinema, revealing a rare intersection between critical reception and industrial navigation while complicating our understanding of both Wood’s seminal writings and one of the genre’s totemic ‘masters’.

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Gjinali, Vali, and Elif Asude Tunca. "A General Look on the Impact of Turkish Horror Movies: An Exploratory Study on the Opinions of Youth on Horror Movies." SAGE Open 10, no. 4 (October 2020): 215824402097970. http://dx.doi.org/10.1177/2158244020979701.

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This study aims to examine young Turkish university students’ perceptions on horror movies and the impact of this genre on them. Also, this study aims to gain an understanding of the role of makeup and special effect makeup in horror movies for this particular audience. An exploratory survey was conducted with 1,000 randomly selected participants 18 years and older who were students studying at five universities in the Turkish Republic of Northern Cyprus. Findings suggest that 70.4% of the respondents prefer watching supernatural horror films where the djinn was reported to be the most feared religious horror character; 86.4% of women and 65.8% of men reported supernatural events as scary. With regard to the importance of makeup in horror movies, 67.1% females and 53.9% males reported that makeup in horror movies was very important, where 26.9% preferred blood as a special effect, 51.1% reported that hand-based makeup was more acceptable, and 65.4% indicated that PC-supported makeup would never replace hand-based makeup. These findings suggest that although there is a potential inclination to watch the horror movie genre, which is a very new genre in Turkish cinema as well as the makeup and special effects used in horror movies, specifically djinn makeup appears to be of importance for the young Turkish film audiences.

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Morrison, Josh, Sylvie Bissonnette, Karen J. Renner, and Walter S. Temple. "Reviews." Screen Bodies 3, no. 2 (December 1, 2018): 86–98. http://dx.doi.org/10.3167/screen.2018.030207.

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Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

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Steptoe, Rose. "New blood in contemporary cinema: women directors and the poetics of horror." New Review of Film and Television Studies 19, no. 3 (July 3, 2021): 383–86. http://dx.doi.org/10.1080/17400309.2021.1949202.

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Suner, A. "Horror of a different kind: dissonant voices of the new Turkish cinema." Screen 45, no. 4 (December 1, 2004): 305–23. http://dx.doi.org/10.1093/screen/45.4.305.

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Feeley, Jennifer. "Transnational spectres and regional spectators: Flexible citizenship in new Chinese horror cinema." Journal of Chinese Cinemas 6, no. 1 (January 2012): 41–64. http://dx.doi.org/10.1386/jcc.6.1.41_1.

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Ndalianis, Angela. "Genre, culture and the semiosphere: New Horror cinema and post-9/11." International Journal of Cultural Studies 18, no. 1 (May 8, 2014): 135–51. http://dx.doi.org/10.1177/1367877914528123.

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Sutandio, Anton. "The Return of the Repressed: Pemuda and the Historical Trauma in Rizal Mantovani and Jose Purnomo’s Jelangkung." Plaridel 12, no. 2 (August 30, 2015): 131–48. http://dx.doi.org/10.52518/2015.12.2-06stndio.

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Being the first horror film produced after the Reformation period, Rizal Mantovani and Jose Purnomo’s Jelangkung (2001) played an important role in resurrecting the horror genre. As a commercially successful film, it became the blueprint for horror films produced afterwards. It challenged the New Order horror narrative pattern, introducing significant changes such as the shift towards pemudas or the youth as the central characters in the film, the absence of a patriarchal figure, and the open ending. These changes could well have been influenced by trends in global horror cinema, but for Indonesian films specifically, on the allegorical level, they have been able to effectively capture the anxiety and fear pemudas felt during the Reformation, especially about what it means to be a young Indonesian in post-Soeharto times. This study explores the allegorical function of this contemporary Indonesian horror film, focusing on how Jelangkung represents “the return of the repressed” through what Lowenstein (2005) calls “allegorical moments.” It also attempts to locate these moments in Jelangkung, contextualizing the return of the repressed as the fear and anxiety toward the unresolved May 1998 traumatic event in Indonesia and the existing patriarchal system.

