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Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Horror films – study and teaching"

1

Kovanen, Marjo, and Sirkku Kotilainen. "Transcultural perspectives in Teaching Children's Horror Films." Seminar.net 14, no. 1 (June 28, 2018): 31–42. http://dx.doi.org/10.7577/seminar.2581.

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Transcultural perspective has recently raised more academic attention due to the internationalization of higher education and migration all over the globe. Thus the objective of the paper is to open the discussion on film education, especially teaching children’s horror films from the transcultural perspectives through an empirical case study among university students in media education. We concentrate on students attitudes and perception on children´s horror from the perspective of film education. Our question is, how to increase the students understanding of children´s horror culture and pedagogies related to it? The paper consists of the first research results based on the course including lecturers’ research diaries, students' interviews, their film life studies and practical assignments such as films made during the two-week workshop. The preliminary results show that the perceptions and attitudes vary a lot depending on cultural backgrounds. Students’ pre-understandings of film culture and film literacy as a pedagogical practice mostly were professional-oriented and colored with the aesthetic perception on film. The most visible impact of the course was the minds-opening for wider understanding of film as education and uses of film in teaching. Taking up the aspects of children´s horror in the course was surprising, even irrelevant to students: they didn´t expect this kind of perspective at all. As a result the course was able to create open, safe spaces for reflection and changing students’ mindsets. Based on the results, situated approaches to film education is suggested to reinforce multiliteracy model with creation of safe space for discussion and supplementing emotional skills.
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2

Tobia, Anthony, Thomas Draschil, Domenick Sportelli, Maria Katsamanis, Stephanie Rosenberg, and Jill M. Williams. "The Horror!: A Creative Framework for Teaching Psychopathology Via Metaphorical Analyses of Horror Films." Academic Psychiatry 37, no. 2 (March 1, 2013): 131. http://dx.doi.org/10.1176/appi.ap.12070134.

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Nair A S, Aswathy, and LaxmiDhar Dwivedi. "Modern Horror Thrillers: A Traumatic and Linguistic Study of the Movies The Little Stranger and The Boy." World Journal of English Language 13, no. 8 (September 4, 2023): 76. http://dx.doi.org/10.5430/wjel.v13n8p76.

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Emerging as an exhilarating genre in the current film industry, horror thrillers are a new genre alongside science fiction. These genre forms captivate the audience because they offer a brief but exhilarating break from daily life and serve as an escape from reality. In these films, William Brent Bell and Lenny Abrahamson, directors of The Boy and The Little Stranger, respectively, demonstrated the modern horror thriller technique. This research intends to demonstrate how splendidly traumatic events are utilised in contemporary films, along with the ideal discourse change in those people who are suffering from mental trauma, which has inspired the current interest in horror thrillers. This study was based on two perspectives: the first was the destructive power of trauma and its impact on one’s language, which can ruin or bring about disaster in one's life, and the second was how the film industry makes use of this trauma for the commercial success of horror films. In both of these films, horror is portrayed through unusual settings and occurrences. Through discourse analysis and descriptive methods, this study can conclude with the idea that conventional belief in spirits and other supernatural beings was irreparably damaged in today’s films. These films may be compelled to depict the reality that each individual's suffering induces fear, resulting in the emergence of fantastical, eerie concepts and a change in their language.
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4

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.

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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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Zikri, Afdal, Fitri Handayani, and Jamal Mirdad. "Analysis of Horror Film Content as Digital Media for Islamic Dakwah." Abdurrauf Journal of Islamic Studies (ARJIS) 3, no. 2 (June 30, 2024): 115–25. http://dx.doi.org/10.58824/arjis.v3i2.134.

