Bibliografias temáticas / New horror cinema

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Literatura científica selecionada sobre o tema "New horror cinema"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "New horror cinema"

1

Wada-Marciano, Mitsuyo. "J-Horror: New Media's Impact on Contemporary Japanese Horror Cinema". Canadian Journal of Film Studies 16, n.º 2 (outubro de 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, n.º 3 (julho de 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, n.º 28 (29 de dezembro de 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, e Yulia Vetoshkina. "THE HORROR OF TECHNOLOGY AND THE TECHNOLOGY OF HORROR". Культурный код, n.º 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, n.º 1 (10 de novembro de 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, n.º 2 (junho de 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, n.º 2 (30 de agosto de 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, n.º 2 (25 de julho de 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 e Frank P. Tomasulo. "Book Reviews". Projections 13, n.º 3 (1 de dezembro de 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, n.º 2 (30 de agosto de 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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Teses / dissertações sobre o assunto "New horror cinema"

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Kravina, Carolina. "L'interesse della Feminist Film Theory nei confronti del cinema horror: alcuni esempi di analisi tra Psycho, New Horror e Slasher". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.

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Questa tesi si pone l’obiettivo di indagare le letture che la Feminist Film Theory ha fornito rispetto al cinema horror statunitense e a contestualizzare tale interesse in ambito culturale, attraverso casi studio concentrati nel periodo tra anni Sessanta e Settanta. La prima parte prevede un’inquadramento teorico della critica cinematografica femminista, del cinema horror e del contesto produttivo americano del periodo, anche dal punto di vista degli studi culturali. Nella seconda parte verranno prese in esame letture della critica femminista di determinate opere: partendo da Psycho, per passare ad esempi di cinema istituzionale (new horror) e di controcultura (slasher, exploitation).
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De, Camilla Lauren. "Female Leads: Negotiating Minority Identity in Contemporary Italian Horror Cinema". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595519031355062.

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Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.
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Mezzolla, Mario. "L'horror e il comico: la narrazione del corpo nel cinema splatter". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.

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In una narrazione lettararia o cinematografica, il personaggio viene caratterizzato dall’autore in due modi distinti: attraverso la strutturazione di un profilo psicologico, il quale nel corso della storia va ad esplicarsi mediante il suo corpo, che lo abilita a compiere e subire azioni. Attraverso questa ricerca si vuole far luce su quelle dinamiche narratologiche e iconografiche che strutturano la rappresentazione del corpo in ambito cinematografico sostendendo l’idea secondo la quale il fruitore, ricorrendo ai suoi costrutti cognitivi e culturali, va a collocarlo, mediante la percezione, all’interno o all’esterno della sua idea di realtà. Per facilitare il più possibile l’intento, nel corso della ricerca si andranno ad analizzare opere appartenenti al dominio del’horror e della commedia, generi che nel corso della loro evoluzione hanno fatto del corpo dei personaggi il motore propulsivo delle narrazioni, per arrivare ad evidenziare il modo in cui queste istanze formali sono arrivate a ibridarsi nel cinema statunitense con l’horror splatter, il quale negli anni Ottanta ha saputo fondere insieme la funzione orrorifica del corpo, già espressa nella letteratura europea del Settecento e dell’Ottocento e nella stagione classica del cinema horror, e quella grottesca e finzionale che la stessa unità assolve nella commedia.
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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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Livros sobre o assunto "New horror cinema"

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Pagliardini, Fabio. Brividi nel bel paese: Il cinema dell'orrore In Italia. Lecce: Youcanprint, 2022.

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2

Pezzella, Nicola. Il soprannaturale e il fantastico nel cinema messicano. Roma: Profondo rosso, 2019.

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Familiari, Antonio Fabio. Il seme del male: La natura nel cinema gotico. Reggio Calabria: Città del sole, 2014.

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Baschiera, Stefano, e Russ Hunter, eds. Italian Horror Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.001.0001.

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The first book-length academic investigation of Italian horror cinema, from the silent era to the present, this collection brings together for the first time a range of contributions aimed at a new understanding of the genre, investigating the different phases in its history, the peculiarities of the production system, the work of its most representative directors (Mario Bava and Dario Argento) and the wider role it has played within popular culture.
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Turnock, Bryan. Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.001.0001.

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Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary's Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The book concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making this book the most up-to-date overview of the genre available.
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New Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.

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New Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.

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New Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.

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New Heritage of Horror: The English Gothic Cinema. Bloomsbury Publishing Plc, 2024.

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10

Simpson. Urban Terrors : New British Horror Cinema: 1997-2008. Hemlock Books Limited, 2012.

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Capítulos de livros sobre o assunto "New horror cinema"

1

Williams, Jessica L. "Horror Movies, Horror Bodies: Blurring the Freak Body in Cinema". In Media, Performative Identity, and the New American Freak Show, 37–77. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66462-0_3.

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Hauser, Brian R. "Weird Cinema and the Aesthetics of Dread". In New Directions in Supernatural Horror Literature, 235–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_12.

