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Статті в журналах з теми "Horror films – psychological aspects"
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Liu, Yike. "The application of the pseudo-documentary form in the film "The Evil”." Advances in Education, Humanities and Social Science Research 1, no. 3 (January 30, 2023): 129. http://dx.doi.org/10.56028/aehssr.3.1.129.
Повний текст джерелаАнотація:
"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology involved. This article through to the concept of pseudo documentary definition, origin and classification analysis, "The Possessed", for example, from the structure of the film the real context technique and USES the imaginary space of the narrative Angle of view to create two aspects, to illustrate how the pseudo documentary its style characteristics under the guidance of the theory of thematic to complete the actual filming and production, In this way, we will discuss what the film is worth learning and drawing lessons from and explore the innovation of the film director. Consider how domestic horror films should localize the emerging film form, how to rely on the form of "pseudo-documentary" to deepen the level of horror, so that the audience can experience the immersive film watching experience.
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Kholod, Oleksandr. "The peer-reviewed monograph of Batalina Khrystyna Fridrikhivna "The Child as the Embodiment of Evil in Horror Films of the Second Half of the 20th to the Beginning of the 21st Century"." Social Communications: Theory and Practice 15, no. 1 (December 2, 2023): 152. http://dx.doi.org/10.51423/2524-0471-2023-15-1-9.
Повний текст джерелаАнотація:
H. F. Batalina's monograph is devoted to the problem of creating the image of a child as the embodiment of evil in horror films of the second half of the 20th - beginning of the 20th century. The topic formulates an important problem, primarily of a moral and psychological nature. The relevance of the work lies in the fact that "a certain niche, currently unfilled in the Ukrainian cultural space, is being explored in a situation where Ukrainian cinema is beginning to take steps to meet the audience and enter wide distribution with genre films" [p. 22 of the manuscript]. H.F. Batalina points out that "the study of the problem of the child as a cinematographic object, except for a few exceptions, is not developed in the scientific film literature, although such a need is increasingly expressed as one of its important tasks" [p. 22 of the manuscript]. It should be added to the above that the research is also relevant because the image of a child in horror films is not a norm for post-Soviet society, is not inherent in the culture of modern Ukraine, but is planted by cultural traditions of Western countries (for example, the planting of the Halloween holiday). Therefore, the research of H.F. Batalina allows us to understand where and why other traditions appear in the culture of Ukrainians. We are convinced that the degree of validity of scientific statements, conclusions and prospects for solving the problem of finding archetypal and semiotic during the creation of the image of children in films of the horror genre, which is reflected in the monograph, has a sufficient level to recommend the above-mentioned scientific work for publication. We consider the specification of the categorical and terminological apparatus of film horror based on the philosophical and aesthetic aspects of the problem to be an important achievement of H. F. Batalina's research. We respect H. F. Batalina's confident attempt to offer the scientific community an author's vision of the paradigm of genre features of horror films. Time will demonstrate the functionality of the proposed features, and reveal the shortcomings and dominant advantages of such a paradigm. Since we are followers of the principle of Karl Popper's fallibilism (in the understanding of the concept of "fallibilism" by Charles Peirce), which implies the axiom that any scientific knowledge is fundamentally not final, but only an intermediate interpretation of the truth, which involves the subsequent replacement by a better interpretation, we assert: the author's vision of the paradigm of genre features of the horror film has the right to exist and needs further practical verification, which, in our opinion, is already a victory for scientists. F. Batalina and the victory of scientific thought in the field. The monograph is made at a sufficient scientific level, contains important theoretical provisions and has practical significance. We have an individual, theoretically and operationally supported research position that contributes to the formation of modern theory.
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Gautam, Devi Prasad. "Responsible Writing of Violence: A Study of Select Partition Stories." Advances in Social Sciences Research Journal 8, no. 7 (July 9, 2021): 8–25. http://dx.doi.org/10.14738/assrj.87.10477.
Повний текст джерелаАнотація:
This paper analyzes select Partition stories such as Bhisham Sahni’s “Pali,” K. S. Duggal’s “Pakistan Zindabad,” Ishmat Chughtai’s “Roots,” S.H. Vatsyayan’s “The Avenger,” and Atin Bandhopadhyay’s “Infidel” which realistically portray the cataclysmic times of the Subcontinent in 1947. The paper shows that though the stories depict some chilling scenes, they concentrate more on the psychological impact of violence on the characters and the positive aspects of humanitarian gestures seen during the dismal days in South Asian history. With much tact, the authors approach the subject and document the dreadful events of the Subcontinent’s painful past. Also, while dexterously registering the public resistance to the unspeakable horrors of Partition violence, the authors also honestly present their own ethical stance on the events. The article argues that the authors have documented the tragic history in a mature and convincing manner by presenting its balanced and holistic picture by employing an impartial and unbiased perspective. The texts stand as testimonies to the writers’ sense of responsibility at recording tragic incidents not only because of their objective and holistic approach but also because of their cautious use of language so that they do not trigger any further violence through their writing.