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In the midst of today's increasingly sophisticated conditions, people's awareness of religious knowledge is increasingly decreasing. For this reason, there is a need for media that can be used as a medium for conveying da'wah messages. The rise in popularity of horror films nowadays can be used as a medium for preaching. However, debates often occur regarding the permissibility of watching horror films, which also leads to people's doubts about doing this. This research aims to find out horror films as an alternative medium for preaching and the law of watching horror films in Islam. This study uses a qualitative method. Qualitative methods are methods for interpreting a meaning. This research uses this analysis approach or content analysis with the type of library study research. The results of this research found that horror films can be used as a medium for Islamic da'wah because they are able to convey religious moral values. The law of watching horror films itself is actually not recommended because it can affect many things. However, it is permissible if the matter can have more positive impacts than negative impacts. [Abstrak: Di tengah kondisi zaman saat ini yang semakin canggih kesadaran umat tentang pengetahuan beragama pun semakin menurun. Untuk itu perlu adanya media-media yang dapat digunakan sebagai media penyampaian pesan dakwah. Naik daunnya film horror saat ini bisa dimanfaatkan sebagai salah satu media dakwah. Namun seringkali terjadi perdebatan mengenai kebolehan dalam menonton film horror juga menjadi keraguan umat dalam mengerjakan perkara tersebut. Penelitian ini bertujuan untuk mengetahui film horror sebagai alternatif media dakwah dan hukum menonton film horror dalam Islam. Penelitian ini menggunakan metode kualitatif. Metode kualitatif adalah metode untuk menginterprestasi suatu makna. Penelitian ini menggunakan pendekatan analisis ini atau analisis konten dengan jenis penelitian studi pustaka. Hasil penelitian ini menemukan bahwa film horror dapat dijadikan sebagai media dakwah Islam karena mampu mengantarkan nilai-nilai moral agama. Hukum menonton film horror sendiri sebenarnya adalah tidak disanrankan karena dapat mempengaruhi pada banyak hal. Namun di perbolehkan apabila perkara tersebut dapat memberikan lebih banyak dampak positif daripada dampak negatifnya.]
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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.

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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan” made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 196–202. http://dx.doi.org/10.36456/jbn.vol2.no1.1712.

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Анотація:
Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan” made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
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8

Wijayanti, Sri. "Pengemasan Karakter Perempuan di Film Horor Indonesia Terlaris Periode 2017-2022." Jurnal Mahardika Adiwidia 3, no. 1 (January 11, 2024): 23–33. http://dx.doi.org/10.36441/mahardikaadiwidi.v3i1.2001.

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Horror films are a commercial and popular genre for Indonesian audiences. Female characters are often the main attraction of Indonesian horror films. In its development there are changes in the portrayal of female characters in Indonesian horror films in the 2000s. For this reason, this study aims to determine the packaging of female characters displayed in the 20 best-selling Indonesian horror films produced in 2017-2022. The research method used qualitative content analysis of the presentation of main and auxiliary female characters with a focus on the film's sub-genre, duration, role and characterization, and female image. The research findings show that females are starting to be represented as progressively formulated characters. This means that females are still used as prominent main characters in the story. However, in different packaging, among others, the role of females is transformed into fighters and protagonists. The characterization of female characters is made more substantive by raising new story standards, supported by an aesthetic cinematographic style. The mecca of content based on family issues, cultural myths, and social themes is a new standard of story quality in Indonesian horror films.
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Dappa, Debora, and Kalis Stevanus. "Analisis Pemahaman dan Perilaku Remaja Kristen Penyuka Film Horor Mengenai Setan dan Pekerjaannya." HARVESTER: Jurnal Teologi dan Kepemimpinan Kristen 9, no. 1 (June 30, 2024): 46–63. http://dx.doi.org/10.52104/harvester.v9i1.169.

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Teenagers are very fond of horror movies because they believe that watching horror films can test their bravery. Also, to satisfy their high curiosity about mystical things. However, horror films always present frightening and terrifying things that can have a negative impact on teenagers' understanding and behavior regarding demons and their work. This study aims to determine the understanding of Christian teenagers who like horror films and their influence on their behavior. To answer the research objectives, the author chose to use qualitative research methods. The results show that Christian teenagers who like horror films mostly do not have a correct understanding of demons and their work, and horror films tend to negatively influence teenage behavior.AbstrakRemaja sangat menyukai film horor karena beranggapan bahwa menonton film horor dapat menguji keberanian. Selain itu juga untuk memenuhi rasa ingin tahu yang tinggi terhadap hal-hal yang bersifat mistis. Meskipun demikian, film horor selalu menyuguhkan hal-hal yang bersifat menakutkan dan meneror sehingga dapat berdampak buruk terhadap pemahaman dan perilaku remaja mengenai setan dan pekerjaannya. Penelitian ini bertujuan mengetahui pemahaman remaja Kristen penyuka film horor dan pengaruhnya terhadap perilaku mereka. Untuk menjawab tujuan penelitian tersebut, penulis memilih menggunakan metode penelitian kualitatif. Hasilnya bahwa ternyata remaja Kristen penyuka film horor sebagai besar tidak memiliki pemahaman yang benar mengenai setan dan pekerjaannya serta film horor lebih cenderung memengaruhi perilaku remaja secara negatif.
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Gjinali, Vali, and Elif Asude Tunca. "A General Look on the Impact of Turkish Horror Movies: An Exploratory Study on the Opinions of Youth on Horror Movies." SAGE Open 10, no. 4 (October 2020): 215824402097970. http://dx.doi.org/10.1177/2158244020979701.