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Harris, Martin. "Cloverfield, 9/11, and the New Normal". In Horror and Science Fiction Cinema and Society, 191–204. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003372288-14.

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Rodríguez Ortega, Vicente, e Rubén Romero Santos. "Spanish Horror Film: Genre, Television and a New Model of Production". In European Cinema in the Twenty-First Century, 317–33. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_18.

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"New Hollywood Horror". In Studying Horror Cinema, 159–80. Auteur, 2019. http://dx.doi.org/10.2307/j.ctv138424v.11.

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Turnock, Bryan. "New Hollywood Horror". In Studying Horror Cinema, 159–80. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0009.

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This chapter discusses New Hollywood horror, addressing how the counterculture movement in the United States championed alternative spiritual experiences while rejecting mainstream organised religion. As such the so-called Church of Satan, established in San Francisco in 1966, quickly gained tens of thousands of followers while membership of the Catholic Church fell precipitously. It was against this backdrop that Ira Levin's novel Rosemary's Baby (published 1967) managed to capture the mood and resonate with a society in a state of transition. Whilst the story also plays on the distrust of the older generational establishment, so much a feature of the youth counterculture of the 1960s, its themes of alienation and loss of personal control go back to the dawn of horror cinema. Its arrival also came at a time when Hollywood found itself facing some of its greatest challenges in terms of market forces and changing demographics. The chapter looks at how the major studios reacted to this, assimilating new approaches to film-making while retaining much of their influence and power, albeit under new ownership. It also considers Roman Polanski's film adaptation of Levin's novel in 1968.
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Turnock, Bryan. "Postmodern Horror". In Studying Horror Cinema, 225–44. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0012.

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This chapter explores how, in postmodern horror cinema, the very formulaic nature of the genre becomes part of an in-joke. Wes Craven's Scream (1996) featured teen characters so familiar with slasher films that they were able to list the generic conventions with ease. The film is often credited with sparking a new wave of so-called 'postmodern' horror cinema, resulting in three direct sequels, a television series, and a slew of imitators, reboots, and re-imaginings. The chapter looks at a film that Craven made two years prior to the first Scream, and which in many respects is closer to the concept of postmodernism as it is more broadly defined. Wes Craven's New Nightmare (1994) allowed the director to revisit his most famous creation with a postmodern twist, using reflexivity and circularity to adapt what had gone before and present audiences with something new. Given Craven's fascination with dreams and the overlap between the real and the imaginary, the chapter also discusses surrealism in cinema. Finally, it evaluates the cultural popularity of horror cinema, and how it affects both audiences and film-makers.
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Ryan, Mark David, Jonathan Rayner e Lauren Carroll Harris. "HORROR". In Directory of World Cinema: Australia and New Zealand 2, 126–43. Intellect Books, 2015. http://dx.doi.org/10.2307/j.ctv36xvmdt.19.

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Church, David. "Apprehension Engines: Defining a New Wave of Art-Horror Cinema". In Post-Horror, 1–26. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.003.0001.

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This chapter introduces the term “post-horror” and positions it as an emergent cycle within the longer traditions of art cinema and specifically art-horror cinema. The chapter argues that post-horror films are distinguished by their minimalist aesthetic, their use of epistemic and narrative ambiguity, and their de-sensationalized approach to genre conventions. Prioritizing atmospheres of lingering dread and physical/emotion isolation instead of monsters and jump scares, these films evince a tonal distance from more mainstream genre expectations. Hence, by crossing over from the arthouse/festival circuit to multiplexes, these films’ capacity to generate strong negative affects which do not easily translate into populist entertainment has engendered both outsized acclaim from high-minded critics and backlash from more casual viewers.
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Walker, Johnny. "British film production and the horror genre". In Contemporary British Horror Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748689736.003.0002.

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Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be viewed as constituting a distinctive aspect of contemporary British cinema. I discuss the establishment of the UK Film Council (UKFC) in 2000 and contextualise the contemporary British horror film in the international film marketplace, drawing parallels between British horror and British film production more broadly, British horror and international horror production, and the audience demographics targeted by distributers and film production companies. This involves examining British horror’s shift from a theatrical genre to one associated primarily with the home video and online market.
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Trabalhos de conferências sobre o assunto "New horror cinema"

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Kurtoğlu, Ramazan. "Financial-Economic Crisis and Hollywood’s Social Transformation Operations by Horror Movies". In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.01055.

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The fastest change and transition in the human history is neoliberal capitalism’s 30 year global free market politics project which affects every part of the world with 1978 Washington Consensus. According to John Gray who is a well known academician and an intellectual of the new right-wing, neoliberalism is an apocalyptic secular religion which is based on pagan and Christian values and its ultimate goal is post-apocalyptic heaven in the real world. The best marketing expert of this heaven is, Hollywood based American cinema industry in crisis as well as in regular times. In this study, the effects of the horror movies to the subconscious under economical crises period will be analyzed.
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