Bibliographies thématiques / Fantastico e Horror

Littérature scientifique sur le sujet « Fantastico e Horror »

Auteur : Grafiati
Publié le 11 mars 2023

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Articles de revues sur le sujet "Fantastico e Horror"

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Lowenstein, Adam. « Horror, Trauma, and George A. Romero’s Martin (1978) ». English Language Notes 59, no 2 (1 octobre 2021) : 9–19. http://dx.doi.org/10.1215/00138282-9277227.

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Abstract This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin, translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma spoken by Martin is not the one we expect from the horror film, with its traditional investments in fantastic spectacle. Instead, it is a language that combines horror’s fantastic vocabulary and documentary’s realist vocabulary in ways that undermine our attempts to distinguish between the two modes. Romero’s vision urges us to see catastrophe where we are accustomed to seeing only the mundane, and collective trauma where we routinely see only individual trauma. In Martin’s version of horror, the economic decline of Braddock, Pennsylvania, is paired with trauma connected to the Vietnam War and immigration. The film moves between these coordinates to revisualize the distinctions that divide the fantastic from the real as well as the individual from the collective.
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Saeed, Alan Ali. « From Supernatural to Psychological : A Historical Study of the Concept of the 'Fantastic' in Hoffmann’s ‘The Sandman’ and Poe’s ‘The Tell-Tale Heart’ ». Journal of University of Human Development 8, no 3 (6 juillet 2022) : 8–17. http://dx.doi.org/10.21928/juhd.v8n3y2022.pp8-17.

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This research paper explores how and why the existing tradition of supernatural stories about ghosts and other fantastical creatures, which located terror as an external factor in these unnatural and malignant beings, was transformed in the early to mid-Nineteenth Century into tales that are instead focused on fear in terms of the internal psychology of the narrator and the protagonist. It investigates two well-known examples of psychological horror, E.TA. Hoffmann’s “The Sandman” (1816) and Edgar Allan Poe’s “The Tell-Tale Heart” (1843). The research paper deploys a contextual historical approach examining the impact of Romanticism as a philosophy focusing on the individual’s mental state and extreme psychological situations, as well as developing scientific ideas about psychology in the period. In my argument it is “madness” (which could affect anyone in society) that became the new fear that haunted and fascinated society, replacing the explicitly external supernatural. I also use Tzvetan Todorov’s structuralist theory and model of “the fantastic” and suggest it is possible for a psychological tale to be fantastic in a different way than he envisages, insofar as madness is itself an experience where the victim is never sure if what they experience is real or unreal.
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Beville, Maria. « The Macabre on the Margins : A Study of the Fantastic Terrors of the Fin de Siècle ». Text Matters, no 2 (4 décembre 2012) : 115–29. http://dx.doi.org/10.2478/v10231-012-0058-3.

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With a view to discussing an important three-faceted example of marginality in literature whereby terror, the literary Fantastic and the fin de siècle period are understood as interconnected marginalia, this paper examines works such as Guy de Maupassant’s “Le Horla” and H. Rider Haggard’s She from an alternative critical perspective to that dominating current literary discourse. It demonstrates that in spite of the dominant associations of fantastic literature with horror, terror, as the marginal and marginalized fear of the unknown, with its uncanny, sublime and suspenseful qualities, holds a definitive presence in fin de siècle fantastic texts. Literary analysis of the chosen texts registers significant examples of the importance of terror to fantastic writing, and as such functions to extract an “aesthetics of sublime terror” from the margins of critical studies of this often macabre literary mode.
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Thomas, Joseph. « Lagniappe : “For ’the making and glimpsing of Other-Worlds’ : Literature of the Fantastic in the Schlobin Collection at East Carolina University" ». North Carolina Libraries 63, no 1 (15 mai 2008) : 40–43. http://dx.doi.org/10.3776/ncl.v63i1.55.

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A new collection at East Carolina University’s Joyner Library: The James H. and Virginia Schlobin Literature of the Fantastic Collection includes fantasy, science fiction, horror, and the weird which builds, perhaps, on the uncertainty and anxiety created by the “marvelous” and the “uncanny” aspects of fantasy identified by Tzvetan Todorov (1975).
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Pettersen, David. « Les Revenants : horror in France and the tradition of the fantastic ». French Screen Studies 21, no 3 (3 juillet 2021) : 239–57. http://dx.doi.org/10.1080/26438941.2021.1920144.