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

1

Yau, Suk-ying Shirley. "Where has all the horror gone? : a study of horror in contemporary cinema /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B42575175.

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Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.

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Pitcher, Jeffrey Christian. "Use of a video based instruction program to enhance English literature and writing concepts." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2887.

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In this project an educational DVD about the life and writing styles of John Steinbeck was developed for use in high school freshman classrooms at Yucaipa High School. Additional activities to stimulate students' writing and composition in the style of Steinbeck were created to match educational theory and state standards.
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4

Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.
The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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5

Lyu, Bo. "The study of the national specificity of horror film in Post-socialist China." Thesis, 2019. https://hdl.handle.net/10539/29350.

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MA by Coursework and Research Report Wits School of Arts - Film & Television 2019
This thesis is a study of post-socialist Chinese horror cinema – namely, horror films of the period from the film industry reform in 2003 to the present – and centres around the question of how Chinese horror filmmakers are responding to the new policies and regulations and achieve their financial success by fulfilling audiences’ expectations from the perspective of cultural traditions. It contributes to an overview of the Chinese film industry and the production value chain of horror films that is rarely accessible to the English-speaking world, thus it is also intended as a practical guide for producers and potential investors interested in entering the contemporary Chinese horror film market. This thesis argues for the essential role of government regulation and the cultural context of China in shaping the generic attributes of Chinese horror film in both post-socialist China and post-socialist cinema.
NG (2020)
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Lung, Mei-chuan, and 龍美娟. "The Study of Horror Films Viewer's Personality, Motivation and Enduring Involvement." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/97247564861192196037.

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Анотація:
碩士
大葉大學
休閒事業管理學系碩士班
97
As the advance of two-day weekend, the rise of filmdom has every kind of movie type showed in ciname and home. However, the horror films’ story will bring the physi-ological and psychological different behavior with the viewer. The sample number is 320 and the actually recipient number is 306 which accounts for 97%. The consequence of the research is indicated as follows 1. The horror film viewer’s behavior was not affected by different background—age, gender, education levels, occupation, incomes. 2. Conscientiousness revealed significant correlation in horror film viewer’s behavior. 3. Open live, leisure relieve, Compensation movie affected the horror film viewer’s be-havior. 4. Attraction, self expression and centrality of lifestyle affected the horror film viewer’s behavior. 5. The generator of viewer’s view behavior can attributed to the open live, Centrality, Self-expression and conscientiousness. At the end of the research, the conclusion and recommendations was given in or-der to provide further investigation and research for other researchers in the related fields.
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Chen, Cheng Yang, and 陳正揚. "Enchanted with Ghost: A Study of Audiences’ Viewing Pleasures toward Horror Films from Different Countries." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/98178295180642533735.

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8

O'Brien, Morgan Clark. "A critical study of Hammer Film Production’s brand of Gothic Horror from 1956 – 1972." 2013. http://hdl.handle.net/2152/22294.

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Hammer Film Production’s brand of melodramatic Gothic Horror reinvented horror cinema in 1957. Despite bringing tremendous financial success throughout the 1950s and 1960s, Hammer’s Gothic had run its course by the early 1970s and cinematic production ceased altogether by 1975. After establishing multiple iterations of a markedly recognizable house style, it is generally agreed that Hammer failed to adapt to the demands of a changing marketplace. This thesis investigates the circumstances surrounding Hammer’s demise by conducting neoformal analysis of case study films and examining how they were affected by cultural, historical, and industrial factors. Looking to Hammer’s films themselves helps determine to what extent they were responsible for Hammer’s misfortune and why. This thesis demonstrates how Hammer’s own production setup and early genre success contributed to the studio’s eventual downfall and the outside factors that underscored this process. I argue that Hammer did experiment with house formula but the studio’s attempts to renegotiate the 1970s horror landscape were unsuccessful because of changing audience demographics, an industry in transition, and Hammer’s own perceived corporate identity.
text
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SZU-YIN, LEE, and 李思穎. "A study on the adolescents's current status and other related factors of viewing horror films in metropolitan Taipei area." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/97690321077149585112.

