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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерела
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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.
Повний текст джерелаАнотація:
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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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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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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Ratmiati, Ratmiati, Muspardi Muspardi, Mita Domi Fella Henanggil, and Sri Antoni. "Analysis of Student’s Writing Which Reflect Ghost Stories in Indonesian Horror Film." Journal of Islamic Education Students (JIES) 4, no. 1 (May 31, 2024): 153. http://dx.doi.org/10.31958/jies.v4i1.12238.
Повний текст джерелаАнотація:
Horror films circulating in Indonesia today can be watched by anyone from various social media, including underage elementary school students. As a result of watching this horror film, students often fantasize and imagine everything must be scary and scary. Even students will also write stories about that scary thing in the assignment given by the teacher. This study aims to analyze writings made by elementary school students that reflect horror stories in Indonesian horror films. The subjects of the study were 31 students of SD 05 Nagrek with works containing ghost stories whose contents were almost the same as ghost stories in Indonesian horror films. Research is descriptive qualitative research with observation, interview, documentation methods. The data analysis technique used is the theory of Miles and Huberman which is carried out by means of (1) Data reduction (2) Data presentation (3) Conclusion drawing and verification. Checking the validity of data is carried out by extending observations and triangulation. The triangulation used in this study is source triangulation which is done by checking data that has been obtained through several sources. The results showed that (1) half of the 31 students wrote stories with content that was almost similar to ghost stories filmed in Indonesia. (2) Students get ideas in writing ghost stories from watching themselves, told by friends and just imagining.
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Sutandio, Anton. "The Return of the Repressed: Pemuda and the Historical Trauma in Rizal Mantovani and Jose Purnomo’s Jelangkung." Plaridel 12, no. 2 (August 30, 2015): 131–48. http://dx.doi.org/10.52518/2015.12.2-06stndio.
Повний текст джерелаАнотація:
Being the first horror film produced after the Reformation period, Rizal Mantovani and Jose Purnomo’s Jelangkung (2001) played an important role in resurrecting the horror genre. As a commercially successful film, it became the blueprint for horror films produced afterwards. It challenged the New Order horror narrative pattern, introducing significant changes such as the shift towards pemudas or the youth as the central characters in the film, the absence of a patriarchal figure, and the open ending. These changes could well have been influenced by trends in global horror cinema, but for Indonesian films specifically, on the allegorical level, they have been able to effectively capture the anxiety and fear pemudas felt during the Reformation, especially about what it means to be a young Indonesian in post-Soeharto times. This study explores the allegorical function of this contemporary Indonesian horror film, focusing on how Jelangkung represents “the return of the repressed” through what Lowenstein (2005) calls “allegorical moments.” It also attempts to locate these moments in Jelangkung, contextualizing the return of the repressed as the fear and anxiety toward the unresolved May 1998 traumatic event in Indonesia and the existing patriarchal system.
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Samanda, Glen Aviaro, and Ade Kusuma. "Analisis Semiotika Terhadap Tokoh Utama Perempuan dalam Film Perempuan Tanah Jahanam." Az-Zahra: Journal of Gender and Family Studies 4, no. 1 (December 26, 2023): 1–11. http://dx.doi.org/10.15575/azzahra.v4i1.25547.
Повний текст джерелаАнотація:
Horror is still a popular genre in the growth of Indonesian films. Female characters are often featured iconically in the narrative of a horror film. However, there is a negative stigma about the presence of female characters in horror films who appear as antagonistic characters. Female characters often play the role of ghosts, victims of crimes, and other complementary characters. This study uses qualitative research and Roland Barthes semiotics to analyze the representation of female characters in Perempuan Tanah Jahanam. This research focuses on the main female characters in the movie. The results of this study explain the denotation that describes the female characters in Perempuan Tanah Jahanam as women who become the main characters in filling various important roles in horror films, while in the connotation there are various meanings that the main female characters have social strengths such as courage in fighting patriarchal culture, supporting fellow women, working hard and being independent, from the denotation and connotation that the author found formed a myth in the form of elements of feminism that were constructed on the four main characters in the film. Researchers found that the main female character is no longer represented as a victim or a seductive and sexy ghost. Female characters are also not used as a means of supporting the success and interests of commercialism in a horror film.
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Br Sinulingga, Jesica Emarapenta, and Hizkya Cesar Kayika Sitorus. "Analisis Sentimen Opini Masyarakat terhadap Film Horor Indonesia Menggunakan Metode SVM dan TF-IDF." Jurnal Manajemen Informatika (JAMIKA) 14, no. 1 (February 3, 2024): 42–53. http://dx.doi.org/10.34010/jamika.v14i1.11946.
Повний текст джерелаАнотація:
In the digital era, public opinions regarding Indonesian horror films often receive significant attention on social media platforms. The objective of this study is to assess the perspectives and sentiments expressed by the public concerning Indonesian horror films. The Support Vector Machine (SVM) method along with Term Frequency-Inverse Document Frequency (TF-IDF) is utilized as the primary analytical tool in this research. Issues and public viewpoints regarding horror films are extracted from social media platforms to identify both pros and cons. Employing the SVM method in conjunction with text representation using TF-IDF is expected to provide comprehensive insights into the emotional responses of the public toward specific film genres. The analyzed dataset comprises 2281 entries. Subsequently, the application of the Support Vector Machine (SVM) algorithm is employed for text classification, coupled with word weighting using TF-IDF. The outcomes of this analysis exhibit an accuracy of 82.51%, a precision of 5.28%, a recall of 7.26%, and an F1 Score of 6.12%. This study demonstrates the efficacy of the SVM and TF-IDF methods in classifying public sentiment toward Indonesian horror films and has the potential to provide insights into the social impact and reception of film works within the entertainment industry.
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Malykh, Vyacheslav Sergeevich. "RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT." Russian Journal of Multilingualism and Education 11, no. 1 (December 15, 2019): 63–69. http://dx.doi.org/10.35634/2500-0748-2019-11-63-69.
