Статті в журналах з теми "Psychological Thriller"
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1
Kottke, Dagmara. "“And (Don’t) Stay on the Path…” – Transformation of the Fairy Tale into the Psychological Thriller in the Game The Path." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 36, no. 2 (January 18, 2019): 147. http://dx.doi.org/10.17951/ff.2018.36.2.147-159.
Повний текст джерелаАнотація:
<p>Celem artykułu jest próba analizy procesu transformacji baśni w thriller psychologiczny w grze komputerowej The Path. Punkt wyjścia do rozważań stanowi teoria strukturalna Vladimira Proppa, który poddał badaniom tradycyjne baśni, wyodrębniając ich elementy wspólne, takie jak funkcje i role postaci. Rosyjski strukturalista w swojej teorii jako kluczowe elementy opowieści uwypukla bohaterów i ich działania, istotne nie tylko z punktu widzenia teoretyków literatury, ale również badaczy podejmujących refleksję nad grami komputerowymi. Studium wykazuje, że funkcje i role bohaterów tradycyjnych baśni wyróżnione przez Proppa zostają w The Path zdeformowane: gra „schodzi” z wyznaczonej przez strukturę baśni ścieżki, tworząc lukę w gatunkowej przestrzeni, która zostaje wypełniona elementami właściwymi dla thrillera psychologicznego. Odwrócenie i deformacja funkcji oraz roli postaci baśniowych skutkuje przeobrażeniem opowiedzianej w grze historii w thriller. Owo przeobrażenie wydaje się niezwykle płynne dlatego, że baśń i thriller psychologiczny nie są całkowicie odmiennymi, wykluczającymi się gatunkami; przeciwnie – uzupełniają się wzajemnie. Drugi pokazuje i dopowiada to, co pierwszy przemilcza lub zataja.</p>
2
Rohaeni, Rohaeni, Fatma Hetami, and Bambang Purwanto. "Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ “The Girl on The Train”." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 1 (July 29, 2019): 73–85. http://dx.doi.org/10.15294/rainbow.v8i1.27917.
Повний текст джерелаАнотація:
The topic of this study is Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ The Girl on the Train. The objectives of this study are to describe how anxiety and defense mechanism are described in Hawkins’ The Girl on the Train and to explain how anxiety and defense mechanism construct psychological thriller as represented in Hawkins’ The Girl on the Train. The object of the study is a novel entitled The Girl on the Train written by Paula Hawkins. This study is descriptive qualitative study by applying Freudian psychoanalytic theory. The data of the study were collected by reading, identifying, interpreting, and inventorying citations from the novel. Further, the data were analyzed based on Freudian psychoanalytic theory by describing anxiety and defense mechanism described in the novel. The data were also analysed by explaining how anxiety and defense mechanism construct psychological thriller. The results show there are three kinds of anxiety and six kinds of defense mechanism. Moreover, the results prove that those anxieties and defense mechanisms become a means of constructing psychological thriller since they make the characters suffer from psychological problem and become unreliable narrator, create plot twist, and make the novel become thrilling.
Keywords: Psychological thriller; Freudian psychoanalysis; Anxiety; Defense Mechanism.
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Manoranjani, K. K., and J. Sripadmadevi. "Unmasking the Insecure Attachments in Gone Girl and The Silent Patient." Shanlax International Journal of Arts, Science and Humanities 11, S2-March (March 30, 2024): 37–41. http://dx.doi.org/10.34293/sijash.v11is2-march.7505.
Повний текст джерелаАнотація:
The psychological thriller is a subgenre of thriller, which often includes crime, mental illness and unreliable narrators. It reflects the dark side and breaks the stereotypes in the society. In literature it aims to reflect the darker side of humans and their minds through the characters. It reflects the tension and complexities of relationships in the family. It explores the deepest thoughts and motivations of the characters. This is well expressed by Gillian Flynn and Alex Michaelides in their novels Gone Girl and The Silent Patient respectively. In Gone Girl, Amy’s mysterious disappearance turns her husband Nick, into a suspect, but the truth is shocking for manipulation and hidden darkness. In The Silent Patient, Alicia, a renowned artist murders her husband in silence and becomes obsessed with unlocking the secrets buried in her past and mind. The present article explores on how characters form emotional bonds and attachments with others by magnifying with the psychological lens called Attachment theory.