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Анотація:
碩士
國立臺北教育大學
教育傳播與科技研究所
96
Horror film is one of the major movie types and its target audiences are focused on adolescents. Horror film no matter is Western or Asian, is highly related to youth subculture or social phenomena. It manifests the dramatic effects by showing bloodiness, pornography, violence and heroism. However, due to the mindsets of adolescents are still at developmental stage, the distorted, twisted scenarios of horror film and might influence them in negative ways, such as biased gender recognition. Thus, the study aims to investigate 539 adolescents ranged from 12 to 24 years old in Taipei area by to understand their viewing habits and gender-role attitude about the horror films. Research first uses quantitative questionnaire to collect data, after initial statistics result, then in-depth interview of 10 adolescents is conducted to further explore their horror preference and psychological reaction, as well as their sex-gender attitude while watching horror film. The results indicate that watching horror film is one of the main entertainments for adolescents. The trailers and the plots are the main incentives for choosing horror film. As for the psychological mechanism, the sensational excitement and accompanied fear factors offers the greatest fun for adolescents in watching horror film. With regard to the effects of gender-role attitudes, most respondents reveal that the negative impact are imposed on other people not themselves. It is also indicated that the higher frequencies in watching horror film, the higher level of involvement is shown and it is more possible to cause the stereotypes of female roles. Besides, it is also showed that females are more likely to have the stereotypes of sex roles and show frightened reactions than males in watching horror film. People who receive higher education are more likely not to be influenced by the sex images constructed by horror film. Researcher suggests that adolescents should enhance their basic knowledge and the critical viewing skills in watching films. Schools and related educational agencies should set up the related courses about media literacy. Parents should put more emphasis on parent-child sharing film watching activities and have more discussions with their children afterwards. At last, the stakeholders in mass film industry should take social responsibilities by making high-quality, education-embedded film, and pay more attention on self-regulation.
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MEI-LING, CHEN, and 陳美伶. "A STUDY OF THE USAGE OF THE FILMS IN LANGUAGE TEACHING." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/w6kvpt.

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Анотація:
碩士
國立臺東大學
語文教育研究所
99
Language teaching is one part of the emphasis of the education. It holds the most teaching sessions of all domains. There are a lot of expectations to language teaching written in the Grade 1-9 Curriculum Guidelines promulgated by the Ministry of Education. Beside the ordinary teaching items, we may have good effect if we add other stimulants and elements in teaching. Films are one kind of multimedia which is usually used by teachers. Many teachers broadcast films regularly to provide physical and mental relaxation and attract students
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Книги з теми "Horror films – study and teaching"

1

Anna, Powell, and Smith Andrew 1964-, eds. Teaching the Gothic. Basingstoke, UK: Palgrave Macmillan, 2006.

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2

Wendy, Helsby, O'Brien Maureen, and British Film Institute, eds. Teaching African cinema. London: British Film Institute, 1998.

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Greene, Doyle. The Mexican cinema of darkness: A critical study of six landmark horror and exploitation films, 1969-1988. Jefferson, N.C: McFarland & Co., 2007.

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4

Dubeck, Leroy W. Fantastic voyages: Learning science through science fiction films. 2nd ed. New York: Springer, 2004.

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5

Chansel, Dominique. Europe on-screen: Cinema and the teaching of history. Strasbourg: Council of Europe, 2001.

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6

Young, Gwendolyn M. Jacques Tourneur: A critical study. Dublin: University College Dublin, 1998.

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7

Carl, Allison, ed. Communication in film III: Teaching communication courses using feature films. 3rd ed. Australia: Wadsworth/Thomson Learning, 2002.

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8

J, Steep Barbara, and Addiction Research Foundation of Ontario., eds. Drug education resources directory : recommended films and videotapes. Toronto: Addiction Research Foundation, 1989.