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Millar, Becky, and Jonny Lee. "Horror Films and Grief." Emotion Review 13, no. 3 (July 2021): 171–82. http://dx.doi.org/10.1177/17540739211022815.
Повний текст джерелаАнотація:
Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.
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Baako, Logan. "The Evolution of Horror Films: From Classic Monsters to Psychological Terrors." Art and Society 2, no. 5 (October 2023): 1–10. http://dx.doi.org/10.56397/as.2023.10.01.
Повний текст джерелаАнотація:
This paper delves into the fascinating journey of the horror film genre, tracing its evolution from classic monster themes to the emergence of psychological terrors. Through an exploration of key trends, shifts in audience preferences, and the cultural impact of horror films, this review provides insights into how the genre has transformed over time. From the foundational classic monsters to the rise of supernatural horror and the exploration of the human psyche, this paper offers a comprehensive analysis of the dynamic progression of horror cinema.
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Sbravatti, Valerio. "Acoustic Startles in Horror Films." Projections 13, no. 1 (March 1, 2019): 45–66. http://dx.doi.org/10.3167/proj.2019.130104.
Повний текст джерелаАнотація:
The acoustic blast is one of the most recurrent sound devices in horror cinema. It is designed to elicit the startle response from the audience, and thus gives them a “jump scare.” It can occur both in the form of a diegetic bang and in the form of a nondiegetic stinger (i.e., a musical blare provided by the score). In this article, I will advance the hypothesis that silence plays a crucial role in contemporary horror films, both perceptually, since it leaves the sound field free for the acoustic blast, and cognitively, since it posits the audience in an aversive anticipatory state that makes the startle more intense. I will analyze the acoustic startle using a neurofilmological approach, which takes into account findings from experimental sciences in order to better understand the relationship between physiological and psychological factors that make such an effect possible during the filmic experience.
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Bozkurt, Ferdi, and Mandana Kolahdouz Mohammadi. "A Corpus-Based Socio-Onomastic Analysis On Turkish And American Horror Film Naming." CINEJ Cinema Journal 11, no. 2 (December 20, 2023): 418–45. http://dx.doi.org/10.5195/cinej.2023.589.
Повний текст джерелаАнотація:
Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were investigated. The hypothesis was that Turkish horror film naming uses religious elements due to religious background. But according to the present study's findings, religious elements are also available in USA horror film naming. Yet, while making and naming their films, American horror film producers pay more attention to cultural events than Turkish filmmakers. On the other hand, the keywords used in naming Turkish and American horror films, regardless of their languages, were the same.
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McAndrew, Francis T. "The Psychology, Geography, and Architecture of Horror: How Places Creep Us Out." Evolutionary Studies in Imaginative Culture 4, no. 2 (October 1, 2020): 47–62. http://dx.doi.org/10.26613/esic.4.2.189.
Повний текст джерелаАнотація:
Abstract Why do some types of settings and some combinations of sensory information induce a sense of dread in humans? This article brings empirical evidence from psychological research to bear on the experience of horror, and explains why the tried-and-true horror devices intuitively employed by writers and filmmakers work so well. Natural selection has favored individuals who gravitated toward environments containing the “right” physical and psychological features and avoided those which posed a threat. Places that contain a bad mix of these features induce unpleasant feelings of dread and fear, and therefore have become important ingredients of the settings for horror fiction and films. This article applies McAndrew and Koehnke's (2016) theory of creepiness to the study of classic horror settings and explores the role played by architecture, isolation, association with death, and other environmental qualities in the experience of creepiness and dread.
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Sultana, Irem, Arshad Ali, and Ifra Iftikhar. "Effects of Horror Movies on Psychological Health of Youth." Global Mass Communication Review VI, no. I (March 30, 2021): 1–11. http://dx.doi.org/10.31703/gmcr.2021(vi-i).01.