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Megela, Ivan, and Kateryna Mehela. "Psychological Profile of a Serial Killer (Based on the Novel “Silence” by Thomas Raab)." Postmodern Openings 13, no. 4 (November 29, 2022): 335–45. http://dx.doi.org/10.18662/po/13.4/520.
Повний текст джерелаАнотація:
The research deals with the issue of genre hybridization in the novel “Silence – Chronicle of a Killer” written by a contemporary Austrian writer Thomas Raab. An examination of the novel's composition and structure, as a text in motion, has been accomplished in the article. The novel “Silence” is an excellent illustration of how the genre of adventure has been adapted to include elements of science fiction. This novel is a love tale, a rural life saga, a formation narrative, and a psychological thriller all in one. As a fictionalized account of the life of a serial murderer with hypersensitive hearing who became a legend for his mental torment and suffering, it serves both as a biography and a thriller. Novelist Raab uses elements from classic horror novels like Frankenstein, German romantics, in particular, G. Kleist, the tale of Casper Hauser, and detective novels like Friedrich Durrenmatt's "Promise" to tell the story of Casper Hauser's disappearance in his book. A new aesthetic experience may be formed at various degrees of identification ranging from naive perception to higher levels of literary reception. Concentration is required for poetic and philosophical substance. Michel Focalut's nomadism, marginality, and authoritarian power rhetoric have been discussed in this article. The novel's ultimate content has been disclosed as the aphesis torment, emotional sublimation, as the birth of an artwork and, at the same time, death of the author, who exposes discourses, accountable for creating texts that are allocated to him.
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Lorentia, Helena. "Cheated: The Psychoanalysis on a Transgender Person." K@ta Kita 5, no. 2 (November 16, 2018): 38–44. http://dx.doi.org/10.9744/katakita.5.2.38-44.
Повний текст джерелаАнотація:
This creative works tells a story about a husband who hides his true identity from his wife. He is actually a transgender person who has a desire to be a woman, but he represses his desire and tries to live as a man. I choose the transgender topic because there are a lot of transgender people around us who repress their true sexuality because of the society norms and beliefs. Therefore, my story wants to explore more on this topic with the help of the theory of defense mechanism by Freud to explain why and how the husband represses his sexuality, and to explain the effects caused by the repression. The story is presented through the drama and psychological thriller genre to suit the style of the creative work which focuses on the psychological state of the main characters and the complexity within them,
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Bhattacharya, Saradindu. "Gender, Genre, and the Idea of the Nation." Pedagogy 21, no. 3 (October 1, 2021): 549–58. http://dx.doi.org/10.1215/15314200-9131947.
Повний текст джерелаАнотація:
Abstract This article examines the construction of and contestation over the idea of the nation through contemporary popular cinema in India. Building on his experience of discussing the Bollywood spy thriller Raazi (2018) in an English class, the author proposes that “reading” the film in terms of gender and genre can not only help students apply modes of textual analysis to narratives in other media but also alert them to the location of such narratives within larger discursive frameworks of defining national identities. Raazi presents a critical and ideological counterpoint to the generic conventions of the spy thriller within the increasingly polarized sociopolitical context of the Indian subcontinent. The film presents an unlikely female protagonist as both the physical agent and the psychological subject of the violence integral to the “action” of an espionage film. It also interrogates the oppositional relation between the patriotic “self” and the foreign “other” that lies at the basis of the militaristic conception of the nation and ultimately reveals the shared human vulnerability of both to the traumatic effects of pursuing the idea(l) of nationalism at the expense of individual moral integrity. Thus a close reading of the film's narrative structure and conventions, as well as a critical engagement with the historical context of its production and reception, can be pedagogically fruitful ways of understanding and critiquing the processes through which a nation is collectively imagined into being.
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Ue, Tom. "Solving crimes, telling stories: An interview with Tom Ryan." Book 2.0 12, no. 2 (December 1, 2022): 207–13. http://dx.doi.org/10.1386/btwo_00077_7.
Повний текст джерелаАнотація:
Like the interviewer, Tom Ryan is based in Nova Scotia, in Canada’s Maritimes. Ryan is the author of more than a half-dozen books, including some critically acclaimed works for young readers: Keep This to Yourself (), for example, earned the 2020 Arthur Ellis Award for YA Crime Book and the 2020 ITW Award for Best YA Thriller; more recently I Hope You’re Listening () was awarded the 2021 Lambda Literary Award. In what follows, Ryan and I dwell on these two novels to explore what attracts him to the YA genre, his writing process, central themes in his oeuvre and how he imbues his characters with psychological complexity. This interview contributes to scholarship by expanding critical attention on Nova Scotian literature and by attending to Ryan’s remarkably successful works of genre fiction.