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Snelson, Tim. "Old Horror, New Hollywood and the 1960s True Crime Cycle." Film Studies 19, no. 1 (November 2018): 58–75. http://dx.doi.org/10.7227/fs.19.0005.

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This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.

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Morag, Raya. "A New Paradigm for the Genocidal Interview: The Documentary Duel and the Question of Collaboration." Panoptikum, no. 29 (June 30, 2023): 78–93. http://dx.doi.org/10.26881/pan.2023.29.05.

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A global boom in mainly documentary films interviewing perpetrators recognizes the current shift from the era of the witness to that of the perpetrator. Post Khmer-Rouge Cambodian cinema (1989–present) is a unique and highly important case of perpetrator cinema. It proposes for the first time in cinema direct confrontation between first-generation survivor-filmmakers and perpetrators, a new form of genocidal interview: the documentary duel. Enabled both by the intimate horror of the autogenocide and the Khmer Rouge tribunal (the ECCC), dueling with high-ranking perpetrators shifts power relations between the two. In contrast, dueling with low-ranking perpetrators and collaborators, never to be tried, does not generate this much-desired shift. Thus, Cambodian collaboration revealed through cinema stresses the immense importance of the law in promoting familial-social-cultural processes of acknowledgement of accountability. Further, Cambodian duel documentaries constitute the ethics of “moral resentment” (my term), while objecting to and disrupting the political view that reconciliation is the only legitimate response to the atrocious past.

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Surace, Bruno. "The flesh of the film: The camera as a body in neo-horror mockumentary and beyond." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 25–41. http://dx.doi.org/10.1386/nl_00003_1.

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Abstract The neo-horror mockumentary, from the 1990s onwards, has been a genre in constant ascent, rejuvenating extremely codified strands. What unites these strands is undoubtedly a formal commonality since the premise of the genre is that of basing oneself on 'lucky' shots, which imitate a certain amateurism, while being also extremely corporeal. The neo-horror mockumentary treats the camera as a body in its own right, with its own potential and fragility, an actor like those it films. The body of the camera and the bodies filmed by it generate a dialectic of the flesh that makes the neo-horror mockumentary a body-based genre, irrespective of its articulations, which are examined in this essay from a semiotic perspective, which investigates the role of corporeality within the formal components of the genre, a filmographic perspective that through case studies identifies the system of variants and invariants around which the body becomes a pivot, and a philosophical perspective that frames the concept of body and its change in the imaginary within this new way of making cinema.

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Lee, Sung-Ae. "The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)." Corpus Mundi 2, no. 4 (December 27, 2021): 40–59. http://dx.doi.org/10.46539/cmj.v2i4.53.

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The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.

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Ryan, Mark David. "Putting Australian and New Zealand horror movies on the map of cinema studies." Studies in Australasian Cinema 4, no. 1 (January 2010): 3–7. http://dx.doi.org/10.1386/sac.4.1.3_2.

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Máté, Bori. "Haptic Transgression. The Horror of Materiality in Kurt Kren’s Films." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 153–72. http://dx.doi.org/10.2478/ausfm-2019-0008.

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Abstract The article investigates two seemingly conflicting critical approaches of haptic and transgressive cinema, which emerged along with the corporeal turn in film studies, in the late 1990s and early 2000s. While haptics operates with undistinguishable figures and demands extreme closeness and an active caressing gaze, transgression is usually seen from a distance and subverts the social, political and ethical order. The paper attempts an examination of the Austrian avant-garde filmmaker Kurt Kren’s Actionist films and enlightens how these two opposing strategies can be present together. Giving a detailed analysis of the films, the article describes an expanded definition of Linda Williams’s body genres, in order to create a new category of horror: the horror of materiality.

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Cavaletti, Federica, Tarja Laine, Rikke Schubart, and Holly Willis. "Book Reviews." Projections 17, no. 1 (March 1, 2023): 92–110. http://dx.doi.org/10.3167/proj.2023.170110.