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Kochanowicz, Rafał. « „Kwazar”, „Fantom”, „Czerwony Karzeł”, „Inne Planety”. Kilka uwag krytycznych o nietypowej sytuacji fantastycznych fanzinów w kulturze polskiej ». Poznańskie Studia Polonistyczne. Seria Literacka, no 28 (19 février 2017) : 249–69. http://dx.doi.org/10.14746/pspsl.2016.28.13.

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In Poland, research-related fanzines rarely include writings edited by Polish fans of science fiction, horror and fantasy. Active fans edited amateur magazines which were very important because they popularized fantastic literature and culture in Poland. The role of fantastic fanzines was not limited solely to the promotion of amateur creativity or publishing translations of foreign fiction not available on the market, but also consisted in the creation of creative bonds between writers and readers. The remnants of the activities of Polish fantastic fiction fans are about one hundred titles including “Quasar”, “Red Dwarf” and “Other Planets”. These three fanzines as effects of pure amateur work are also very similar to the professional magazines. Each of them has a different poetics and thematic dominant. They have also published stories written by famous Polish writers such as Ewa Białołęcka and Andrzej Sapkowski.
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Abreu, Alexandre Veloso de. « Unnatural London : the Metaphor and the Marvelous in China Mieville's Perdido Street Station ». Scripta 22, no 46 (21 décembre 2018) : 193–202. http://dx.doi.org/10.5752/p.2358-3428.2018v22n46p193-202.

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This paper explores allegorical and unnatural elements in China Miéville’s novel Perdido Street Station, starting with a parallel between the fictional city New Crobuzon and London. Fantasy literature examines human nature by means of myth and archetype and science fiction exploits the same aspects, although emphasizing technological possibilities. Horror is said to explore human nature plunging into our deepest fears. We encounter the three elements profusely in the narrative, making it a dense fictional exercise. In postclassical narratology, unnatural narratives are understood as mimetical exercises questioning verisimilitude in the level of the story and of discourse. When considered unnatural, narratives have a broader scope, sometimes even transcending this mimetical limitation. Fantastical and marvelous elements generally strike us as bizarre and question the standards that govern the real world around us. Although Fantasy worlds do also mirror the world we live in, they allow us the opportunity to confront the model when physically or logically impossible characters or scenes enhance the reader’s imagination. Elements of the fantastic and the marvelous relate to metaphor as a figure of speech and can help us explore characters’ archetypical functions, relating these allegorical symbols to the polis. In Miéville’s narrative, such characters will be paralleled to inhabitants of London in different temporal and spatial contexts, enhancing how the novel metaphorically represents the city as an elaborate narrative strategy.
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Vaganov, Andrey. « Dr. Frankestein and the Birth of Horror ». Science Management : Theory and Practice 3, no 3 (28 septembre 2021) : 193–0. http://dx.doi.org/10.19181/smtp.2021.3.3.10.

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In the spring of 1818, a novel was published in England, which became the starting point of a new literary genre. The name of the discovered type of literature is sci-fi horror. The creator of sci-fi horror – Mary Shelley – was at that time only 21 years old. Even the title of the novel became today the common noun is “Frankenstein, or Modern Prometheus”. “Archetype of horror”– this is how literary critics say about this work. The article attempts to prove and show that the entire plot of the novel is based on discoveries made at that time in the science of electrical phenomena. The article also tells about experiments with electricity, conducted by scientists in the 18th – early 19th centuries, and their perception by contemporaries. Thewhole structure, narrative of the novel, its rhetoric and even expressive artistic means are all works on the idea of bringing the natural-scientific basis under the absolutely seemingly fantastic plan. But, moreover, the novel can be viewed as a work of genius, foreseeing the emergence of what will be called molecular biology and genetic engineering.
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Carrera Garrido, Miguel. « “Do you wanna play a game?”. Espacio y niveles de implicación del público en la representación escénica del género terrorífico ». Signa : Revista de la Asociación Española de Semiótica 28 (28 juin 2019) : 523. http://dx.doi.org/10.5944/signa.vol28.2019.25069.