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Glant, Tibor. "1956 at Ten and Beethoven’s Tenth." Acta Neerlandica, no. 15 (July 10, 2020): 185–99. http://dx.doi.org/10.36392/actaneerl/2019/15/9.
Повний текст джерелаАнотація:
This article looks at Edward Alexander, an American diplomat who served in Hungary between 1965 and 1969, and his various writings. An Armenian-American man of letters, Alexander served in psychological warfare in World War II, then joined cold war radios and later the Foreign Service. Our focus is on the years 1965-67, when he served as Press and Cultural Affairs Officer at the Budapest Legation. Available sources include his official diplomatic reports, his rather large Hungarian state security file, a lifetime interview conducted under the aegis of the State Department in the late 1980s, a book on Armenian history, and a semi-autobiographical intelligence thriller he penned in 2000. These sources allow for a complex evaluation of his performance in Hungary and of his writing skills on account of his attempt to fictionalize his own exploits.
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Marsena, Jennifer Gracia, and Sonny Angjaya. "EXPOSING SOCIAL INEQUALITY FROM THE MENTALLY ILL REPRESENTATION IN TODD PHILLIPS’ JOKER." Lire Journal (Journal of Linguistics and Literature) 6, no. 1 (March 29, 2022): 37–52. http://dx.doi.org/10.33019/lire.v6i1.135.
Повний текст джерелаАнотація:
Social inequality has continuously become a problem especially towards marginalized group. Such topic is presented in Todd Phillips latest psychological thriller, Joker (2019). Whilst other researches focus on the psychological aspect of the film, this study takes on the perspective of the sociological/socio-political aspect in the film which is social inequality. In analyzing the social inequality aspect of the film, this study uses theory of structural discrimination by Link, et al. which theorizes that laws, policies, or other practices. are discriminating a marginalized group. To analyze the film itself, the writers analyzed the mise-en- scène and cinematography aspects of the film. The purpose of this study is to find if government’s policies have any involvement of impact to the life of a mentally ill person. Method used for this analysis is qualitative data research. In analyzing the film, it is found that Fleck’s life as a mentally ill and poor person is deliberately sabotaged by the discriminative policies and laws applied in Gotham city. In conclusion, this film represents Joker as more than just a Batman’s main film but rather used as a vehicle to criticize the state of social inequality in the world.
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Jancovich, Mark. "‘Frighteningly real’: Realism, social criticism and the psychological killer in the critical reception of the late 1940s horror-thriller." European Journal of American Culture 31, no. 1 (April 9, 2012): 25–39. http://dx.doi.org/10.1386/ejac.31.1.25_1.
Повний текст джерела
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Angelina, Ayu Mella, Zainal Abidin, and FX Yatno Karyadi. "FILM FIKSI TUAN X: Pendekatan Gestur sebagai Penanda Psikologi Tokoh Utama." Capture : Jurnal Seni Media Rekam 10, no. 1 (December 21, 2018): 14. http://dx.doi.org/10.33153/capture.v10i1.2186.
Повний текст джерелаАнотація:
<p><em>The film Tuan X is a fictional film with the theme of psychology. This film is very closely related to one's personal life. Films that tell about the condition of someone who is experiencing severe frustration so that his psychological was disturbed and it made him did things that are not normal. The production of </em><em>Tuan X</em><em> film is based on the concepts of directing, videography, editing, and sound that have been set before. From the film that was successfully created, it appears that gestures can be used to show a psychological picture of a character. The right gestures can be supported by repetition of movements so that it strengthens a character of the figure, so that the intensity of the tension / thriller of the story in reaching a climax is in accordance to the genre raised. In addition, the gestures succeeded in becoming a signifier of the psychological reality of the character.</em></p><p><strong><em>Keywords</em></strong><em>: Film, Tuan X, </em><em>psychology</em><em>, signifier, and gesture</em></p>
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Steckenbiller, Christiane. "Rethinking the multiple meanings of the Mediterranean through Lawrence Osborne’s Beautiful Animals (2017)." Journal of European Studies 52, no. 2 (June 2022): 129–44. http://dx.doi.org/10.1177/00472441221090714.