Повний текст джерелаАнотація:
The current study is an explanatory study on the effects of watching horror movies on the psychological health of teenagers in the city area of Faisalabad. Researchers tried to explain the mental health and psychological problems like phobias, nightmares, sleep disorder, harsh behavior etc., in teenagers and their preferences of movies watching. The study explains that the majority of teenagers are used to watching movies, and they prefer Horror and Action movies via the internet, and these movies are affecting their psychological health. They choose films to watch for entertainment, but such kind of enjoyment has deep down affected their brains and social behaviors. Responses were collected through a survey questionnaire.
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Sengupta, Sarada, and Dr Anindita Chowdhury. "Distorted Reflections: Gender and Horror in ‘Black Swan’." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 085–88. http://dx.doi.org/10.22161/ijels.92.14.
Повний текст джерелаАнотація:
In Black Swan, the themes of gender and horror are intricately woven into the fabric of the narrative. The film delves into the psychological nuances of its protagonist, Nina, as she navigates the demands of her art and the pressures of perfection. The exploration of gender identity and the inherent horror within the competitive world of ballet converge to create a compelling and thought-provoking cinematic experience. This paper aims to dissect the manifestations of gender dynamics and horror elements within the film, shedding light on their significance in shaping the narrative and character development. The analysis will encompass the contemporary ballet, femininity, Irigarayan horror, character interactions, and overarching themes that contribute to the film’s exploration of gender and horror. By examining these aspects, this study seeks to provide a deeper understanding of the complexities and nuances present in “Black Swan” while also showcasing the film’s prowess in challenging traditional tropes and expectations within the realm of both gender representation and horror storytelling.
Дисертації з теми "Horror films – psychological aspects"
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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
Повний текст джерелаАнотація:
This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
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Crawford, Jim D. "“Inside Story”." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500092/.
Повний текст джерелаАнотація:
Inside Story explores the essence of story and attempts to connect the audience to the significance of story in their own lives. The documentary examines story and determines the elements necessary for its formation. The film investigates the psychological aspects of story, inspects the physiological processing of story that connects story to the way we think and perceive, and finally, emphasizes the functions and values of story.
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McKinney, Kelli. "The Luxury of Tears: A Secondary Survivor's Story." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2273/.
Повний текст джерелаАнотація:
As the written accompaniment for The Luxury of Tears, a twelve-minute documentary video exploring the emotional impact of sexual assault on male survivors and their partners, this document examines the visual texts of both the fiction and nonfiction genres. Specifically, I contend that fiction film manufactures male survivorship with regard to rape events in such manner which contributes to the thematization of social silence. Such silence perpetuates the feminization of rape as a social problem, and dissolves the development of male survivor resources. A discussion of production processes, challenges, and resolutions is included.
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Fleming, David H. "Drugs, danger, delusions (and Deleuzians?) : extreme film-philosophy journeys into and beyond the parallel body and mind." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/985.
Повний текст джерелаАнотація:
Drugs, Danger, Delusions (and Deleuzians?) opens up a philosophical investigation into a series of ‘extreme’ mind and body films drawn from different historical contexts. Through two sections and four distinct chapters, cinema is explored as an agent of becoming that allows viewers to think and feel in an affected manner. Investigating a broad spectrum of extreme narratives focusing on drugs, hooligan violence, insomnia and madness, the project provides a focused historical understanding of the films’ affective regimes and aesthetic agendas. The different lines of flight and escape explored on-screen all somehow appear to spiral around the same issues, concepts, ideas and philosophies. Utilising the cinematic theories of Gilles Deleuze along with his philosophical work co-authored with Félix Guattari, the thesis aims to investigate a range of related films, that in the extreme, reveal underlying models of an integrated or parallel mind and body and immanently embedded identity; wherein the concept of a stable and fixed being is replaced by that of a fluid becoming. All chapters investigate how immanently embedded characters embark upon extreme or dangerous lines of escape, where the reinvention of living and thinking is explored and made visible. The first section investigates a range of ‘head-films’ that take the mind as their theme, but are found to plicate and expand consciousness into the parallel body. The second section investigates extreme body films that push the sensory-motor schema to its limits so that thought, perception and consciousness become affected. The two interrelated sections investigate how the films and filmmakers employ different regimes of mind and body cinema to aesthetically convey and relay these concepts to the spectator. The project thus strives to develop Deleuzian paradigms beyond their original scope to explore parallel-image regimes and sequences that allow spectators to think and feel the films’ underlying philosophical concepts and positions.
Книги з теми "Horror films – psychological aspects"
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D, Baumann Hans. Horror: Die Lust am Grauen. Weinheim: Beltz, 1989.