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El teatro, muy a menudo excluido en los estudios sobre géneros comúnmente llamados no miméticos (el terror, lo fantástico, la ciencia ficción), puede, sin embargo, aportar mecanismos que caen más allá del alcance de otros medios como el cine o la narrativa. En concreto, el terror puede beneficiarse de la ruptura de la cuarta pared y la integración del público en el ámbito escénico. El artículo rastrea, en la teoría y en la práctica, los grados de tal asimilación y las posibilidades que se siguen para la recreación del terror en las tablas. Theatre, very often excluded in studies on genres usually called non-mimetic (horror, the fantastic, science fiction), can, however, afford mechanisms that fall beyond the reach of other media such as film or narrative fiction. Specifically, horror can benefit from the breaking of the fourth wall and the integration of the audience into the scenic area. This article traces, both in theory and in practice, the degrees of this assimilation to the show and the possibilities that follow for the recreation of horror on the stage.
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Adji, Alberta Natasia. « SERI FANTASTEEN GHOST DORMITORY : PRODUKSI KOMERSIAL SASTRA DI INDONESIA ». Jurnal Pena Indonesia 2, no 2 (16 janvier 2017) : 102. http://dx.doi.org/10.26740/jpi.v2n2.p102-118.

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The trend of horror genre has spread towards Indonesian literature, marked by the emergence of light noves for teenagers aged 13-18 under the label of Fantasteen, an imprint of DAR! Mizan starting in 2011, a division of PT Mizan Pustaka, one of the biggest publishing companies in Indonesia. Among various printed Fantasteen light novels, the Ghost Dormitory series became the most prominent work as each story is set in one foreign city such as Tanzania, Den Haag, etc. The study reveals the interconnecting phenomenon between literary works and commercial ways through the perspective of Pierre Bourdieu’s the field of cultural production and Tzvetan Todorov’s Fantastic theory. Using a qualitative method, this article proves that DAR! Mizan has successfully achieved popular legitimation owing to the rising horror-themed light novels which are presented through Fantasteen brand, written by teenagers and also targeted for young readers. With the rise of the special series Ghost Dormitory among other Fantasteen works, the result of the study shows that as one of the major publishers, DAR! Mizan has successfully conducted a strategy to influnce the face of the Indonesian teenage literary world which is presenting a horror genre as its main theme.
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Thèses sur le sujet "Fantastico e Horror"

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COLLETTI, GUIDO CARLO. « LA FIGURA FEMMINILE NEL FANTASTICO ITALIANO ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58413.

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Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice.
This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.
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COLLETTI, GUIDO CARLO. « LA FIGURA FEMMINILE NEL FANTASTICO ITALIANO ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58413.

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Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice.
This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.
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Foni, Fabrizio. « " I lettori hanno bisogno di sale,di droghe,di eccitanti ". Nero, fantastico e bizzarrie varie nella Domenica del Corriere (1899-1909) ». Doctoral thesis, Università degli studi di Trieste, 2008. http://hdl.handle.net/10077/2606.

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2006/2007
Per quanto riguarda il primo Novecento italiano, sulla scorta di quanto affermato da Calvino, la critica letteraria si è solitamente limitata ad esaminare una produzione fantastica di stampo «intellettuale», anziché «emozionale». In realtà, per il nostro paese, è proprio la nascita di svariate riviste di taglio popolare (e dalle larghe tirature) a contribuire alla diffusione d’un racconto fantastico finalizzato alla meraviglia o al raccapriccio del lettore. “La Domenica del Corriere”, oltre ad essere la più venduta, offre un perfetto esempio di come questo tipo di narrativa acquisti sempre più spazio, contribuendo alla creazione di una scuola di autori prolifici, seppur ai limiti del dilettantismo, e proponendo – spesso per la prima volta – le traduzioni a puntate dei romanzi esteri polizieschi, fantastici o semplicemente avventurosi più noti all’epoca. La citazione nel titolo riprende la risposta, all’interno dell’anonima rubrica “Piccola Posta”, fornita a un lettore che aveva inviato un racconto giudicato dalla redazione «troppo semplice». Il "sale", le "droghe", gli "eccitanti" su cui viene posto l’accento, ben esemplificano il favore accordato dalla testata alla narrativa di genere. È in questi anni che, all’interno dei giornali, il fantastico nostrano diviene una specifica e organizzata espressione della cultura di massa, e non una curiosa e occasionale presenza, e “La Domenica del Corriere” ne rappresenta senz’altro il modello più riuscito.
XX Ciclo
1980
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Miguel, Alcebiades Diniz. « A morfologia do horror : construção e percepção na obra lovecraftiana ». [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268922.