Повний текст джерелаАнотація:
Lawrence Osborne’s Beautiful Animals (2017) thematizes the arrival of refugees on Europe’s shores and the division of Europe into core and peripheral regions. The psychological thriller tells the story of two young wealthy white women whose daily routines of swimming and sunbathing are interrupted when they meet a Syrian refugee on a secluded beach. In this article, I argue that the novel overlays geographies of forced migration with those of Greek national history, myth, travel, crime, and violence. The murder committed on a Greek island compels readers to examine what might be considered the larger ‘crimes’ of Europe – exclusionary refugee policies, the meddling in Greek affairs, and the legacies of colonialism and imperialism. In doing so, the novel asks us to rethink the multiple meanings of the Mediterranean as holiday destination, deadly outer border, and Southern Other, both intra- and extra-European at the same time.
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Kutrzeba, Kacper. "Polish Romanticism and the Discourses of Madness and the Mental Asylum." Ruch Literacki 58, no. 2 (March 1, 2017): 117–32. http://dx.doi.org/10.1515/ruch-2017-0021.
Повний текст джерелаАнотація:
Summary This article deals with the problem of representation of psychiatric discourse and the mental asylum in the literature of Polish Romanticism. I am interested in both sides of the argument, i.e. the attempts to legitimize confinement in psychiatric institutions as well as the reasoning of the critics of that policy. My analyses, which draw on texts ranging from literary classics like Juliusz Słowacki’s Kordian to popular fiction (e.g. Ludwik Sztyrmer’s psychological thriller Phrenophagos and Phrenolestes and Józef Ignacy Kraszewski’s short story Bedlam), suggest that the psychiatric discourse in 19th-century literature employed three basic strategies of representation, i.e. legitimation, subversion and functionalization. If a fresh interest in institutionalized psychiatry was one of the key characteristics of the rise of modern society, the literature of Polish Romanticism was certainly part of it, even if its approach was dominated by ideas and attitudes that were hardly novel.
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Octavita, Astri Indriana, Tiarma Ika Yuliana, M. Ali Ghufron, and Rima Novia Ulfa. "Psychopath Analysis in Sweeney Todd Movie." Candradimuka: Journal of Education 1, no. 2 (July 13, 2023): 50–59. http://dx.doi.org/10.60012/cje.v1i2.47.
Повний текст джерелаАнотація:
Movie is loved by almost people in the world. Many messages can be delivered on a movie. In this case, the writer wants to examine the movie entitled “Sweeney Todd: The Demon Barber of Fleet Street by Tim Burton in 2007. This movie is a drama musical thriller genre because it contains many mysteries that must be paid more attention to understand about the psychological of Todd as the main character. The purpose of this research is to find out the psychopath characteristics of main character. The method that the writer used is qualitative method, after analyzing all the data the writer found that there are 5 characteristics of psychopath, which are: Aggressivity, Criminality, Lying, Violation of the right of others and Behavior that indicates apparent lack of guilty, anxiety and remorse do not have a sense of empathy. The most dominant characteristics of psychopath is Aggressivity.
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Jelsbak, Torben. "“Didn’t that sound like the north was calling us?” Imagined geographies and Cold War legacies in Sofi Oksanen’s Dog Park (Koirapuisto)." Folia Scandinavica Posnaniensia 34 (December 29, 2023): 121–32. http://dx.doi.org/10.14746/fsp-2023.34.09.
Повний текст джерелаАнотація:
The article presents a discussion of Finnish-Estonian author Sofi Oksanen’s 2019 novel Dog Park (Koirapuisto), a social and psychological thriller about two Ukrainian women working in the Ukrainian fertility industry, offering surrogacy services to Western clients. The novel explores some of the new modes of exchange and cultural encounter that were established between Ukraine and the West after the collapse of the Soviet Union. It presents a reflection of the social and human consequences of the transition from communism to capitalism but is also a story of how the legacy of Cold War geopolitics continues to shape European mental geographies and experiences at the intersection of East and West. Drawing on concepts from human geography and postcolonial studies, the article offers a reading of Oksanen’s novel focusing especially on how the novel negotiates these geopolitical shifts as well as the position of the Nordic countries on the changing European map.
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Kurniawan, Jeffry. "Prey: Cyberbullyings Consequences Toward Victims Mental Health and His Social Life." K@ta Kita 9, no. 2 (October 23, 2021): 243–52. http://dx.doi.org/10.9744/katakita.9.2.243-252.