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1974-, Schneider Steven Jay, ed. Horror film and psychoanalysis: Freud's worst nightmare. New York: Cambridge University Press, 2004.
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1959-, Royer Diana, ed. The spectacle of isolation in horror films: Dark parades. New York: Haworth Press, 2005.
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Jones, E. Michael. Horror: A biography. Dallas, Tex: Spence Pub. Co., 2002.
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König, Jan C. L. Herstellung des Grauens: Wirkungsästhetik und emotional-kognitive Rezeption von Schauerfilm und -literatur. Frankfurt am Main: Lang, 2005.
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Creed, Barbara. Phallic panic: Film, horror and the primal uncanny. Carlton, Vic., Australia: Melbourne University Press, 2005.
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Schoell, William. Stay out of the shower: The shocker film phenomenon. London: Robinson, 1988.
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Laughing, screaming: Modern Hollywood horror and comedy. New York: Columbia University Press, 1994.
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B, Weaver James, and Tamborini Ronald C. 1952-, eds. Horror films: Current research on audience preferences and reactions. Mahwah, N.J: Erlbaum, 1996.
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Derry, Charles. Dark dreams 2.0: A psychological history of the modern horror film from the 1950s to the 21st century. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.
Знайти повний текст джерелаЧастини книг з теми "Horror films – psychological aspects"
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Jancovich, Mark. "Victims and Villains: Psychological Themes, Male Stars and Horror Films in the 1940s." In Popular Media Cultures, 91–109. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137350374_5.
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Hettich, Katja. "Can You Hear the Love Tonight? Creating Cinematic Romance with Diegetic Songs." In When Music Takes Over in Film, 203–24. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_11.
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AbstractThis chapter argues that ‘romance’ as a film genre is best conceived of as an affective experience provided not only by narrative but also by stylistic means. Against this background, it explores a particular type of musical moment in non-musical films: scenes that portray, reflect and shape conceptions of romantic love and create various forms of cinematic romance through the diegetic use of popular songs. Drawing from research on the physical and psychological effects of listening to music, the chapter points out in which aspects songs are placed in a special relationship with romance. Based on the assumption that diegetic song moments can be considered as communicative acts, it proposes starting points for analysing different forms of diegetic song moments. Using examples from films of the last decades, it shows how different narrative set-ups, ways of integrating diegetic songs, performance styles and diegetic audiences influence the shape of cinematic romance.
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Owens, Rebekah. "Polanski and Horror: Rosemary’s Baby." In Macbeth, 15–26. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325130.003.0002.
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This chapter considers Roman Polanski's approach to the genre and horror output before the film Macbeth. It discusses Polanski's 1965 work Repulsion, that centres around Carol Ledoux and her disintegrating sanity, which is expressed from her subjective viewpoint. It also mentions how Repulsion showed Polanski as a master of the craft of psychological horror. The chapter looks at the Gothic aspects of the horror genre that is recorded in Polanski's autobiography, where he wrote of his experiences watching horror films in Paris. It details how Polanski decided to make a horror film that was designed to make people laugh, rather than the unintentional merriment that Hammer horror had provoked.
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Díaz-Zambrana, Rosana. "Gothic Memory and Ghostly Aesthetics: Post Mortem as a Horror Film." In ReFocus: The Films of Pablo Larraín, 113–30. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448284.003.0006.
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During the last decade, the expansion and popularity of horror film productions worldwide have simultaneously soared in countries like Chile where the horror genre was formerly either unprecedented or a rarity. This symptomatic shift responds to the new demands of the global market and the mass-media consumer. Although recent examples of Chilean horror cinema follow the standard traits, devices, and motifs of global horror, at the same time, those film productions adapt their narratives to a national specificity by incorporating cultural practices, economic tensions, and political debates enrooted in the country’s social reality and historical past. Even though productions that depict graphic cruelty and psychological and physical torment within a political context such as La noche los lápices or Garaje Olimpo are usually considered “political dramas,” this chapter argues that Post mortem by Pablo Larraín could be understood under the rubric of horror film despite being classified a drama. In many aspects, Post mortem utilizes the haunting phenomenon as a filmic narrative but also exploits spatial, symbolic, and visual effects associated with the horror genre film tradition to denounce the nation’s traumatic past.
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sloan, Richard. "Psychological Aspects." In Palliative Care in Neurology, 397–405. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198508434.003.0038.