Повний текст джерелаАнотація:
Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian writers, and including the horror genre in literature syllabus is regarded by Russian professors and teachers as a forbidden topic. The situation is different in the United States where a long-standing tradition of interpreting the category of the horrible has been created. Modern American scientists, philosophers, writers and educators agree that horror fiction in its best manifestations touches upon essential problems of a human soul. It allows to exert a powerful positive influence on the formation and development of a personality. Throughout the 20th century, the genre of horror was systematically evolving in the U.S., and as of today, it is American horror fiction that sets the standards of the genre all over the world. The aim of this research is to describe horror fiction as a dynamically developing genre from three points of view: 1) through comparative and genre analyzis of horror fiction in the U.S. and Russia; 2) by studying narrative strategies which are used by horror writers in the U.S.; 3) by surveying principles of teaching the horror genre in an American multicultural educational environment. After experiencing decades of oblivion, the genre of horror can revive in Russia thanks to the critical mastering of the U.S. experience, where the genre tradition has never been interrupted. A list of bibliography is attached to help beginner researchers with their study of the subject.
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Tiger, Lionel. "Torturers, horror films, and the aesthetic legacy of predation." Behavioral and Brain Sciences 29, no. 3 (June 2006): 244–45. http://dx.doi.org/10.1017/s0140525x06449050.
Повний текст джерелаАнотація:
A Rousseauist bias towards the study of human aggression has treated it as a regrettable anomaly rather than a volatile reflection of important forces in human evolution. Intrepidly, Nell displays the arc of connection between predation in humans and other animals and the neurophysiological factors that underlie chronic interest in accident, death, and harsh force.
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Santabudi, Bisma, Paulus Heru Wibowo Kurniawan, and Frans Sahala Moses. "The Use of Religious Identity in the Narrative of "Qorin" (2022): A Study of New Historicism." Widya Winayata : Jurnal Pendidikan Sejarah 12, no. 1 (April 30, 2024): 28–38. http://dx.doi.org/10.23887/jjps.v12i1.70762.
Повний текст джерелаАнотація:
Qorin (2022) is one of the contemporary Indonesian horror films that incorporates Islamic religious elements as a theme in its narrative. This research aims to examine the use of religious identity both audio and visual in the narratives of contemporary horror films in Indonesia. The research method used is qualitative description with content analysis. The theory used to examine the film is the theory of New Historicism. Through this theory, the film Qorin (2022) will be examined based on 2 things: the interdiscursivity of the film text with texts outside the film and the world or meaning to be depicted in the film. The conclusion of this research shows that the movie Qorin provides an overview of the socio-cultural conditions that occur in Indonesia through religious identity. This can be seen especially in the relationship between religious leaders and their followers.
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Malenko, Sergey A., and Andrey G. Nekita. "ANTHROPOLOGY PROLETARIAN PHYSICALITY: THE IDEOLOGICAL STRATEGY OF CONSUMPTION OF SUFFERING AND DEATH IN THE CULTURAL TRADITIONS OF THE AMERICAN HORROR FILM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 66–78. http://dx.doi.org/10.17223/22220836/39/7.
Повний текст джерелаАнотація:
Purpose. The article analyzes the strategy of sublimation of the corporeality of bourgeois pro-duction into the artistic tradition of the American horror film as a specific, visual mythology and psy-chosomatic consumer ideology of modern mass culture. Theoretical basis. The key methodology is the principle of interdisciplinary and cross-cultural, psychoanalytic research, developed and tested by the team of authors in a number of scientific papers. The applied scientific and practical approach made it possible to carry out an original, complex, com-parative analysis of symbolic interpretations of the tradition of American horror films in various spheres of socio-cultural practice. Carried out interdisciplinary study of the phenomenology of horror, makes it possible to isolate ideologically significant images sublimated in more than a century of the tradition of American horror films. Originality. The anthropological mechanism of sublimation of the proletarian physicality formed in a bosom of classical capitalist production is opened. Its essence is the unconscious attitude to the perception of bodily suffering and death as inevitable and “natural” companions of the worker's production image and guarantee of its demand in the labor market. At the same time, intensive tech-nologization of production is accompanied by a sharp inflation in the value of physical labor. At the same time, the persisting attitude to bodily suffering requires the appearance of its new forms, displac-ing the “physical” into the “visual”. It was the American horror movies most adequately perform the social order of government and business, subliming bodily suffering in the most profitable art forms. This is how the figurative and symbolic mythology of horror films is constructed, which commercial-izes the artificially formed psychosomatic dependence of the layman on the consumption of bodily suffering and death. The active popularization of horror mythology visualizes the ideology of the “American way of life”, lobbies the practice of ousting competing cultural genres and traditions, and lays the foundations of westernized post – industrial civilization – post-human, post-teles and digital world. Conclusions. Under the conditions of widespread degradation of the production type of civiliza-tion, the technology of sublimation of active attitude to the world into visual forms of its consumer destruction was formed, the driving forces of which (collective in form and individual in ways of expe-rience) were American horror films. They most adequately represent a new artistic and anthropological reality, the contours of which are so clearly drawn by the human body, the exhausted profile of power and production standards.
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Johnson, Benjamin K., Angel Udvardi, Allison Eden, and Judith E. Rosenbaum. "Spoilers Go Bump in the Night." Journal of Media Psychology 32, no. 1 (January 2020): 14–25. http://dx.doi.org/10.1027/1864-1105/a000252.
Повний текст джерелаАнотація:
Abstract. Spoilers are frequently a source of concern for entertainment audiences. Online discussions, promotional materials, and reviews can all potentially reveal pertinent information about story plotlines, presumably ruining suspense and enjoyment. Despite these common apprehensions, recent experimental evidence suggests that narrative spoilers have modest and inconsistent effects on enjoyment and other audience responses. In this study, we investigate the implications of spoilers for horror films, a genre reliant on suspenseful thrills. Each participant was exposed to multiple scenes from a single horror film, and spoilers were manipulated at different stages of the narrative for both minor and major plot points. Results indicate no main effects of spoilers for enjoyment, transportation, suspense, processing fluency, or reactance. However, need for affect moderated positive enjoyment effects of spoilers for smaller plot points such as scary moments or sudden twists. These results indicate that those who value the thrills of horror films may receive enjoyment from the anticipation produced by minor spoilers about smaller plot points.
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Farrimond, Katherine. "‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences." Horror Studies 11, no. 2 (October 1, 2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.