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9

Chūbu Daigaku. Kokusai Ningengaku Kenkyūjo. Eiga, eizō no parareru wārudo: Pararellworld in films and animations. Kasugai-shi: Chūbu Daigaku Kokusai Ningengaku Kenkyūjo, 2012.

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10

Damian, Cooper, Ward F. C. 1949-, Ontario Assessment Instrument Pool, and Ontario Ministry of Education, eds. Horror: Grade 9 curriculum resource unit. [Toronto]: Ontario Ministry of Education, 1990.

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Частини книг з теми "Horror films – study and teaching"

1

Skweres, Artur. "Horror Vacui and the Critique of Visual Society in Alien and Terminator Films." In Second Language Learning and Teaching, 47–72. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04104-5_3.

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Gündoğdu, Nihan Sümeyye. "Examining the Spaces of (The Shining) through Human Psychology." In Architecture in Cinema, 183–92. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010024.

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Shining, a 1980 film directed by Stanley Kubrick and based on the novel of the same name by Stephen King, is one of the crucial examples of the psychological thriller genre. Stanley Kubrick is an American film director of Jewish origin. The director, who prefers to create uniqueness in his films, has adapted many literary works for the cinema. One of them, the movie Shining is about the experiences of the protagonist of the film, Jack, working as an off-season caretaker and with his family in that place. Jack resigns from his teaching job, agrees to work at the Overlook Hotel on a deserted hill during winter, and settles into the hotel with his family. Since the hotel is closed in the winter, Danny, the gifted son of this family residing in the hotel, sees through his superpowers that there are evil spirits in the inn, that his father is possessed by these spirits, and that he is slowly coming to the point of insanity and his psychological breakdown. The central theme of the film, which has an important screenplay in terms of space and human relationships, is drama and horror. Within the scope of the study, the effects of human psychology on space and, at the same time, the impact of space on human psychology are discussed via space, through colors and sound, as well as light. From the beginning of the movie, it is possible to see scenes that will affect Jack's insanity, starting from the outside. In addition to these architectural elements that have caused Jack to go insane, the labyrinth theme and symmetry that we often see in places in the film also have an important place in the story. As a result of all this, the phenomenon that affects human psychology in the film, that is, the main character Jack's insanity, is uncanniness. In the article, the phenomenon of uncanniness is conveyed within the flow of the film via the characters and their spatial reflections. The psychological effect of space on people, as well as the psychological effect of people on space, has been processed through the phenomenon of the uncanny.
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Thoennes, Jordan, and Candance Doerr-Stevens. "Bringing the ELA Classroom Back From the Dead." In Enhancing Education Through Multidisciplinary Film Teaching Methodologies, 218–34. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-5394-0.ch012.

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In this chapter, authors explore the pedagogical potentials of using horror-based film and television in the English language arts classroom. The horror media genre offers unique opportunities for student engagement and discussion of literary elements, close reading, and increased awareness of social emotional response to texts. Furthermore, the narrative trope of the monster promotes analytical engagement with social and cultural critique. After providing a review of the literature on using film and horror in the classroom, the chapter will share a set of classroom scenarios using horror films and television to illustrate effective pedagogical practices for incorporating horror media in the classroom.
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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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Church, David. "Queer Ethics and the Urban Ruin-Porn Landscape: The Horrors of Monogamy in It Follows." In Post-Horror, 181–212. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.003.0006.

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Building off the previous chapter’s focus on wild natural spaces, this chapter offers an extended case study of one of the earliest and most influential post-horror films, It Follows, whose overall aesthetic is rooted in its specifically urban, postindustrial setting. Through the film’s ironic critique of monogamy as a monstrous force, the chapter argues that the film advances, by way of negative example, a queer ethics of open, responsible sexuality—albeit an ethics constrained by the film’s class-based setting in a neoliberal Detroit increasingly stripped of public services. By examining the film’s ambivalent nostalgia for both a generic and urban past, this chapter argues that It Follows’s queer aesthetic achieves its affective tenor through imaging Detroit’s decrepit (sub)urban spaces as “ruin porn” haunted by polyvalent sexualities and socioeconomic inequalities.
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Shimpach, Shawn. "The Last Warning: Uncertainty, Exploitation, and Horror." In ReFocus: The Films of Paul Leni, 219–38. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474454513.003.0013.