Повний текст джерелаАнотація:
This screenplay project focuses on cyberbullying's impacts on its victims, both mentally and physically. The goal is to shed light into this action of crime that is often overlooked, to make a better cyberspace environment, and to raise awareness to the public, especially cyberbullying perpetrators, to stop what they are doing. To do so, this creative thesis uses the cyberbullying concept that points out how cyberspace bullying can trigger paranoia and depression among many other mental disorders. The work is based on theories on paranoia, depression and cyberbullying itself. From the screenplay, it is shown how the main characters got cyberbullied, and later went from a healthy, hardworking, resilient man to a mentally broken human being as a consequence. By understanding the impact the act of cyberbullying can have on a person’s life, cyberspace users can be more responsible and refrain themselves from the act of cyberbullying.Keywords: Cyberbully, Screenplay, Depression, Paranoia, Psychological Thriller.
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Grigore, Rodica. "Memory, Fiction and Reality in Antonio Muñoz Molina’s Novels." Sæculum 47, no. 1 (July 1, 2019): 97–105. http://dx.doi.org/10.2478/saec-2019-0009.
Повний текст джерелаАнотація:
AbstractOften compared to Jorge Luis Borges or even to William Faulkner for the intricate and symbolic structure of his work, the Spanish writer Antonio Muñoz Molina always tried to evaluate within his novels the complex relationship between reality and fiction. The Spanish Rider (1991), one of his most exquisite creations also deals with the significance of memory as far as his protagonist’s evolution and decisions are concerned. Above all these, the novelist analyzes the influence of history on common people’s life and underlines the necessary balance that has to be established between the historical great events and everyday’s choices. His next novel, Full Moon (1997) uses the same aesthetic points of departure, but complicates everything with the details of a specific kind of psychological thriller, the author proving how the seemingly very simple structure of a crime story may turn into an unexpected evaluation of the tragic aspects definying contemporary human condition.
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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
Повний текст джерелаАнотація:
The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
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Ng, Carmen. "Affecting reality." A Peer-Reviewed Journal About 8, no. 1 (August 15, 2019): 96–113. http://dx.doi.org/10.7146/aprja.v8i1.115418.
Повний текст джерелаАнотація:
This essay examines how digital games shape human affective repertoires and envisioned dynamics with nonhuman agents such as robots. Entanglements among humans, machines, and technologies impact essential issues in the historical present: from surveillance, climate change, cultural heritage, art, to the elicitation, habituation, and capturing of feelings. Approaching digital games as frontiers of such entanglements, this essay expounds dynamics among gameplay, affects, and gamic materiality through a case analysis of Nevermind (Flying Mollusk), a trauma-themed independent psychological thriller game with affect-sensing technologies. Discussionexplores how the game can generatively engage with lived experiences and discourses of grief and trauma; and the relationality among individuals, structures of feelings, and stigmatization. Anchoring the essay is an argument that digital games represent and operate with fundamental tenets of posthumanism, communicating meaning across affective and semiotic dimensions, bodies, machines, and sociocultural contexts. This essay emerged from an ongoing project on affective semiotics and social impact game design, in connection with a transnational research project on human-robot interactionsupported by the European Research Council.
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Byrne, Sebastian. "Moving between worlds: Performance, the scene of empathy and flexible identity in Infernal Affairs." Asian Cinema 34, no. 2 (October 1, 2023): 141–59. http://dx.doi.org/10.1386/ac_00068_1.
Повний текст джерелаАнотація:
This article explores the bodily and psychological dimensions of Tony Leung Chiu-wai’s performance in Andrew Lau and Alan Mak’s urban noir thriller, Infernal Affairs (2002), as a way of trying to comprehend the actor’s flexible, transnational stardom. Through a textual analysis of a pivotal scene from the film, the article argues that Leung’s facial acting facilitates an embodied and empathetic connection between the actor and the spectator, effectuated through cinematic techniques such as close-ups, editing and music. An embodied understanding of Leung’s facial work in the close-up thus challenges the existing scholarship that limits Leung’s transnational appeal to a restrained or minimalist acting style. A greater appreciation of Leung’s modulating, flexible and multi-layered performance is also illustrated through the scene’s juxtaposition of narrative and spectacle. The rupturing of the spectator’s empathetic and bodily engagement with Leung’s character during the spectacle sequence encourages the actor to shift his emotional response and bodily expressivity towards a performance delivery dictated by a flexible identity, thus bringing into relief the film’s preoccupation with a postcolonial identity crisis.