Повний текст джерелаАнотація:
Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popular culture. Reviews of Teeth (2007), a ‘feminist horror film’ about vagina dentata, illustrate the push and pull of gendered power attached to feminist media, where empowerment is often understood in binary terms in relation to its gendered audiences. The assumed disempowerment of male audiences takes precedence in many reviews, while other narratives emerge in which Teeth becomes an educational tool that might change gendered behaviours, which directly empowers female audiences or which dupes women into believing they have been empowered. Finally, Teeth’s reviews expose a language of desire and fantasy around vagina dentata as an automated solution to the embodied experiences of women in contemporary culture. Teeth’s reviews, I argue, offer a valuable case study for interrogating the tensions in discourse when the bad object of horror is put to work for feminism.
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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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Che Ab Adziz, Aselawati, Rohani Hashim, and Hasrina Mustafa. "THE INFLUENCE OF PSYCHOLOGY IN SUPERNATURAL BELIEFS THROUGH ENJOYMENT IN WATCHING HORROR MOVIES." International Journal of Education, Psychology and Counseling 7, no. 48 (December 31, 2022): 536–61. http://dx.doi.org/10.35631/ijepc.748041.
Повний текст джерелаАнотація:
The Malaysian film industry in the 21st century is overwhelmed with the production of various genres of films with the horror genre was seen dominating other genres in the industry. Amidst concerns by both the public and leaders on the effect on horror movies to the society, audiences seem to continue to enjoy watching horror movies as seen from the movie ticket sales trend in the market. This has raised a question on the factors leading to the enjoyment of watching horror movies and the effect on supernatural belief. The basic model of Suspense Enjoyment Watching Horror Movies developed by Zillmann (1996) and Zillmann and Weaver (1996) was used to identify the relationship between big five personalities and psychology towards supernatural beliefs through the influence of enjoyment. Specifically the study looks into the effect of the psychology factors namely (i) empathy; (ii) negative feelings; and (ii) positive feelings on supernatural belief through the mediating role of enjoyment. In the first phase of the research, data was collected to explore on the preferred horror movie genre among the audience. 36.1% of the respondents were in favor of the psycho thriller genre compared to eight other genres, such as horror, crime thriller, horror, action horror, drama horror, comedy horror and romantic horror. Based on the results in the first phase of data collection, Jwanita (2015) film was chosen to prime stimulus for the research. Interviews with the experts in the film studies were also conducted to support the findings. The next phase involved 317 Muslim adolescent audiences aged 14 to 23 from Kedah, Malaysia who agreed to take part in the research. Structural Equation Modeling, together with SmartPLS 3.0 software were used to analyse 23-research hypotheses developed. The results showed that there is a significant correlation between the three variables in psychology (empathy, positive feelings and negative feelings) with enjoyment. Further findings indicate on the significant mediating effect of enjoyment on the relationships between positive feelings with supernatural beliefs. The importance of enjoyment as a mediating factor is proven from the full mediation result between with supernatural beliefs. The forecasting model through SEM analysis showed a high goodness of fit (GoF) value of 0.832. The findings of the study can be used to extend the Model of Suspense Enjoyment in watching horror movies through scientific evidences and analysis.
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Haborak, Fiona. "The Spectator-in-Crisis." Interactive Film & Media Journal 3, no. 1 (June 6, 2023): 106–13. http://dx.doi.org/10.32920/ifmj.v3i1.1678.
Повний текст джерелаАнотація:
This paper examines the spectatorial engagement with on-screen violence in horror cinema for its potential to evoke both affective and political reactions. By analyzing the works of Sergei Eisenstein, Jane Gaines, and Linda Williams, the study delves into the concept of "political mimesis" through its manifestation in various film genres, particularly in horror. Drawing from Eisenstein's theory of movement and the figure-in-crisis, I argue that the spectator-in-crisis experiences emotional and physical reactions when witnessing grotesque violence in horror films. Focusing on the affective-corporeal dimensions of horror, as proposed by Xavier Aldana-Reyes, this paper explores the relationship between the viewer and the on-screen bodies. It investigates how horror cinema impacts viewers' bodily responses, emotions, and embodiment. This phenomenon is linked to somatic empathy and sensation mimicry, which enable the viewer to vicariously experience pain and corporeal damage, thus mobilizing affect to facilitate embodiment. This investigation also discusses the role of film techniques, such as montage and framing, in shaping the viewer's reception and emotional affect to highlight how horror aesthetics, audience reception, and affect are relational proxies for analyzing the genre's influence on the viewer's perception of power dynamics, societal issues, and cultural influences. To illustrate the points made, the paper examines Eisenstein's October: Ten Days That Shook the World (1928) and the horror film Daybreakers (2009), demonstrating how on-screen violence moves the actors and the audience. The paper concludes that cinematic depictions of violence in horror and other genres compel viewers to react, leading to a "full-bodied engagement" to further illustrate the importance of the spectator-in-crisis experiencing turmoil. This investigation into the affective allure of horror in spectatorial engagement broadens the understanding of how on-screen violence influences audience reactions and raises questions about applying these techniques and theories to other film genres.
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Aziz, Jamaluddin, Jamila Mohd, Norhayati Hamzah, and Abdulhamid Badru. "Push!: Exploring The Myth of Childbirth in Malay Films." Jurnal Komunikasi: Malaysian Journal of Communication 39, no. 4 (December 21, 2023): 270–83. http://dx.doi.org/10.17576/jkmjc-2023-3904-14.
Повний текст джерелаАнотація:
Childbirth is a universal and natural global experience, however, its representation in films specifically, and popular culture in general, is framed within stereotypical images that are brimming over with inaccuracy and myth. In the West, gynae-narratives in films are often studied by using feminist psychoanalysis, particularly on the gynae-horror narrative. This study, explores the varied representations of childbirth in some selected Malay films - such as the labouring body - to identify and make sense of why the experience of childbirth in films becomes rather problematic, asking the question of what myth is being perpetuated by such representations. Using a close textual analysis of some Malay films that are purposively selected, the study employs Roland Barthes’ Myth and its link to ideology as a critical framework, paying attention to Malay cultural signs to create meanings and expose the ideological motives of such representation. This study is crucial for it is able to illuminate the myth-making process of childbirth in Malay films and the effects this myth might have on the society’s view of the experience of childbirth, and perhaps putting into microscope our cultural perceptions of marriage, motherhood, womanhood, the female body and the family. Keywords: Barthes, representation, female body, gynae-horror, the family.
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Tiburcio, Erika. "Satanic Rituals in Spanish Horror Films and the Franco Dictatorship." Cultural History 12, no. 2 (October 2023): 251–71. http://dx.doi.org/10.3366/cult.2023.0289.