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This chapter considers Universal’s relationship with its audiences at the end of the silent period of Hollywood cinema. Specifically, it presents The Last Warning as a case study and focuses on the ways that Universal promoted this film—a “partial-talkie”—to exhibitors and advertised it to the public. This analysis suggests how Universal imagined the audience for this film and explores the studio’s strategies for connecting the film’s narrative to this imagined audience during the transitional period to synchronised sound. For example, Universal tried to entice exhibitors to book the film by providing survey cards that audience members could fill out during a break in the film’s narrative. The cards would allow them to guess “whodunnit” before the film resumed. Universal therefore engaged in a creative and playful approach to making the film experience more interactive, albeit in a decidedly low-tech way. The studio imagined a specific, rather sophisticated type of audience engagement with a stylistically creative but narratively banal genre film at the end of the silent era.
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Walker, Johnny. "A kingdom of horror." In Contemporary British Horror Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748689736.003.0007.

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This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British horror cinema could – or, indeed, should – take in the future. It is hoped that this chapter will provide a springboard for further scholarship that will be as dynamic as the films themselves.
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Clasen, Mathias. "“I’m Nervous That Watching Horror Makes Me Look Stupid”." In A Very Nervous Person's Guide to Horror Movies, 87–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197535899.003.0006.

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The horror genre has traditionally struggled with an image problem, with horror films being seen as unintelligent, aesthetically uninteresting, and perhaps even morally problematic. This genre stigma has historically been extended to horror fans, who may worry about a lack of cultural capital. Horror movies rarely receive prestigious critical accolades, and the academic study of horror only emerged toward the end of the twentieth century. In recent years, an emergence of ambitious and genre convention-challenging horror movies has prompted some critics to talk about a horror renaissance or even the birth of “post-horror” or “elevated horror.” However, horror films have always had the capacity for engaging with serious themes in an artistic way, and there is often a discrepancy between critics’ evaluations of horror films and audiences’ evaluations. The genre stigma seems to be abating, but some horror fans may still worry about looking stupid—especially if they startle easily.
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Fisher, Austin. "Political Memory in The Italian Hinterland: Locating The ‘Rural Giallo’." In Italian Horror Cinema, 160–74. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.003.0011.

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This chapter aims to locate a sub-set of what has become known as the ‘giallo’ filone within its historical contexts, and to ask what significance this relationship might hold for the broader study of Italy’s cultural history. Such an undertaking immediately poses methodological questions: what are we looking for when we seek to identify ‘history’ in such popular cinema; by what models can we best pursue a ‘historical’ approach to an amorphous, frequently unruly cinematic format like the Italian filone? Certainly, such films can offer insights into how discourses about the past have been represented and consumed within particular registers of historical address.
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Walden, Victoria Grace. "Classic Hammer Beyond Frankenstein." In Studying Hammer Horror, 77–100. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781906733322.003.0007.

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This chapter addresses how the success of The Curse of Frankenstein (1957) encouraged a succession of Hammer horror productions, the most profitable of which were produced between 1957 and 1966. There is much dispute about what constitutes Hammer's 'classical period'. Some argue that it starts with The Quatermass Xperiment in 1955 and ends with the flop The Phantom of the Opera in 1962. Others believe it ends with the move from Bray in 1966. This latter definition is more inclusive and recognises the diversity of Hammer's film-making during the Bray Studios years, when the majority of the team were regulars and came to define a particular Hammer style, which began to disintegrate as productions moved to Elstree and sex and nudity became more prominent themes. The chapter then presents case-study readings which focus on particular traits of the classic films, including the Gothic doppelgänger, the representation of women, and Hammer's vampire mythology.
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Тези доповідей конференцій з теми "Horror films – study and teaching"

1

Bannister, Sophie. "THE JOYS OF TEACHING HORROR - WHY THE GENRE OF HORROR CAN UNLOCK MORE THAN FILMS FOR STUDENTS." In 10th annual International Conference of Education, Research and Innovation. IATED, 2017. http://dx.doi.org/10.21125/iceri.2017.1924.

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He, Feng. "Study of Teaching English in Primary School with Original English Animated Films." In Proceedings of the 3rd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/emehss-19.2019.76.