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Osmukhina, O. Yu. "“Nordic (Scandinavian) Noir” vs Scandinavian Detective: a Debatable Aspect of Study." Nauchnyi dialog 12, no. 1 (February 7, 2023): 246–64. http://dx.doi.org/10.24224/2227-1295-2023-12-1-246-265.
Повний текст джерелаАнотація:
The phenomenon of “Nordic (Scandinavian) noir”, which has formed in the literature of Northern Europe in the last two decades, is studied. The author considers the works of Swedish, Danish, Norwegian prose writers and proves the insufficient legitimacy of their attribution to “noir”. The term noir is substantiated. Based on the analysis of the novels by S. Larsson, J. Nesbø, H. Flood, M. Lindstein, A. Mette Hancock, the relevance of the term detective in relation to the work of Norwegian, Swedish and Danish prose writers is stated. It has been established that the definition of “Scandinavian (Nordic) noir” is not applicable to any of the newest Scandinavian novels. In terms of genre, in fact, each of these works is a detective story that combines other genre elements. “Millennium” by S. Larsson, “The Snowman”, “Leopard”, “Redneck” by J. Nesbø, “Corpse Flower” by A. M. Hancock synthesize elements of a detective, family and social novel. “The Therapist” H. Flod is a synthesis of a psychological thriller and a detective story. “A sect from a misty island” by M. Lindsteen combines the properties of a gothic novel (a closed chronotope of a manor, which is an analogue of a castle chronotope; the presence of a villain hero who determines the plot deployment) and a psychological detective story (an investigating heroine who reconstructs the events of the past, relying on logic to solve the mystery and giving realistic motivation to what is happening).
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GOLOBORODKO, Iaroslav. "ARTISTIC HYPERPLANE. GIOVANNI ARPINO – DINO RISI, NARTIN BREST – GIOVANNI ARPINO." Astraea 5, no. 1 (2024): 9–29. http://dx.doi.org/10.34142/astraea.2024.5.1.01.
Повний текст джерелаАнотація:
The article considers current cultural problematics – connections and interrelationships in the field of “literature and cinematography”. The importance of literary works as one of the foundations of the activity of modern cinematographers is emphasized. The significance of successful feature (artistic) cinema for raising the status of individual literary texts is identified. The article singles out the figure of the Italian writer and journalist Giovanni Arpino, provides a brief outline of his life and work, and emphasizes the diversity of his literary interests. Of special interest in the context of the research is the fact that prose works of Giovanni Arpino were repeatedly addressed by film directors and that feature films based on his works oftentimes turned into cultural events on a European and worldwide scale. The article pays special attention to Giovanni Arpino’s novel “Darkness and. Honey” (“Il buio e il miele”), which at the time of its publication in 1969 did not receive the same recognition as a number of his earlier prose works. The characteristics of the main plot and psychological properties of the novel “Darkness and Honey” are presented. The research points out the eloquent fact that the novel in question aroused wide social interest after first the Italian director Dino Risi staged a psychological story called “Profumo di donna”, and then the Hollywood director Martin Brest staged a psychological thriller “Scent of a Woman”. The compositional and conceptual features of each of these films are analyzed in detail, while the gender specificity realized in the films “Profumo di donna” and “Scent of a Woman” is identified. The article justifies the conclusion that the plane of “literature and cinematography” can be transformed into the hyperplane of “literature – cinematography – literature”.
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Memola, Giovanni. "Visto, si stupri. Sesso e terrore nelle immagini di violenza sulle donne nel cinema italiano degli anni Settanta, tra finzione e realtà." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 11 (July 22, 2022): 93–115. http://dx.doi.org/10.54103/2532-2486/17302.
Повний текст джерелаАнотація:
In the 1970s, Italian cinema experienced a boom of images and narrative elements associated with acts of violence against women, which were often further combined with sex. Such a phenomenon characterized domestic film production to a very large extent, therefore beyond budget and marketing implications, as well as auteur ambitions. In this context, the mystery-thriller films of the so-called “giallo” established a peculiar relation with violence against women at large, as they encoded it in the narrative mechanisms and in the development of the genre itself by means of subject-related marketing strategies and audience expectations. Quickly brought to popularity in the wake of Dario Argento’s works, over the years the “giallo” has been widely investigated precisely on the grounds of its defining featuring of violence against women, with most outcomes interpreting its psychological and allegorical aspects against the background of Italy’s contemporaneous social history. The aim of this essay is to enrich the interpretation field on this subject, prompting a reflection on such images and imagery of violence in the light of what were the practices, beliefs and expectations about violence against women beyond fiction, in the everyday life of 1970s Italy.