Повний текст джерелаАнотація:
Spanish horror films set in the late Franco period are a highly successful genre. However, academics have criticised its study, arguing that such films are of low quality. Nevertheless, the genre is a fundamental cultural source for understanding how fiction interacts with a society’s fears as it undergoes a profound transformation. This article aims to analyse the ways rituals were represented as allegorical figures of the anxieties and conflicts in the final years of Francisco Franco’s dictatorship (1968–1975). On the one hand, we will examine the three main discourses that were instrumental to the founding of monstrous cults based on gender, class and nationalism. On the other hand, we will analyse the intermingling of political violence and modernisation through the performance of rituals. Satanic rituals served as visual metaphors for a reality constructed from the Manichaean vision of Catholicism and the exclusionary nationalism of Francoism imposed through political violence.
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Dondik, Lyudmila Yurievna, and Elena Vladimirovna Yuzhaninova. "Features of translation of English-language horror filmonyms into Russian and German." Филология: научные исследования, no. 3 (March 2024): 36–48. http://dx.doi.org/10.7256/2454-0749.2024.3.70069.
Повний текст джерелаАнотація:
The subject of the research of the article is the general features and specific features of the translation of horror discourse filmonyms from English into Russian and German. The object of the study is the original English-language and translated Russian- and German-language filmonyms of horror discourse. In our work, we will be interested in strategies and techniques for translating English-language horror discourse filmonyms, since the horror film genre is one of the most popular at the moment, and a large number of films are being released in English. When translating movie titles, a translator faces a number of difficulties and must solve them by choosing a translation technique and strategy. Often, the translation of a filmonym is accompanied by a shift in its leading function, or a change in the type of filmonym according to the peculiarities of its perception by the viewer. The work uses the continuous sampling method, comparative linguistic analysis of parallel filmonyms, as well as quantitative data processing methods. The research material was a sample including 150 original English-language horror-discourse filmonyms and their translation options into Russian and German. The scientific novelty of the study lies in the fact that the features of the translation of film names are studied in a comparative aspect using the example of Russian- and German-language horror discourse based on the material of the titles of films released over the past two decades. A methodology is being developed for a comparative study of the features of translating film names into different languages. As a result of the analysis, it was concluded that the domestication strategy of filmonyms is high-frequency; for German-language translated filmonyms, the use of a forenization strategy is much more typical. A feature of the German film distribution is the high frequency of combining two translation strategies, when the first forenized part of the filmonym is combined with domestication in the second part of the movie title after the dash sign. Due to the fact that German translated film names undergo less transformations, they are less characterized by a functional shift compared to translated film names in the Russian film distribution. When translated into Russian, preference is given to tonal-type filmonyms, which corresponds to the peculiarities of the horror genre.
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Goodall, Reece. "John Kramer for President: The rise of authoritarian horror." Horror Studies 11, no. 1 (April 1, 2020): 123–40. http://dx.doi.org/10.1386/host_00014_1.
Повний текст джерелаАнотація:
In 2016, Donald Trump was elected President of the United States of America, to great surprise. His election has been connected to the emergence of authoritarianism as a political force in America, as political scholars have argued Trump’s campaign success lay in how his rhetoric is authoritarian in nature, and how it activates an authoritarian tendency in a sizeable portion of the voter base in response to social and demographic changes within the country. This article argues that contemporary horror cinema reflects and responds to the rise of American authoritarianism. Building on the work of scholars of authoritarianism, this article outlines a number of characteristics of authoritarian horror films. Specifically, it analyses the case study of Jigsaw to argue that two understandings are possible, linked to the coding of both the authoritarianism associated with the villain and the social threats they react to as troubling. It then draws on a number of further examples (Unfriended, Don’t Hang Up and the Purge films) to suggest that the emergence of this tendency within horror cinema is reflective of an increasingly polarized population and that, although the films explicitly condemn authoritarianism through their villain characters, they simultaneously cater to both halves of this divide by also depicting the world in which these authoritarians rise as horrific.
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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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Belinskaya, Elena P., and Ekaterina A. Rudik. "ATTITUDES TO RADICALISM AND PREFERENCES OF FILM GENRES IN YOUTH." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 4 (2020): 41–52. http://dx.doi.org/10.28995/2073-6398-2020-4-41-52.
Повний текст джерелаАнотація:
The results of an empirical study of the relationship between radical attitudes and consumer preferences in the field of film production in a sample of young people are presented in the article. Attitudes to radicalism were operationalized through indicators on the scales of relative deprivation, social dominance, and authoritarianism. Horror, melodrama, and arthouse films were considered the preferred film genres. One of the stages of the study was an attempt to determine the possibility of organized influence on radical attitudes through viewing movie trailers of preferred and non-preferred genres by respondents. It is shown that initially the choice of genres of melodrama and arthouse cinema is not associated with any of the supposed components of radical attitudes, and the propensity to watch horror films is associated with a low intensity of the behavioral component of radical attitudes. When organizing the impact by watching trailers, it was found that respondents who prefer the genres of melodrama and arthouse cinema are almost not affected by their socio-political attitudes by consuming film products, while the affective component of their radical attitudes increased among fans of horror films, but only if the genre of the viewed trailer coincided with the preferred one. Thus, the results obtained do not allow us to unambiguously assert that there is a relationship between consumer preferences in film genres and radical attitudes in youth. In general, they indicate an extremely vague relationship between aesthetic preferences and attitudes of the sociopolitical spectrum.
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Gamayo, George Vincent, Jessa Ericka C. Bien-Munsayac, and Reyjane Calicdan-Del Campo. "Resistance, Conformity, and Negotiation to Socio-cultural Anxieties: A Semiotic Reading of Female Aswang Characters in Selected Philippine Horror Films." Jurnal Komunikasi: Malaysian Journal of Communication 40, no. 1 (March 31, 2024): 447–64. http://dx.doi.org/10.17576/jkmjc-2024-4001-25.