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Adriana Gordejuela. Flashbacks in Film: A Cognitive and Multimodal Analysis. New York: Routledge, 2021, 190 pp, $128.00 (hardback), ISBN: 9780367721336. Francesco Sticchi. Melancholy Emotion in Contemporary Cinema. New York: Routledge, 2019, 206 pp, $39.20 (softcover), ISBN: 9780367663421. Peter Turner. Found Footage Horror Films: A Cognitive Approach. New York: Routledge, 2019, 204 pp, $39.16 (softcover), ISBN: 9780367661847. Katherine Thomson-Jones. Image in the Making: Digital Innovation and the Visual Arts. Oxford: Oxford University Press, 2021, 152 pp, $74.00 (hardcover), ISBN: 9780197567616.

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Fahmi, Marwa Essam Eldin. "Peter Jackson’s King Kong (2005): A Critique of Postcolonial/Animal Horror Cinema." English Language and Literature Studies 7, no. 2 (May 30, 2017): 15. http://dx.doi.org/10.5539/ells.v7n2p15.

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The current study examines the fictional screen figure King Kong—as envisioned by the New Zealand director Peter Jackson in his 2005 remake—to question European ambivalence towards the Self/Other binary division. The modern 2005 Kong acts as a counter visual icon to the Eurocentric version of colonialist ideologies to expose their hypocrisy and myth-making colonial history. The present study is an attempt to integrate the visual narrative of King Kong (2005) into the framework of Postcolonial paradigm and within the theory of Adaptation to highlight the points of departure undertaken by the Postcolonial director Peter Jackson. The study seeks to establish Jackson’s revisit of a prior work as a “willful act” to reinterpret the screen figure Kong as a “Subaltern” subject whose quest for a voice is central to the film’s message. The dialogic relationship between the old and the new cinematic narratives is investigated to challenge Essentialist Western View of “Othering” so as to provide a Postcolonial revision of a fluid relationship between a prior work and a belated one. Thus, the aim of the present study is to deconstruct stereotypical representations, to historicize and contextualize Kong as a cultural and historical metaphor in Postcolonial Cinema. Animal Studies can offer new interpretations of how nonhuman animals can deconstruct the ontological Western discourses of rationality and capitalism within Postcolonial Cinema to rethink the boundaries that separate human and nonhuman.

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Shetley, Vernon. "Sidney Furie’s The Entity: Horror and rape culture." Horror Studies 13, no. 2 (October 1, 2022): 251–66. http://dx.doi.org/10.1386/host_00057_1.

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In the 1970s rape became a central focus of second-wave feminist activism, and also, as censorship waned, a frequent narrative event in New Hollywood cinema, often, as a number of critics noted, in strikingly misogynistic forms. A few films, however, reflect and engage with second-wave feminism’s new perspectives on sexual assault. Sidney Furie’s The Entity (1982) uses its horror premise, a woman repeatedly raped by an invisible, aethereal attacker, as a powerful metaphor for what feminists termed ‘rape culture’. The film enlists our identification with, and sympathy for, its protagonist in her struggle against both the invisible rapist and against a medical establishment that denies the truth of her experience. Larry Cohen’s God Told Me To will be briefly considered as a film that reimagines the story of Jesus’s conception in feminist terms as sexual violation and Abel Ferrara’s Ms. 45 will be discussed as a representation of women’s experience of rape culture.

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Sen, Aditi. "‘I Wasn’t Born with Enough Middle Fingers’: How low-budget horror films defy sexual m orality and heteronormativity in Bollywood." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 75–90. http://dx.doi.org/10.15388/aov.2011.1.3931.

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Queen’s UniversityIn the early 1980s the Ramsay Brothers gave Bollywood a new genre of monster flicks with blockbusters like Purana Mandir, Hotel, and Veerana. Following the work of the Ramsay Brothers, low-budget horror films that were made exclusively for the small towns and rural market increased in the decades of 1980s and 1990s. These films are primarily known for their unintentional humor owing to poor production and acting, but they have never been acknowledged for their actual content. This article argues that Bollywood low-budget films fulfilled the basic function of horror movies—that is, they subverted mainstream moral order and sexual morality. These films opened up space for dialogues that the mainstream cinema had totally neglected; particularly, in the areas of incest, female lust, ‘othering’ of male sexuality, and transgendered identities. On a different register, the relationship between low-budget horror films and mainstream Bollywood can be compared to folklore and canonical literature, where folklore repeatedly resists the conformities endorsed by the mainstream prescriptive texts.