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Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-05T13:08:06Z (GMT). No. of bitstreams: 1 Miguel_AlcebiadesDiniz_M.pdf: 7463751 bytes, checksum: 83ea4d9e3c61ddc864ad448512443693 (MD5) Previous issue date: 2006
Resumo: O horror ficcional é uma das constantes na produção cultural do século XX, como um reflexo que acompanha o horror político. Esse horror culturalmente produzido, que é estético, podemos vislumbrar em vasta produção da indústria cultural ¿ que cobre as mais diversas mídias e formas de representação ¿, tendo seu momento inicial na ficção fantástica dos séculos XVIII-XIX. Na década de 1920-30, o escritor norte-americano Howard Phillips Lovecraft retomaria essa tradição do fantástico, acrescentando novos significados, formas, usos e estratégias. Neste trabalho, nossa meta foi realizar um panorama da ficção de horror abordando analiticamente elementos das narrativas de seu criador, H. P. Lovecraft
Abstract: An persistent principle in the contemporary cultural productions, as a reflection and a shadow of certains aspects of the reality, are the fictional horror. These horror, a cultural product as well, esthetical in its essence, can be discerned at wide areas of mass culture ¿ including several medias and representations ¿ and its start point are the fantastic fictions on the 18-19th centuries. Howard Phillips Lovecraft, in the first decades of the 20th century, retrivied this tradiction of the fantastic fictions, adding new meanings, forms, usages and strategies. In our work, the goal are made something like a panorama of the horror fiction through the analisys of H. P. Lovecraft fiction key-elements
Mestrado
Literatura em Lingua Inglesa
Mestre em Linguística
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com, estrangedcognition@hotmail, et Em McAvan. « The Postmodern Sacred Popular Culture Spirituality in the Genres of Science Fiction, Fantasy and Fantastic Horror ». Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080908.140222.

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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is “unreal” texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of “real world” epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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McAvan, Em. « The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror ». Thesis, McAvan, Em (2007) The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/188/.

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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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McAvan, Em. « The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror / ». McAvan, Em (2007) The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.

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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Johnson, Kinley. « Bridging the Fantastical Gap : Dread and the Uncanny in the Score of "It Follows" ». Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703402/.

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"It Follows" (2014), written and directed by David Robert Mitchell, premiered at the Cannes Film Festival in 2014. It chronicles the story of Jay, a college student who contracts a curse through sexual intercourse. The curse manifests itself as a human whom only the infected persons can see, always following at a walking pace, and determined to kill if it catches up. This thesis demonstrates the score's crucial role in establishing affect, setting, and character in a film with sparse dialogue and a silent monster. Moreover, the score creates a sense of the uncanny by complicating the binary between music and sound effect and fulfills the need to create dread without resorting to the loud or sudden sounds traditionally heard in horror films. The score's composer, Richard Vreeland, achieves this effect by drawing on both classical film scoring techniques as well as more modern horror scoring styles. It is this interaction between styles that enhances the viewers' experience of dread and horror in the film. This thesis analyzes how Vreeland's score for "It Follows" exploits the poetics of the fantastical gap, of the uncanny, and of musical semiosis. I primarily focus on the "Heels" theme and use of drones in "It Follows," tracing how these musical features blur the distinction between what is score and what is sound effect. I also examine the use of melodic themes in a primarily non-melodic score. By analyzing these elements, I show how Richard Vreeland uses both classical and modern scoring techniques to answer his own question: "Why is this scary? What could push that emotion even further?"
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Petty, John E. « Stage and Scream : The Influence of Traditional Japanese Theater, Culture, and Aesthetics on Japan's Cinema of the Fantastic ». Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68031/.

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Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.
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Ramos, Alquezar Sergi. « Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000 ». Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.

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La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastique
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre
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Livres sur le sujet "Fantastico e Horror"

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Corti, Claudia. Sul discorso fantastico : La narrazione nel romanzo gotico. Pisa : ETS editrice, 1989.

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Bruschini, Antonio. Mondi incredibili : Il cinema fantastico-avventuroso italiano. Bologna : Granata, 1994.

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Turris, Gianfranco De. Cronache del fantastico : Science fiction, fantasy, horror su L'eternauta, 1988-1995. Roma : Coniglio, 2009.

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Cronache del fantastico : Science fiction, fantasy, horror su L'eternauta, 1988-1995. Roma : Coniglio, 2009.

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Il cinema dimenticato : Fantastico e horror nei film italiani dal 1895 al 1960. Roma : Profondo rosso, 2014.

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Espacios y tiempos de lo fantastico : Una mirada desde el siglo xxi. Bern : Peter Lang, 2010.

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Palmerini, Luca M. Spaghetti nightmares : Il cinema italiano della paura e del fantastico visto attraverso gli occhi dei suoi protagonisti. Roma : M&P, 1996.