Повний текст джерелаАнотація:
The Philippines has a rich tradition of folklore, often portrayed in horror films to reflect cultural anxieties and hegemonic ideologies to circumvent political censorship. Among the most popular horror genres in the country is Aswang. This study examines the depictions of female Aswang in Aswang (2011), Corazon ang Unang Aswang (2012), and Maria Labo (2015) through Barthesian Semiology. Female aswang characters and their narrative exposition were analyzed on a micro, meso, and macro level. In the micro level, the Filipina aswang as a cultural reject tries to resist male chauvinism through her transformation towards her true nature, gaining control over her life, and divergence from the societal norms. On the other hand, she is represented in aswang films as someone who is being boxed with societal prescriptions, depicted as the weaker one, and is governed by her emotion. The meso level discusses how the female aswang is viewed in the context of her community, and how the latter affects her perception of herself and her decisions in life. The three films underscore the expectation on women to be domesticated, and the lead characters portrayed how women respond to these societal standards. Additionally, the macro level investigated how female aswang characters are discursively positioned in relation to socio-cultural struggles in the past and present to uncover their hegemonic constructs on poverty, injustices, mental health, and historical distortion. Keywords: Aswang, horror films, Philippine folklore, semiotics, socio-cultural anxieties.
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Fatha, Basyarayni Mawla, and Alvanov Zpalanzani Mansoor. "The structural analysis of indonesian horror webtoon’s visual and narrative." South Florida Journal of Development 3, no. 1 (February 24, 2022): 1624–36. http://dx.doi.org/10.46932/sfjdv3n1-126.
Повний текст джерелаАнотація:
The popularity and the appeal of horror media among Indonesian have been explicated as a close relation to the psyche of Indonesians which is generally inherent to the Eastern culture. This specific pattern of preferences rooted in Indonesians’ cultural fixation has been profited off across many forms of popular media; from radio broadcasts to online podcasts, from TV series to cinematic movies, and from printed comics to webtoons. Webtoon or webcomic is a term originally coined in Korea to refer to a form of graphic narrative that interweaves words and images as also found in printed comic, however, its utilization of digital information technologies implies a fundamental difference between the two. Webtoon’s vertical orientation is also one of the few discrete factors that excludes webtoon from the printed comic category. This research aims to find out how the visual narrative structures of Indonesian horror webtoon are particularly employed in evoking fear within the readers’ minds by examining some representative examples of popular Indonesian horror webtoon: Creep by Ino Septian and Gloomy Sunday by Fanky Landerson. This analysis is conducted by applying Zpalanzani-Tabrani and Cohn's triangulation analysis model enhanced by adding the structural affect theory of stories developed by Brewer and Lichtenstein and some supplemental analysis units such as gutter space and color analyses. This study suggests that there are some idiomatic similarities between Indonesian horror webtoons and horror films in general, both in terms of visual composition and units and in terms of sequence to construct a sense of suspense in an engaging and ceaseless horror experience. These findings are applicable to obtain an effective formulation in designing horror webtoon for Indonesian readers on one hand, and to draw out some encouraging remarks for further improvement on some aspects on the other hand.
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Zhang, Kai, and Jong-Han Lee. "A Study on Surreal Horror Imagery in Animation Films : Focusing on <Coraline>." Korean Journal of animation 19, no. 2 (June 30, 2023): 172–94. http://dx.doi.org/10.51467/asko.2023.06.19.2.172.
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White, Calum. "From Civil Rights to the Post-racial Lie: The Representation of Racial Politics in the American Horror Film Score." Context, no. 48 (January 31, 2023): 53–67. http://dx.doi.org/10.46580/cx78995.
Повний текст джерелаАнотація:
Socio-political messages have been discernible in film since the advent of the moving image. With this study, I respond to a gap in academic research by establishing how these messages have been manifested through a film’s score, focusing specifically on racial politics within American horror films. Drawing upon discussions of film scores, both generally and specific to the horror genre, as well as writings on cultural identity in music, I question how, using these theoretical frameworks, music can be seen as representative of a film’s racial politics and subtext. I will focus on three films released over a fifty-year period that each provide commentary on race in the contemporary United States: Night of the Living Dead (dir. George A. Romero, 1968); Candyman (dir. Bernard Rose, 1992); and Get Out (dir. Jordan Peele, 2017). The study showcases numerous ways in which film scores can represent subtext through instrumentation, timbre, pre-existing music, silence, and the cultural associations that these elements evoke.
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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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Pop-Curșeu, Ioan. "Actes sexuels, horreur et sorcellerie au cinéma. La copulation avec le Diable : une perspective psychanalytique." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 109–33. http://dx.doi.org/10.24193/subbdrama.2021.1.07.
Повний текст джерелаАнотація:
"Sexual Acts, Horror and Witchcraft in Cinema. The Copulation with the Devil: a Psychoanalytical Perspective. This paper tries to approach, taking as a starting point a Romanian painting from the 18th century, a scene with a strong phantasmatic load: the sexual act of a woman, who is considered a witch, with the devil. Several films are analyzed: Häxan by Benjamin Christensen (1922), Rosemary’s Baby by Roman Polanski (1968), L’Anticristo by Alberto de Martino (1974), Angel above, Devil below by Dominic Bolla (1975). These films share some common features, important for the analytical process: the copulation with the devil, the presence of traumatized characters who are submitted to a psychological cure, the recycling of psychoanalytical vocabulary, especially “hysteria”, the problems with parental instances. In order to interpret these films, there is a coming back to Freud’s ideas on the Devil, as expressed in the letters to Wilhelm Fliess or in the study A Seventeenth-Century Demonological Neurosis (1923). The devil as an image of unconscious impulsions or as a substitute of the father are the main Freudian intuitions used here for an optimal interpretation of the chosen films. Keywords: sex, sexual act, horror, witchcraft, psychoanalysis, Freud, cinema. "
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Prokudin, Gleb Andreevich. "Films of the space horror genre, as an attempt to imagine a world–not–for–us." Культура и искусство, no. 1 (January 2024): 68–78. http://dx.doi.org/10.7256/2454-0625.2024.1.69444.