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Perrello, Tony, and Nathan Wilke. "“The name is Blacula!”: Identity and Palimpsest in William Marshall’s Vampire Diptych." Studies in the Fantastic 16, no. 1 (January 2024): 14–38. http://dx.doi.org/10.1353/sif.2024.a923181.

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Abstract: In the early 1970s, a new cinematic genre, the Blaxploitation film, emerged from a creative scene which saw Black actors, writers, and directors enabled to produce their own original works for the first time. Often accused of trafficking in unsavory racial tropes, Blaxploitation films nevertheless displayed aspects of America’s racial problems and subtly complicated Black stereotypes while capitalizing on them to entertain both Black and White audiences. Films such as Sweet Sweetback’s Baadasssss Song (dir. Melvin Van Peebles, 1971) and Shaft (dir. Gordon Parks, 1971) may be most recalled as having catapulted this genre to fame, but an often-overlooked subgenre—the Blaxploitation horror film—also offered its unique brand of cultural insight. William Crain’s seminal Blaxploitation horror film, Blacula (1972), and its fast-tracked sequel, Scream Blacula Scream (dir. Bob Kelljan, 1973), demonstrate the power of the Blaxploitation framework to transcend its harmful stereotypes and to expose oppressive cultural practices. Our analysis of this pair of Blaxploitation horror films focuses upon two aspects of their position as representatives of their subgenre: first, their influence upon the wider cinematic culture, particularly the culture of horror cinema; second, the ability of Blacula and its sequel to play with and against their racial stereotypes.

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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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Poznin, Vitaly F. "The Formation of Russian Genre Cinema at the Beginning of the 21st Century." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 535–56. http://dx.doi.org/10.21638/spbu15.2023.308.

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The problem of genre formation in cinema constantly causes controversy and discrepancies among art historians, since this type of creativity is synthetic, using the creative possibilities of other types of art. Сommon in the definition of the term “genre” is only the provision that a genre is a way of embodying a certain concept of reality in a work, creating an artistic picture or an artistic model of the world, perceived from a certain angle, which implies a limitation in the choice of means of artistic embodiment of the theme of the work. Like any complex concept, a genre should be considered in a system of several coordinates, among which the dominant features inherent in a particular genre play the most significant role. These two dominants are: 1) the emotion that the film should evoke in the viewer (laughter, horror, sympathy, etc.); 2) the theme of the film (historical, military, sci-fi, etc.). When investigating the problem of genre formation, one should also not forget that the genre is a historical category, i. e. the specific period in which it was created plays an important role in determining the genre characteristics of a particular film. Over the past 30 years, Russian cinema has undergone significant changes in the aesthetic and ethical paradigm, including changes in the themes and genre palette of films. This article is the first attempt to analyze the process of mastering by Russian cinematography new genres for it, which were not previously in the repertoire of Russian cinema (fantasy, disaster film, horror, biopic, musical). Having considered the problem of interaction between cultural globalization and national mentality, the author comes to the conclusion that, having survived the period of imitation of foreign models, Russian genre cinema at the present stage has the opportunity to gain self-identification and become an art that is in demand by a wide audience.

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Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (June 15, 2020): 91–100. http://dx.doi.org/10.14746/h.2020.2.7.

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Two first decades of the 21st century have revealed an increasing popularity of the horror genre. In particular, we have been witnessing the renaissance of Gothic cinema, especially the vampire sub-genre. It is conspicuous that the original vampire story formula has lately undergone numerous significant alterations. Vampires have evolved from cold and soulless monsters to humanised romantic heroes. In the new millennium, a static Gothic diegesis gets frequently replaced by a dynamic reality, in which movement is a predominant feature. This article is devoted to the motifs of the road, journey and travels in Jim Jarmusch’ film Only Lovers Left Alive.