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Pricope, Mihaela. "TEACHING ROMANIAN FOR FOREIGNERS THROUGH ONLINE FILMS." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-232.

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The internet is an extraordinary source for language teaching. Set as valuable input to teaching language and culture, online films can be extensively used by language teachers to develop students' language and socio-cultural skills. The careful choice of films is made according to pedagogical objectives such as: the development of colloquial language skills, the acquisition of socio-cultural knowledge, the practice of summary skills etc. The teaching of language and culture through films or film fragments is an entertaining and motivational activity. In this manner, learning occurs and teaching is effective. Teaching Romanian for foreign students has captured people's attention in the last 10 years and its importance is increasing. More and more foreigners arrive in Romanian for various reasons, such as to further study in the Romanian language; to find a job in Romania, to obtain a degree in an European country and continue their studies abroad in Europe; to pursue a career in our country or abroad or to attend specialization programmes to work in Romania The present article introduces the importance of teaching Romanian for foreigners and covers, in its theoretical background, advantages and drawbacks of using films in the language classroom. Research in this domain covers the majority of these topics and offers examples of pre-viewing, while-viewing and post-viewing classroom activities but it doesn't offer concrete examples of online film-based lesson scenarios for teaching foreign languages, and in particular, Romanian for foreigners. That is why our article, presents a lesson scenario based on a short online Romanian film available on the website: www.cinepub.ro. This website offers plenty of films and we found it very useful to use it both as lecture inputs and homework. The article concludes that with appropriate tasks designed to achieve the teaching objectives and to be appropriate for the students' language level, films are a valuable resource which both teach and entertain.
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Liu, Shuning, and Chunyan Teng. "A Study on the Application of English Original Films in Oral English Teaching in Higher Vocational Colleges." In 3rd International Symposium on Social Science (ISSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/isss-17.2017.21.

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Shao, Fei. "The Construction of a Cross-cultural Awareness in College English Teaching A Strategic Study with English Original Films as the Medium." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.204.

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Pfennig, Anja. "Successfully planning and implementing peer-to-peer lecture films – “Making it work”." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7503.

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Since summer 2015 lecture videos are implemented in “inverted classroom” teaching scenarios to teach material science to first year students studying mechanical and automotive engineering at HTW Berlin. Lecture videos so far cover subjects such as material testing, corrosion, composites, defects in crystals, hardening mechanisms and materials families. These videos were initially inspired by students. Each semester a set of lecture videos is conducted during a one term semester project supervised by lecturers and film experts (peer-to-peer approach). The peer-to-peer approach is an important aspect because students` needs and their perspective on teaching material is directly included in the videos. Recordings of lectures were also successfully implemented teaching general phase diagrams and the iron-carbon-phase diagram. Both, lecture films and recordings of lectures were used to study themes after class, prepare for classes (inverted classroom scenarios) and the final exam. Students are familiar with videos as learning source, enjoyed to work independently and not only according to contact hours and were generally more active and better prepared during class resulting in better grades. The teaching method “inverted classroom” and class results directly relate to the quality of the video material. Practice examples introduce the teaching method and evaluation of both, videos and teaching method.
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Pfennig, Anja. "Inverting the classroom using on-demand lightboard micro lecture films (learning glass)." In Ninth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2023. http://dx.doi.org/10.4995/head23.2023.16061.

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Critical thinking and self-directed learning are corner stones to prepare first year mechanical engineering students for the demands of the employment market. Creating a positive learning environment presupposes solutions to mechanical engineering problems related to material science. The blended learning environment embedds inverted classroom teaching scenarios as the opportunity to gain higher learning outcome and self-reliant study skills. Inverting the classroom is a method to let the students study the basic scientific background of engineering materials on their own and then work practically during face-to-face time. Because during digital self-study periods (especially during the Covid-19 pandemic) students often feel lonely lighboard videos were provided in addition to traditional lecture material. Short lightboard videos (<10 min) are produced easily on student demand on a glass panel (learning glass). Here, the lecturer always keeps eye contact with the audience and students feel addressed in person. As students were able to manage the input the learning outcome is directly related to the teaching material.
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Batista, Carla Alice Theodoro, Filipe André Santiago de Miranda, Ícaro Igor Costa Silva, and Robson Batista Pastana. "Relations of the 7th art with science: a study on audiovisual resources with chemistry." In II INTERNATIONAL SEVEN MULTIDISCIPLINARY CONGRESS. Seven Congress, 2023. http://dx.doi.org/10.56238/homeinternationalanais-095.