Повний текст джерелаАнотація:
The article deals with the problem of the world–in–itself being closed to our perception due to the inevitability of human subjectivity in the process of cognition of the world. In the philosophy of positivism and speculativism, the thesis of the fundamental unknowability of reality allows us to deduce an entire aspect of the world that is inaccessible to perception by analytical methods. This part of the world, by virtue of its fundamental concealment, resists all rational cognition, but, nevertheless, it can manifest itself in a special way that has more in common with mystical experience than with objective cognition. The purpose of the article is to offer a figurative language of the cinema texts of the cosmic horror genre as a way to think of the world–in–itself, otherwise inaccessible to cognition. The analysis is based on the example of two texts – "Through the Horizon" (dir. Paul W. S. Anderson, 1997) and "Hell" (directed by D. Boyle, 2007). A systematic film analysis was chosen as the research method. Screen works are analyzed from the point of view of how the subject of this research is revealed through the structural elements of film production. The main conclusions of the study are the theses that screen works in the horror genre, in particular space horror, can be used as a way to think about an aspect of the world that is inaccessible to knowledge by rational methods. This is possible due to the fact that the fundamental concealment of the world–not–for–us, on the one hand, makes it inaccessible to traditional analysis, and on the other hand, brings it closer to mystical experience. Films of the cosmic horror genre, and especially those that are the successors of the so–called Lovecraftian tradition, use characteristic frightening imagery to evoke in the viewer a feeling of the otherworldly, mystical, to create the same feeling of the creepy that occurs when the world-not–for–us manifests itself. But besides the images, the very structure of the film's narrative and its means of expression work to direct the viewer's thought towards understanding this strange world hidden from us.
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윤영. "A Study on Teaching Novels Utilizing Films." Journal of Korean Language Education 19, no. 1 (April 2008): 141–68. http://dx.doi.org/10.18209/iakle.2008.19.1.141.
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Seach, Jin Beng, and Marzita Mohamed Noor. "NATURE AS A MEANS OF FEMALE EMPOWERMENT IN TWO SOUTHEAST ASIAN HORROR FILMS." Journal of Language and Communication 9, no. 2 (October 6, 2022): 267–81. http://dx.doi.org/10.47836/jlc.9.2.08.
Повний текст джерелаАнотація:
The close relationship between nature and women is an aged-old phenomenon. Nature itself is often associated with feminine traits owing to its motherly and nurturing nature. There have been a substantial amount of academic studies conducted for the purpose of examining the intricate relationship between nature and women. Eco-feminism for instance, investigates how the exploitation of nature is akin to the exploitation of women by capitalism and patriarchy. Meanwhile, there is also ecological feminism that discusses how women have been placed in unfair positions through male- biased division of labour and environmental roles. Although some scholars have attempted to explore how nature serves to empower women, the role of nature as a means of empowerment for female ghosts remains relatively scarce. This study aims to examine how nature can play its role to empower women even as ghosts in two Southeast Asian horror films namely Inhuman Kiss (2019) and Suzzanna: Buried Alive (2018). This study explores the relationship between the female ghosts and nature in relation to the abject and the lens of eco-feminism. It aims to demonstrate how the bond between nature and women perpetuates beyond the corporeal world.
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Widuhung, Selvy Maria. "EFEK KOMUNIKASI TAYANGAN HOROR YOUTUBE JURNALRISA TERHADAP SUBSCRIBERNYA." Cakrawala - Jurnal Humaniora 21, no. 2 (September 15, 2021): 108–15. http://dx.doi.org/10.31294/jc.v21i2.10510.
Повний текст джерелаАнотація:
Vlogs or video blogs are becoming a trend in today's society, various types of shows can be easily watched on the Youtube channel. However, what is most interesting is the proliferation of horror content that has won a place in the hearts of Indonesians, along with the increasing production of horror films. One of the horror-themed vlogs with the most subscribers is Jurnalrisa which introduces the life of astral beings through a mediation mechanism. Uniquely, this show not only gives the audience a sensation of fear, but also educates them through the insights gained in interacting with supernatural beings, such as how powerful a prayer is, what happens in the next world when someone dies of suicide and many more. This study uses mass communication theory, which is seen from the cognitive, affective and conative or behavioral aspects to show positive effect on followers or customers after watching Jurnalrisa videos in their real life. Among them is the increased belief and understanding of a better life, realizing that we do live side by side with supernatural beings, and being more careful in living life in order to achieve happiness in the world and in the hereafter.
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Theodosius (Sergey I. Vasnev), Metropolitan of Tambov and Rasskazovo. "“Sacred horror” of the poet Gavriil Romanovich Derzhavin." Neophilology 10, no. 2 (June 13, 2024): 378–86. http://dx.doi.org/10.20310/2587-6953-2024-10-2-378-386.
Повний текст джерелаАнотація:
RELEVANCE. The outstanding Russian poet Gavriil Romanovich Derzhavin is one of the few authors who, in his artistic work, theologically comprehended human existence, man’s place in the world and his relationship to the Creator and Creator of the world. The object of study in the article is the spiritual poetry of G.R. Derzhavin; The subject of the study is the poet’s religious ideas about man and his relationship with God and the world around him, reflected in the genre of spiritual ode. The purpose of the study is to identify the features of the expression of the Orthodox worldview of G.R. Derzhavin in episodes of his biography and poetic creativity using the example of a spiritual ode.MATERIALS AND METHODS. In accordance with the interdisciplinary nature of the research, the author used a combination of philological, historical and theological scientific methods, the most important of which were historical-biographical, intertextual and hermeneutic.RESULT AND DISCUSSION. The analysis of G.R. Derzhavin’s biographical facts and the memoirs of his contemporaries made it possible to characterize the poet as a person deeply rooted in the Orthodox faith striving to get aware of Divine truths, as well as to convey the highest moral law to a wide circle of his readers through verbal creativity. A review of works written in the genre of spiritual odes and based on a number of psalms, as well as a theological and philological analysis of the ode “God” made it possible to identify semantic and ideological connections of the author’s worldview with the dogmatic and anthropological teaching of the Orthodox Church. By revealing the theological content of the lexemes “slave” – “king”, “worm” – “God”, the author of the article resolves the apparent antinomy and gives an interpretation of these words from the point of view of Orthodox anthropology.CONCLUSION. As a result of the research, the author comes to the conclusion that the pinnacle of G.R. Derzhavin’s poetic creativity is the ode “God”, which fully reveals the features of the poet’s Orthodox worldview, in particular, its anthropological and soteriological aspects. The main theme of the ode is the greatness of God, in whom man is called to believe, who he must constantly thank, humbly and lovingly magnify and glorify, treading in the steps of King David, the Old Testament psalmist.
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MezaGuerra, Hilary R. "Afrofuturist Horror on the Western Frontier: Capitalism’s Reckoning and Queer Possibilities in Jordan Peele’s Nope." Studies in the Fantastic 16, no. 1 (January 2024): 124–55. http://dx.doi.org/10.1353/sif.2024.a923185.