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Mendik, Xavier. "Beneath Still Waters: Brian Yuzna’s Ritual Return in Indonesian Cinema." Plaridel 11, no. 2 (August 1, 2014): 140–61. http://dx.doi.org/10.52518/2014.11.2-06mndk.

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This article offers the first academic consideration of Brian Yuzna’s recent films created in Indonesia. Since the mid 1980s, Yuzna has worked extensively across the USA, Europe and the Far East (both as a director and producer), pioneering a distinctive international brand of horror cinema that combines social critique with explicit splatter. Despite his transnational credentials, Yuzna’s work in Indonesia has largely been ignored by those critics interested in reclaiming 1970s/80s genre entries as more ‘legitimate’ symbols of Indonesian cult cinema. However, by considering Yuzna’s 2010 title Amphibious, I shall argue that the film contains the elements of hybridity and generic impurity that critics such as Karl G. Heider have long attributed to Indonesian pulp traditions. Specifically, it shall be argued that the film’s emphasis on performativity, trickery and spectacle are used to evoke Indonesian myths rather than Americanised tropes of genre cinema. As well as considering the transnational elements to Amphibious, the article will also explore possible connections between abject constructions of the transformative female body in both Indonesian film and Brian Yuzna’s wider cinema. The article also features exclusive new interviews with Brian Yuzna and Amphibious screenwriter John Penney discussing the making and meaning of the film.

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Mukherjee, Sayan. "“Persistence of Horror”: An Overview of Texts on Post apocalyptic World Order." New Literaria 03, no. 02 (2022): 124–29. http://dx.doi.org/10.48189/nl.2022.v03i2.014.

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In simplest terms, an apocalypse is the massive destruction of the world, which leads to the end of life in it. It is the concept of ultimate devastation that has been borrowed from various religious, ancient scriptures. This paper portrays the images of war, famine, or plague that have become the face of apocalypse in human civilization. It looks towards the dystopian texts as an event that could plausibly lead to a revolution and the subsequent birth of a hero who will redeem humankind. The idea is to project apocalypse on two paradigms – one is large-scale destruction leading to the end of the world and joyous anticipation of a new beginning. There is an array of apocalyptic texts in literature and cinema which are graphic and terrorizing

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Cosentino, Olivia, Niamh Thornton, Natália Pinazza, Sharonah Fredrick, and Marc Ripley. "Reviews." Studies in Spanish & Latin-American Cinemas 16, no. 3 (September 1, 2019): 423–37. http://dx.doi.org/10.1386/slac_00008_5.

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La India María: Mexploitation and the Films of María Elena Velasco, Seraina Rohrer (2018) Austin: University of Texas Press, 220 pp., ISBN 978-1-47731-345-9, p/bk, $29.95 USDMexican Transnational Cinema and Literature, Maricruz Castro Ricalde, Mauricio Díaz Calderón and James Ramey (eds) (2017) Oxford and Bern: Peter Lang, 312 pp., ISBN 978-1-78707-066-0, p/bk, $69.95The Latin American (Counter-)Road Movie and Ambivalent Modernity, Nadia Lie (2017) Cham, Switzerland: Palgrave Macmillan, 260 pp., ISBN: 9783319435534, h/bk, £57.65, p/bk, £71.96Evolvi ng Images: Jewish Latin American Cinema, Norah Glickman and Ariana Huberman (eds) (2018) Austin: University of Texas Press, 264 pp., ISBN 978-1-47731-471-5, p/bk $29.95 USDThe Spanish Fantastic: Contemporary Filmmaking in Horror, Fantasy and Sci-Fi, Shelagh Rowan-Legg (2016) London and New York: I. B. Tauris, 214 pp., ISBN 978 1 78453 677 0, h/bk, $103.50; e-book, $82.80

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Florentin, Groh. "“Experiencing Trauma”: Aesthetical, Sensational and Narratological Issues of Traumatic Representations in Slasher Horror Cinema." Arts 12, no. 4 (June 28, 2023): 132. http://dx.doi.org/10.3390/arts12040132.