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Italy) Convegno di studi sul folklore e il fantastico (1st 2009 Genoa. Dark tales : Fiabe di paura e racconti del terrore : atti del I Convegno di studi sul folklore e il fantastico : Genova, 21-22 novembre 2009. Roma : Aracne, 2013.

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Gottardo, Galleria, dir. La galleria degli orrori : 100 anni di cinema fantastico attraverso i manifesti della collezione Ferrari. Lugano, Switzerland : Galleria Gottardo, 1995.

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Bekenn, Andrew Richard. Horror film and the fantastic. Derby : Derbyshire College of Higher Education, 1989.

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Chapitres de livres sur le sujet "Fantastico e Horror"

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Findlay, Laura. « Hesitation Marks : The Fantastic and the Satirical in Postmodern Horror ». Dans The Palgrave Handbook to Horror Literature, 469–82. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_36.

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Blouin, Michael J. « American Horror, Global Commons, and The Cabin in the Woods ». Dans Magical Thinking, Fantastic Film, and the Illusions of Neoliberalism, 139–68. New York : Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-53164-3_6.

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Carroll, Noël. « Nightmare and the Horror Film : The Symbolic Biology of Fantastic Beings (extract) ». Dans Speaking of Monsters, 23–27. New York : Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_4.

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TODOROV, TZVETAN. « DEFINITION OF THE FANTASTIC ». Dans The Horror Reader, 14–19. Routledge, 2002. http://dx.doi.org/10.4324/9780203138618-1.

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« 7. FANTASTIC HORROR HYBRIDS ». Dans Norwegian Nightmares, 106–23. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9781474457866-011.

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Chao, Shi-Yan. « An Auteurist Journey through the Fantastic Mode : A Case Study of Ho Meng-hua ». Dans Sino-Enchantment, 112–27. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474460842.003.0006.

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This chapter uses Hong Kong commercial filmmaker Ho Meng-hua and his fantastic work to address three main lines of inquiry: the articulations of the fantastic mode across different genres, the kinds of mise-en-scène of desire facilitated by the public forms of generic conventions, and the sorts of preferred subject positions animated by different kinds of mise-en-scène of desire in question. Along with the particular manoeuvre of the fantastic mode across three key genres (fantasy adventure, martial arts and horror genres), coupled with a changing formulation of the fantastic’s double appeal to what the author terms ‘fantastic impossibility’ and ‘spectacular probability’, this chapter comes to the conclusion that Ho Meng-hua’s career at Shaws studio during the 1960s and 1970s reflected the way the Hong Kong people negotiated their distinct subjectivity in a transnational framework, which is the socio-political significance of the fantastic mode in its Hong Kong articulation.
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Turnock, Bryan. « In the Realm of the Fantastic ». Dans Studying Horror Cinema, 59–78. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0004.

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This chapter investigates 'the realm of the fantastic'. According to philosopher Tzvetan Todorov, such a state exists only as long as there is indecision over whether the event is indeed a supernatural occurrence or a product of the imagination; once this is determined, one leaves the realm of the fantastic for that of either the 'marvellous' or the 'uncanny'. The chapter considers Jacques Tourneur's Cat People (1942), the first in a series of 'fantastic' horror films produced by Val Lewton for RKO Pictures in the 1940s. Famous for their use of suggestion and ambiguity, they are widely regarded as classics of the genre. Like Universal Studios before it, RKO used the horror film to transform itself into a major Hollywood force, injecting new life into a genre that had by then become staid and predictable. Their success came at a time of mounting problems for the majors, and when independent studios and film-makers began to play an increasingly important role in the industry.
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« In the Realm of the Fantastic ». Dans Studying Horror Cinema, 59–78. Auteur, 2019. http://dx.doi.org/10.2307/j.ctv138424v.6.

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« Jaume Balagueró : The Horror Aficionado : The Nameless and Darkness ». Dans The Spanish Fantastic. I.B.Tauris, 2016. http://dx.doi.org/10.5040/9781350989269.ch-005.

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Glover, John. « Olympia, Wilderness, and Consumption in Laird Barron’s Old Leech Cycle ». Dans Fantastic Cities, 245–57. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496836625.003.0015.

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John Glover’s contribution to this volume discusses the capital of Washington state, Olympia. This relatively small city, which houses less than 50,000, and its surroundings provide the spatial backdrop to the cosmic horrors of Laird Barron. Focusing on the Old Leech story cycle, Glover suggests that Olympia becomes not only a site where the civilized spaces of the city and the wilderness of the surrounding countryside intersect, but also where the specters of Native American displacement and extermination as well as present-day environmental concerns converge.
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