Повний текст джерелаАнотація:
Abstract: As in all his films to date, Jordan Peele deftly weaves metaphor in Nope , his latest film, to critique capitalism and its white supremacist foundations. The film’s monsters include an abstracted alien and a domesticated chimpanzee gone violent and come to signify capitalism’s recalcitrant reckoning. Drawing from Black feminist studies, Afrofuturism, and queer theory’s work on utopia and potential in queer failure, Peele compels viewers to consider Black Americans’ centrality in the formation and destruction of American capitalism. What other worlds become possible in the process of the Black and queer protagonists’ survival against the Lovecraftian monster? This study examines how horror becomes a useful lens—for rethinking the role of Black people in horror, for its contribution towards more critical discussion on capitalism’s legacy and its impending collapse(s). And, most importantly, for centering and imagining decolonial futures led by queer people of color.
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Baena-Cuder, Irene. "Mama: An exploration of gender and motherhood in contemporary Spanish horror film." Feminismo/s, no. 41 (January 2, 2023): 271. http://dx.doi.org/10.14198/fem.2023.41.11.
Повний текст джерелаАнотація:
Motherhood can be argued to be a central theme in many recent Spanish horror films. From El Orfanato/ The Orphanage or Los Otros/ The Others to, more recently, Las Brujas de Zugarramurdi/ Witching and Bitching or Musarañas/ Shrew’s Nest, to mention but a few, their narratives are based on the figure of the (Good/Bad) mother. Their struggles and choices in mothering move the action forward and bring horror to the story, ultimately depicting them as «the problem to be solved» (Davies, 2011, p. 82). Using Mama (Muschietti, 2013) as a case study, this article seeks to explore how motherhood is constructed in contemporary Spanish horror film and how this might respond to the specificities of the Spanish social and historical context. For this purpose, the research will particularly focus on the journey that the main female character undergoes throughout the narrative, from the reluctant mother and rock star to the «all-nurturing and self-abnegating Angel of the House» (Kaplan, 2000, p. 468). However, the outcome of the research highlights that this transition is strongly based on patriarchal principles that shape the ideal of good motherhood. The problematic narrative also conceives maternity as a woman’s ultimate goal and fulfilment vehicle and assumes maternal instincts exist and are innate to women. Moreover, the study has also uncovered how the confrontation between the good and the bad mother functions as a reinforcement of a very specific maternal style that is highly influenced by Franco’s ideology in relation to family, gender roles and female identity. Thus, although the film depicts the struggles of motherhood from a female point of view, it also portrays the horror and terrible consequences of challenging the patriarchal order, therefore promoting an outdated and patriarchal notion of good mothering.
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Fa, Jong Li, Dwi Leyli Ningsih, Wahyu Rismayuda Dwitama, and M. Aries Taufiq. "Language Style of Horror Movies and Audiences’ Psychological Response." Modality Journal: International Journal of Linguistics and Literature 3, no. 2 (January 16, 2024): 107. http://dx.doi.org/10.30983/mj.v3i2.8003.
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<p class="abstrak" align="center"><strong>Abstract</strong></p><p class="abstrak">The development of technology in Indonesia has an impact on the development of the entertainment world, including movies. Movies consist of various genres, one of which is horror. Among Indonesians, horror is a popular genre, especially highlighting customs, rituals, and traditions. Horror movies aim to cause fear and disgust in the audience by providing entertainment. This study aims to determine whether horror genre movies are the favorite movies of Indonesian people. The method used in this research is qualitative research by interviewing respondents and distributing questionnaires online on social media. The results in the study reveal that the horror films use material and attributive processes in delivering dialog. In terms of psychological aspect, the horror genre in Indonesia is one of the genres favored by the audience. The large population in Indonesia and the culture and customs inherent in Indonesia such as belief in mystical or supernatural things in horror movies can be said to have various impacts. Impacts such as adrenaline, fear, and so on are what make it interesting so that the audience likes it.</p><p class="abstrak" align="left"><strong>Keywords:</strong> fans, horror, movie</p><p class="abstrak" align="center"><strong>Abstrak</strong></p><p> </p><p><em>Perkembangan teknologi di Indonesia berdampak pada perkembangan dunia hiburan, termasuk film. Film terdiri dari berbagai macam genre, salah satunya adalah horor. Di kalangan masyarakat Indonesia, horor merupakan genre yang banyak digemari, terlebih mengangkat adat istiadat, ritual, dan tradisi. Film horor bertujuan untuk menimbulkan rasa takut dan jijik pada penonton dengan sifat memberi hiburan. Penelitian ini bertujuan untuk mengetahui apakah film bergenre horor menjadi film favorit masyarakat Indonesia. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan cara mewawancarai responden dan menyebarkan kuesioner secara online di media sosial. Hasil dalam penelitian mengungkapkan bahwa </em><em>f</em><em>ilm-film horor menggunakan proses material dan atributif dalam menyampaikan dialog.</em><em> Dari sisi psikologis, </em><em>genre horor di Indonesia menjadi salah satu genre yang digemari para penonton . Banyaknya jumlah penduduk di Indonesia dan budaya serta adat istiadat yang melekat di Indonesia seperti kepercayaan akan hal-hal mistis atau supranatural dalam film horor dapat dikatakan memberikan berbagai dampak. Dampak-dampak seperti memacu adrenalin, rasa takut, dan lain sebagainya inilah yang membuatnya menarik sehingga disukai penonton.</em></p><p><em> </em></p><p class="abstrak"><strong><em>Kata Kunci: </em></strong> <em>fans, horor, </em><em>film</em></p>
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최두영. "A Study on Changes of Genre Convention of Korean Horror Films －Based on comparative analysis of , and －." journal of the moving image technology associon of korea 1, no. 21 (December 2014): 225–50. http://dx.doi.org/10.34269/mitak.2014.1.21.012.
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Ayuniantari, Ni Putu, Eunike Iona Saptanti, and Eunike Serfina Fajarini. "Family Values in the Movie “A Quiet Place”: A Semiotic Approach." Humanis 24, no. 4 (November 23, 2020): 339. http://dx.doi.org/10.24843/jh.2020.v24.i04.p01.