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In the field of horror film studies, the question of trauma is generally related to the spectator’s experience. The trauma of images occurs in the context of socio-cultural actualization. The degree of violence involved in the images, either graphic or symbolic, implies an experience that marks the viewer. Trauma, in this way, acts as a sensitive degree of perception, the image being an event. We start from this theoretical point but decide to take as our object of study only films where the horrific experience is based on a figurative representation of trauma. Therefore, we want to detach ourselves from a symbolic reading of the horrific image, leaving aside the psychological implications of the image’s effect. We decide to adopt a phenomenological and enactive reading of the image in order to include our spectatorial sensations in the narrative and aesthetic analysis of the representations issues of trauma as a horrific experience. Thus, in our corpus, trauma does not intervene in the cognitive formation of the spectator but is built into the experience of the filmic corpse according to a visual and narrative continuity specific to the films. We designate two types of traumatic events that occur in the corpus films: Halloween II; Friday the 13th: A New Beginning. We try to understand the emergence of the traumatic feeling within the spectator and demonstrate that the trauma experienced by the viewer arises from the horrific experience specific to the aesthetic and narrative aims of the films, mirroring the symptoms and the wounds of the characters.

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Vetyutnev, Yury. "Normativity in the Philosophy of Cinema (Review of the Conference)." Logos et Praxis, no. 1 (April 2023): 5–10. http://dx.doi.org/10.15688/lp.jvolsu.2023.1.1.

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The article is devoted to the All-Russian scientific conference "Normativity in the Philosophy of Cinema", organized jointly by Volgograd State University, Lomonosov Moscow State University, and the Russian Philosophical Society. Lomonosov Moscow State University and the Volgograd branch of the Russian Philosophical Society. The participants of the conference focused their attention on the fact that cinema inevitably reflects the nature of normativity because, in accordance with the traditions of European dramaturgy, the storyline is based on the event of disorder, and the conflict structure requires that the figure of the violator is opposed by the antagonist, that is, the follower and defender of the social norm. At the same time, cinetext can reflect both the author's ideas and purely typical notions of law prevailing in culture. At the same time, the cinema, among other things, can be used as an experimental ground for working out a new way of social action. In addition to the philosophical approach proper, interdisciplinary approaches to the problems in question were presented: legal, historical, sociological, and theological. In the framework of the thematic sessions and plenary lectures of the conference, various aspects of philosophical comprehension of cinema in general and the idea of normativity as its substantial leitmotif were discussed, including genre specificity (crime films, horror, serials); the works of certain masters (A. Tarkovsky, F. Fellini, M. Scorsese, W. Anderson, M. Zakharov, E. Ryazanov, G. Daneliya, etc.); national codes of film cultures; reflection of historical events, including traumatic ones, and their processing by means of film language; representation of religious symbols and meanings in cinema; normative modes of perception of a film production. Thus, we have seen that cinema, as a fractal way of seeing modern culture, is an exceptionally rich and grateful material for philosophical thinking.

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Pang, Benson. "Filming the Singaporean killer: Trauma, murder and modernity in Medium Rare (1991) and God or Dog (1997)." Asian Cinema 32, no. 2 (October 1, 2021): 187–202. http://dx.doi.org/10.1386/ac_00041_1.

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This article considers how two Singapore horror films, Medium Rare (1991) and God or Dog (1997), attempted to make sense of the real-life Adrian Lim ritual murders through two divergent approaches to the co-constitutive relationship between modernity and violence. First, by formulating an image of Singapore as a rational global cosmopolis, Medium Rare positions Lim and his superstitious violence as malignant anomalies that must be expelled to protect Singapore’s modern identity. Conversely, God or Dog portrays Lim’s madness as an unfortunate consequence of the country’s rapid modernization. Put together, these films use Lim and his crimes as vehicles through which they explore Singapore’s troubled endeavours at self-definition within the early fringe of the 1990s Singapore new wave cinema.