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Abstract The diagnosis of a neurological illness and its aftermath can have profound effects on all those involved-patients, their families, and also the health-care professionals looking after them. Patients’ reactions can vary from acceptance through naive ambivalence to abject horror. Dealing with the emotional reactions of patients has been highlighted as one of the most stressful areas for oncologists.l The same is likely to be true for progressive neurological
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Clasen, Mathias. "“I’m Nervous about Horror Films and My Mental Health”." In A Very Nervous Person's Guide to Horror Movies, 31–61. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197535899.003.0003.
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Some people are nervous about the psychological effects of horror films, and researchers have demonstrated both short- and long-term negative psychological effects of such films, including mild behavioral disturbances and sleep disturbances such as nightmares. However, most documented cases of cinematic neurosis involve individuals with preexisting mental problems. The mild fright reactions produced by horror movies are not only widespread, but predictable and generally harmless. Both troubling images and disturbing ideas can produce such reactions. However, horror film–induced fear is crucial to the pleasure many people derive from horror, and there may even be positive psychological and social effects of horror movie watching, such as mood improvement, bonding with co-viewers, and improved coping skills.
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Clasen, Mathias. "“I’m Nervous about Kids Watching Horror”." In A Very Nervous Person's Guide to Horror Movies, 100–116. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197535899.003.0007.
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Media psychologists have documented negative psychological effects of premature exposure to horror films in children, and many have expressed concerns over children’s viewing of scary films. However, while childhood is a time of fears fantastical and realistic, children are naturally curious about monsters and scary stories, and they are better at distinguishing between fantasy and reality than has been assumed. Moreover, the subgenre of children’s horror films provides appropriate fare for children, and may have positive effects such as teaching children coping strategies and media literacy. In addition, mildly scary media may have an inoculating effect on children, helping them to master their own fear.
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Scovell, Adam. "‘Sumer-Is-Icumen-In’: Modern Folk Horror." In Folk Horror, 165–86. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325239.003.0006.
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This chapter assesses the recent resurgence of Folk Horror in a variety of media. It highlights Robert Eggers' horror film The Witch (2015), not simply because the film has managed to put folklorically psychological material back into the cinematic mainstream, but because it can actually be seen as the high point of a period of new films, television, and music re-exploring Folk Horror as a form that started at the beginning of the new millennium. This resurgence in all things Folk Horror, from delving into familiar thematic territory, remaking older examples, or even just generally rediscovering long-lost relics from its more dominant period, has a number of contributing factors. Arguably, it has two chief specific outcomes: work that reflects nostalgia, whether effectively subverting it (hauntologically) or succumbing to the past visions of Folk Horror's primary era, to produce referential work; and using certain thematic traces within the inner workings of Folk Horror to assess current political issues and even reflect on the parallels of the political climate from the period of 1970s Britain in particular. With the ubiquity of technology and the internet, Folk Horror has entered a new realm but it is one that at first seems contrary to its potential causational factors.
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Laycock, Joseph P., and Eric Harrelson. "The Exorcist Effect." In The Exorcist Effect, 1—C1P54. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197635391.003.0001.
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Abstract This chapter presents an overview of The Exorcist Effect, in which religious beliefs and experiences inspire horror films that inspire subsequent beliefs and experiences, which in turn become fodder for more horror films. By way of illustration, it begins by discussing a sermon delivered by Cardinal John O’Connor in 1990, in which he read from the novel The Exorcist in St. Patrick’s Cathedral. This event heightened media interest in exorcism, resulting in a Catholic exorcism being filmed for network television. The chapter offers some preliminary evidence drawn from psychological studies suggesting that horror movies can influence religious belief. The chapter concludes by discussing the implications of this research and providing an outline of the book.
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Warden, Connor John. "“Beauty is the Only Thing”." In Bloodstained Narratives, 233–50. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496844453.003.0015.
Повний текст джерелаАнотація:
This chapter explores the relationship between sexuality and horror dynamics within American giallo and neo-giallo cinema. In particular, it chooses to focus on two films: Brian De Palma’s Body Double; and Nicolas Winding Refn’s The Neon Demon, which it argues exists within the American tradition of giallo more firmly than any European or Latin lineage. Each of these films places emphasis on the role played by beauty and sexual pursuit, at times overshadowing the horror aspects of these films.
Тези доповідей конференцій з теми "Horror films – psychological aspects"
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Ndoen, Sharon. "The ‘Monstrous-Feminine’ as Anti-Communist Propaganda Tool: Invisible State Violence and Psychological Warfare in Soeharto Era Folkloric Horror Films." In The Twelfth International Convention of Asia Scholars (ICAS 12). Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557820/icas.2022.058.
Повний текст джерела
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
Повний текст джерелаАнотація:
The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.