Повний текст джерелаАнотація:
There are only few commercially successful horror movies over fifty years since 1970s that win many awards. One of many horror films released in 2018 that left deep impression for audiences is “A Quiet Place”. McClintock (2018) claimed that the movie has earned more than $300M globally, making strides toward becoming one of the biggest-grossing original scary movies ever. “A Quiet Place” is a silence movie directed by John Krasinski. Because of its silence and quietness, the audiences were forced to focus on the nonverbal signs in the movie. The theme of this movie was family values. One of many important films is mise –en-scene as this communicates indirectly to the audiences. The aim of this study was to know how the theme “Family Values” was visualized in the movie. Using qualitative approach and Semiotics analysis method, this study focused on how the signs and mise-en-scene in the film were interpreted based on the researchers’ interpretation using Metz’ Grand Syntagmatique (1974). This study was a desk research and the data were obtained from selected scenes of the movie. The results showed that there were five syntagma category used in the film; i.e. autonomous shot, episodic sequence, scene, alternate syntagma, and descriptive syntagma. The signs that were presented in the film were arranged by using those five syntagma to show the audience about the family value in the movie.
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Florentin, Groh. "“Experiencing Trauma”: Aesthetical, Sensational and Narratological Issues of Traumatic Representations in Slasher Horror Cinema." Arts 12, no. 4 (June 28, 2023): 132. http://dx.doi.org/10.3390/arts12040132.
Повний текст джерелаАнотація:
In the field of horror film studies, the question of trauma is generally related to the spectator’s experience. The trauma of images occurs in the context of socio-cultural actualization. The degree of violence involved in the images, either graphic or symbolic, implies an experience that marks the viewer. Trauma, in this way, acts as a sensitive degree of perception, the image being an event. We start from this theoretical point but decide to take as our object of study only films where the horrific experience is based on a figurative representation of trauma. Therefore, we want to detach ourselves from a symbolic reading of the horrific image, leaving aside the psychological implications of the image’s effect. We decide to adopt a phenomenological and enactive reading of the image in order to include our spectatorial sensations in the narrative and aesthetic analysis of the representations issues of trauma as a horrific experience. Thus, in our corpus, trauma does not intervene in the cognitive formation of the spectator but is built into the experience of the filmic corpse according to a visual and narrative continuity specific to the films. We designate two types of traumatic events that occur in the corpus films: Halloween II; Friday the 13th: A New Beginning. We try to understand the emergence of the traumatic feeling within the spectator and demonstrate that the trauma experienced by the viewer arises from the horrific experience specific to the aesthetic and narrative aims of the films, mirroring the symptoms and the wounds of the characters.
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Junping, Li. "Research into the Breakdown of Father Image in American Family Horror Films: A Case Study of The Shining." Film，Television and Theatre Review 3, no. 4 (2023): 98–101. http://dx.doi.org/10.35534/fttr.0304013.
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Ramadhani, Aulia Fitri, and Vani Dias Adiprabowo. "Inferioritas Perempuan dalam Film Perempuan Tanah Jahanam." Jurnal PIKMA : Publikasi Ilmu Komunikasi Media Dan Cinema 5, no. 2 (March 31, 2023): 320–36. http://dx.doi.org/10.24076/pikma.v5i2.929.
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Injustice or discrimination against women continues to be seen in the media, one of which is in the film media in telling their stories. This problem is related to the depiction of women in films who are shown as helpless, deserving of being underestimated, and harassed. Issues related to gender injustice and discrimination manifest in the placement of women's roles which are limited to the domestic sphere as housewives, helpers, and commodities to satisfy men's desires. This problem is a perspective that places women as inferior beings. In films, especially horror films, this problem is still portrayed in a vulgar and caricatured way. Unlike most other Indonesian horror films, Perempuan Tanah Jahanam, directed by Joko Anwar, wants to present women as the main characters who have a central role in the story in the movie. The film portrays women as strong, brave, and unyielding figures. However, Joko Anwar has not automatically eliminated patriarchal values ??in the film Perempuan Tanah Jahanam. This is because filmmaking cannot be separated from the culture that develops in the local community and is value-free. Several scenes in the film still depict the existence of inferiority that applies to women. The author's goal in conducting this research is to find the forms of female inferiority in the film Perempuan Tanah Jahanam. The method used in this research is the critical discourse analysis method from Sara Mills. The results obtained from this study are that forms of female inferiority are still found, as depicted in the film Perempuan Tanah Jahanam. This is due to the social construction that distinguishes men and women.
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Rudy, Rudy. "THE DEPICTION OF HOMOSEXUALITY IN AMERICAN MOVIES." Jurnal Humaniora 28, no. 1 (June 4, 2016): 59. http://dx.doi.org/10.22146/jh.v28i1.11502.
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This study focuses on the depiction of homosexuality in American films. It is intended to identify the images of gays depicted in American films as well as the characteristics of American gay movies. It incorporates library research by applying an analytical descriptive approach in analyzing the data. The symbol and reflective theory is used to analyze 18 American movies and 14 gay films from other countries in the early 2000s. It shows that gay films can attract audiences by describing gays as the objects for laughs; gays revealing their sexual identities; sexual scenes of gays; masculine gay men; and violence in gay life. They appear in genres like drama, comedy, romance, detective, western, and horror/mystery with two images of gay people shown in American gay movies; they are the portrait of gays as a minority and the pessimism. However, it also shows that some American gay films picture good gay life, happy gay couples, gay marriage, etc.
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Göksel Demiray, Basak. "The Avenging Females: A Comparative Analysis of Kill Bill Vol.1-2, Death Proof and Sympathy for Lady Vengeance." CINEJ Cinema Journal 1, no. 2 (April 8, 2012): 29–35. http://dx.doi.org/10.5195/cinej.2012.40.
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This paper provides a comparative analysis of Quentin Tarantino’s Kill Bill Vol.1-2 (2003, 2004), Death Proof (2007) and Park Chan Wook’s Sympathy for Lady Vengeance (Chinjeolhan Geumjassi, 2005). The primary objectives of this study are: (1) to reveal the gender-biases inherent to the fundamental discursive structures of the foregoing films; (2) to compare and contrast the films through an analysis of the ‘gaze(s)’ and possible ‘pleasures’, which are inherent in their narratives, in relation to Laura Mulvey’s and Carol Clover’s approaches; and (3) to distinguish Kill Bill Vol.1-2 from the foregoing two and the ‘avenging female’ clichés of the other horror/violence movies in the context of the replaced positionings of its protagonist and antagonist inherent in its distinct narrative style.