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Jancovich, Mark. "‘Another, more sinister reality’: Class, Youth and Psychopathology from Saturday Night and Sunday Morning to Endless Night." Journal of British Cinema and Television 16, no. 2 (April 2019): 213–32. http://dx.doi.org/10.3366/jbctv.2019.0469.

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This article analyses how the protagonists of films such as Saturday Night and Sunday Morning (1959), The Collector (1965), Blow Up (1966), Twisted Nerve (1968) and Endless Night (1972) were understood in relation to debates over the supposed perils of the new affluence and the erosion of class distinctions that it was presumed to entail. In particular it examines the terms in which these issues were discussed within contemporaneous reviews of the films, terms that were insistently psychological. These protagonists, as well as, to a certain extent, the actors who played them, were seen as representing a nightmare image of a ‘new’ working class that no longer ‘knew its place’, and as manifesting psychological problems that were associated with this intermediate status. Their psychologies were interpreted by many critics as being distinguished by a sense of isolation from external reality and by a hostile relationship to the world characterised by a psychopathic lack of empathy. Such concerns could be seen as establishing certain parallels between working-class realism and the contemporaneous horror film, and indeed the reviews cited in this article demonstrate that working-class realism and horror were seen as having shared points of interest in the 1960s, points that have often been repressed by the tendency to compartmentalise British cinema history into separate or even opposed ‘traditions’.

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Keetley, Dawn. "Post-9/11 Horror in American Cinema. Kevin J. Wetmore. New York: Continuum, 2012. 231 pp. $90.00 cloth, $27.95 paper." Journal of Popular Culture 46, no. 2 (April 2013): 455–57. http://dx.doi.org/10.1111/jpcu.12034_10.

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Fischer, André. "Deep Truth and the Mythic Veil: Werner Herzog's New Mythology in Land of Silence and Darkness." Film-Philosophy 22, no. 1 (February 2018): 39–59. http://dx.doi.org/10.3366/film.2018.0061.

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This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and total cinema in classic film theory and visual studies. More importantly I show how the desire to create new mythic images not only influenced Herzog's discourse on film, but his actual aesthetic practice. In my analysis of his 1971 documentary Land of Silence and Darkness (Land des Schweigens und der Dunkelheit) I show how the dynamic between Apollonian veil and Dionysian Urbild (original image) is effective in the construction of what Herzog calls “deep truth”. This article attempts to shift the focus away from the fact-fiction debate surrounding most of Herzog's documentaries and to concentrate instead on framing Herzog's claims of non-rational truth theoretically and locating his work in the aesthetic tradition of new mythology.

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Ivashchenko, Yana S. "The Influence of Modern Paganism and Ecofeminism on Female Image in Russian Fiction Cinema." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 43–56. http://dx.doi.org/10.37816/2073-9567-2024-71-43-56.

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This paper displays the results of a system-typological and structural-semiotic analysis of female pagan images in Russian feature films, shown in interrelations with religious movements and ideological trends of modern culture. The relevance of this research is determined by the need of ensuring the ideological security and sociopsychological well-being of modern society. The research was conducted on the material of mystical series, folk horror, ethnographic cinema, and historical fantasy. The study highlights static and dynamic types of female pagan images. The static type exists in two contexts: rural and urban, and the dynamic type develops in two directions: progressive and regressive. The paper detects connection of the victim's motif, which characterizes dynamic female images, with gender and postcolonial issues. Comparison of the ways of representation of female pagan images, discourses of modern paganism and ecofeminism allowed us to conclude about the mutual influence of these three discursive systems. The connection of the system of female images with the modern processes of the revival of paganism follows the pattern of isomorphism. The study shows that Russian cinema has experienced the influence of Western ecofeminism, yet the relationship of the sexes here does not have the character of an open confrontation. The author focuses in this case on the new role and gender identity of women, which is best expressed by the static heroines of mystical series and historical fantasy.