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Abstract Cartoons, anime, TV series and movies, that is, audiovisual resources, are among the types of entertainment that many teenagers and adults like. In addition to this, some chemistry contents can be contextualized, making use of these resources, so that students can learn in a playful and meaningful way the language permeated by these means that are shown to be the facilitating object of knowledge. Chemistry is often seen as a monotonous matter, because to this day the same methodology is used as years ago. With this, it is necessary to create methodologies for learning to become more effective. Therefore, one can build knowledge through some means, such as audiovisual, which are little used and which are allied to the daily life of students. When the teacher uses films, with the aim of making a comparison with the subject he is teaching, he may be able to attention by making the class more interesting. Based on what was exposed, the present work intends to combine excerpts from films, series, drawings and anime, as a way to contextualize the fictitious chemistry, that is, the chemistry that is present in these media and that few individuals notice, with real chemistry.
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Öman, Anne. "Design and Redesign of a Multimodal Classroom Task – Implications for Teaching and Learning." In InSITE 2015: Informing Science + IT Education Conferences: USA. Informing Science Institute, 2015. http://dx.doi.org/10.28945/2242.

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Digital technologies are increasingly implemented in Swedish schools, which impact on educa-tion in the contemporary classroom. Screen-based practice opens up for new forms and multi-plicity of representations, taking into account that language in a globalized society is more than reading and writing skills. This paper presents a case study of technology-mediated instruction at the primary-school level including an analysis of the designed task and how the teacher orchestrated the digital resources during three introductory classes. The aim was also to explore the pupils’ redesigning of advertis-ing films based on teacher’s instructions and available digital resources. Sequences of a learning trajectory were video recorded and analysed from a multimodal perspective with a focus on the designed task and the processes of how pupils orchestrate meaning through their selection and configuration of available designs. The findings show a distinction between the selection of design elements in the teacher’s orches-tration of the laptop resources during instruction and the pupils’ redesigning of the task. Pupils’ work developed from the linguistic design provided by the teacher towards visual design and the use of images as the central mode of expression in the process of creating advertising films. The findings also indicate a lack of orientation towards subject content due to the teacher’s primary focus on introducing the software. This paper that was presented at the conference was previously published in the Journal of IT Education: Research
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Barbu, Ionel, Andrei Komjaty, Magdalena simona Fogorasi, Adina Bucevschi, and Monica Pustianu. "TEACHING AND E-LEARNING ABOUT COTTON RING SPINNING FRAME." In eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-187.

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This paper presents a modern, e-learning method designed for the study of the ring spinning frame for processing cotton fibers, blends of cotton and chemical fibers or chemical fibers cotton types. It envisages a new teaching and learning approach for the laboratory of subject Processes and Machines in Cotton Spinning Mill comprised in the academic curricula of the 3rd year students, specialization Technology and Design Textile Products, by combination of text based learning with audio-visual support. The ring spinning frame is placed at the end of the technological flowchart for processing of cotton and cotton blends for manufacturing of classic yarns. Within this machine the roving resulted from the roving frame is transformed into yarn. The main operations carried out in the spinning process comprise: drawing of roving, twisting of the fibrous and winding of yarn on the pirn. The work is done in Power Point aiming to capture the attention of the students. Besides, the transition from chapter to chapter or to additional relevant aspects within a chapter is accomplished by means of hyperlinks. The kinematic and technological schemes developed on AutoCAD serve to calculus (kinematic and technological) and facilitate a better understanding of the machine functioning, part of the machine or different mechanisms. Supplementary, several images, audio and video files support the learning and understanding process. The video material derive from personal records or from processing films available in the public space, www.youtube.com, using Adobe Premiere Pro CS6 software. For each kinematic or technological parameter to be calculated, the respective kinematic chains are revealed by changing the properties of the respective entities (kind, thickness or color of gears). The paper can be accessed from the official website of the university, http://www.uav.ro/, in the platform https://core.uav.ro/ containing all the bibliographic materials uploaded for students. The access requires a username and password, both for teachers who publish information and for students as users.
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