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Kopitz, Linda. "Of monsters and men: Physical attractiveness and the appearance of monstrosity in Netflix’s You." Journal of Fandom Studies, The 11, no. 2 (June 1, 2023): 133–54. http://dx.doi.org/10.1386/jfs_00078_1.
Повний текст джерелаАнотація:
The series You, which has become part of the cultural zeitgeist since the first season became available on Netflix in December 2018, has introduced a protagonist at the same time in line and notably different from other serialized serial killers. By establishing the main character, played by former Gossip Girl heartthrob Penn Badgley, not only as the protagonist but romantic lead in a format blurring conventions from both the psychological thriller and the romance, the series challenges viewers to negotiate their attraction for a television character that seems ‘unloveable’. Portrayed as both a (literal) stalker and serial killer in the series, how viewers talk about Joe Goldberg underlines an understanding of the contemporary monstrous body as a site of manifestation. Through a discourse analysis of comments posted on Twitter and YouTube about the show and its main character, this article highlights how viewers interrogate questions of monstrosity and morality through the visuality of the body. As an interpretive repertoire centred on Embodiment, highlighting the attractive and non-threatening body functions as a practice of meaning-making that is aware of, but does not necessarily follow an ‘intended’ reading by the producers of popular culture.
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Zywert, Aleksandra. "Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 9 (December 20, 2019): 195–208. http://dx.doi.org/10.14746/kw.2019.9.15.
Повний текст джерелаАнотація:
Text is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), Text fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
Повний текст джерелаАнотація:
Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Ijam, Dunya Muhammed Miqdad, and Riyadh Tariq Kadhim Al-Ameedi. "A Systemic Functional Linguistic Analysis of Mood and Modality in One of Metcalfe’s Novels." Theory and Practice in Language Studies 14, no. 5 (May 29, 2024): 1360–70. http://dx.doi.org/10.17507/tpls.1405.08.
Повний текст джерелаАнотація:
The study examined Gemma Metcalfe's novel A Gripping Psychological Thriller: A Mother's Sacrifice from a systemic functional linguistic approach. The interpersonal metafunction, used in this study, can aid in drawing a picture of the mother's sacrifice experience and revealing the appropriate lexicogrammatical choices to spotlight that experience. It is accomplished by detecting Mood and Modality systems in extracts from the novel representing that experience. It aims to show how mother's sacrifice is realised linguistically through the interpersonal metafunction according to Halliday and Matthiessen's framework. The study adopts a mixed qualitative and quantitative approach for analysis. The researchers discovered that the interpersonal metafunction through Mood and Modality systems divulges the experience of the mother's sacrifice as an experience of choice, and the most appropriate representative of this experience is the systemic functional linguistic approach. Moreover, the empolyment of the Mood system shows that all kinds of Mood give the full portrait of mother's sacrifice. However, not all Moods are equally effective. Further, the Modality system mirrors how the characters in the novel use various kinds of Modality with different scales, degrees, and modal orientations in order to express their attitudes, (dis) beliefs, fears, doubts, obligations, probabilities, necessities, possibilities, (un)certainties, willing, abilities, and even usualities.
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Fitria, Tira Nur. "A PSYCHOANALYSIS OF PSYCHOPATHS: PERSONALITY DISORDER OF THE MAIN CHARACTER IN ORPHAN FILM." ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 6, no. 2 (November 14, 2022): 153. http://dx.doi.org/10.17977/um006v6i22022p153-173.