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Abbott, Stacey. "Book Review: Adam Lowenstein, Shocking Representation: Historical Trauma, National Cinema and the Modern Horror Film. New York: Columbia University Press, 2005." Media, Culture & Society 29, no. 5 (September 2007): 846–47. http://dx.doi.org/10.1177/01634437070290050807.

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Predko, Viktoria, Kateryna Korduban, and Denys Predko. "The Influence of Cinematography on the Emotional Sphere of Personality of Adolescent." Bulletin of Taras Shevchenko National University of Kyiv. Psychology, no. 2 (16) (2022): 39–43. http://dx.doi.org/10.17721/bpsy.2022.2(16).7.

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The article reveals the specifics of the influence of film genres, such as horror, comedy, drama, science fiction and detective on the personality of a teenager. It is noted that each genre of the film has a unique effect on the psyche, moreover, the preference for one or another genre is determined by the internal needs of the individual, his mental state and unconscious experiences. The positive and negative features of the influence of cinema on adolescents' behavior are considered. It has been determined that a violent, aggressive, and often even meaningless or immoral film can be used to demonstrate abnormal, destructive behavior. It is noted that the main psychological mechanism of the positive influence of cinema on the personality of an adolescent is the discussion of the film, which leads adolescents to a constructive analysis of their experiences, providing "immunity" to the possible negative consequences of destructive films. It is emphasized that feedback after watching a film can not only reduce the negative impact of on-screen images but also provoke reflection and form internal patterns of behavior. The article presents the results of a study of the influence of cinema on the emotional area of an adolescent. In particular, the results were compared before and after watching the film. It was found that after watching the film, the subjects' level of anxiety slightly increased, but their level of energy, their level of elation and confidence also increased. That is, despite a slightly increased level of anxiety, it can be argued that the film had a positive effect on the emotional state of the subjects. After watching the film, teenagers showed emotional upliftment and self-confidence. The decisive role of cinema in the purposeful development of a teenager is emphasized, namely, modeling his strengths of character, forming his own life position, as well as establishing interpersonal and intergroup relationships, the ability to change infantile views to new, mature worldview positions, to form moral and aesthetic values.

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Radaeva, E. A. "Traditions of German Expressionism in the Cinematography of the Second Half of the 20th – Early 21st Centuries." Concept: philosophy, religion, culture 6, no. 3 (September 27, 2022): 156–70. http://dx.doi.org/10.24833/2541-8831-2022-3-23-156-170.

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The subject of this study is the influence of the traditions of German expressionism on modern cinema, primarily the horror genre. The relevance of this work is due to the need to study the genesis of modern trends in one of the most popular types of art and its popular genres in the context of cultural history in terms of allusions and reminiscences, traditions and innovation. In order to prove that the traditions of expressionism are clearly traced to this day and promise to be quite productive in the long run, as well as to trace the nature of their presence in the history of the film industry, in line with the culturological approach, the method of comparative historical and historical situational analysis, as well as content analysis was mainly used regarding cinematography of the period under consideration. The scientific novelty of the work lies in the very prism of the study and its object — the films of 2021–2022 were considered in terms of traditions of expressionist aesthetics; in addition, the article presents a slightly different view on the masterpieces that have become classics of the cinema of the 20th century. As a result, it was revealed that the expressionist concept of man and the world is strong in the artistic world of cinema art of this period. The methods of German filmmakers of the beginning of the previous century were continued in a somewhat modified form at the level of the play of light and shadow, framing, the figurative system itself (vampires, homunculi, ghosts), mechanistic acting, sinister paraphernalia, and deceitful details. The common denominator of foreign and domestic films of all the genres and subgenres considered in the article was the use of a special musical setting — music that originates from the new Viennese school (in other words, musical expressionism), which also confirms the theory put forward.

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Mayne, Laura. "A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry." Journal of British Cinema and Television 18, no. 1 (January 2021): 34–49. http://dx.doi.org/10.3366/jbctv.2021.0554.

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Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

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Journal articles on the topic 'New horror cinema'

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