Повний текст джерелаАнотація:
The objective of this research is to know the psychopath behavior shown by Esther as a main character in the Orphan film and the cause of her psychopath behavior. This research is descriptive qualitative research by using the psychopath's theory from Hare (2011). Orphan is a psychopathic, thriller, and psychological-themed film directed by Jaume Collet Serra which was released in 2009. The result analysis shows that in the film Orphan, Esther shows a psychopath behavior as the main character, they are: 1) displays a false or superficial self-charm, 2) Failure to conform to social norms (likely to breach social and legal standards and conventions), 3) Having unstable ad uncontrolled emotion, 4) Acting reckless, impulsive, and hard to control, 5) Heartless and lacks empathy, 6 )Lack of remorse, easy to lie for no reason and without guilt (deception), 7) Tending to seek the attention of others, 8) Capable of committing various types of criminal acts such as killing Sister Abigail, burning Max, trying to kill Max, stabbing John, shooting and stabbing Kate, 9) Behave aggressively, 10) Manipulative and likes to cheat, and 11) Having a history of being difficult, criminal, or dangerous experience. The cause of Esther’s psychopath is caused by a hormone disorder called hypopituitarism. It likes a body disorder. She looks like a 9-year-old physically, but psychologically she is normal as a 33-year-old woman, with feelings of liking for the sex and having biological needs. It can be seen from his attitude that always tries to be close to the father of his adoptive family, namely when he dresses up as an adult and then teases Jack, his adoptive father.
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Demas, Alexis, and David Tillot. "Pathological laughing and psychotic disorder: the medical evaluation of the Joker." Acta Neurologica Belgica 120, no. 6 (March 18, 2020): 1379–82. http://dx.doi.org/10.1007/s13760-020-01332-3.
Повний текст джерелаАнотація:
Abstract In the psychological thriller film Joker, released in 2019 and starring Joaquin Phoenix in the first role, another possible origin story for this iconic character is reported. Above all, it brings us medical elements for the understanding of the development of this complex character. Contrary to other interpretations, we discover a lonely, timid and uncharismatic man (Arthur Fleck). He seems to be suffering from psychobehavioral disorders and seems depressed. There is a strangeness in his behavior along with social withdrawal. He suffers from fits of laughter that occur at socially inappropriate times. He also suffers from psychotic symptoms with visual delusions. We learn through the film that he was a beaten child, psychologically and physically abused with severe traumatic brain injury (TBI). The uncontrollable outbursts of laughter, behavioral and psychotic disorders followed these elements. As a neurologist, I was intrigued by these symptoms. I have explored the neuropsychiatric symptoms complicating TBI from which he seems to suffer and which have been reported in the literature. We can assume that the Joker is suffering from neuropsychiatric sequelae related to childhood TBI involving the frontotemporal regions and, in particular, the lateral aspect of the left frontal lobe. The movie Joker has medical significance and covers social aspects of medicine and health care. First, it allows us to discuss whether psychotic disorder due to TBI should be considered a neurobiological syndrome. More broadly, albeit fictitious, it asks us about the management of patients with neuropsychiatric illness, which is a public health problem. It also reminds us that semiological descriptions of patients with neuropsychiatric disorders have served as inspiration for many authors.
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Дев'ятко, Наталія Володимирівна. "Жанрові особливості та творчий потенціал сучасної української літератури (на прикладі українського цифрового самвидаву)". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, № 98 (2021): 122–51. http://dx.doi.org/10.34142/2312-1076.2021.2.98.07.
Повний текст джерелаАнотація:
The article is devoted to the study of genre features and creative potential of modern Ukrainian literature, which has the form of digital self-publishing. The study used hermeneutic, comparative, system-structural and structural-functional methods, as well as conceptual, plot-image, problem-thematic analysis, text-analytical method of "careful reading" to read the archetypal and code content of texts and others. Currently, there are more than 10 literary digital self-published resources inUkraine. However, the prose resources "Booknet" and "Arkush" have the real influence on the literary process. Both allow authors to communicate with readers through digital self-publishing. Five factors influence the work of modern Ukrainian authors: 1) the influence of classical Ukrainian and world canons; 2) the influence of postmodernism both in the literature and at the social and ideological levels; 3) the influence of mass literature of the Russian Federation; 4) the influence of translations and modern European literature; 5) the influence of the Internet and communication with the reader. In the context of digital self-publishing, each of these factors has its own specifics. The influence of cinema on mass literature is especially powerful. This can be manifested as a replication of the template (simplification), and in the form of systemic plot and psychological complication of textual structures. Today, digital self-publishing is represented by a whole range of genres: fiction (science fiction, fantasy, mystical prose, etc.), realism (historical, romantic, social, psychological novel, detective, thriller, etc.), and literature for children and youth. In each genre we see original novels that are not inferior in quality to those published through publishing houses. The latter makes it possible to talk about the emergence of writers inUkrainewho can be "indie authors". That corresponds to the global changes in book publishing.
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Daher-Nashif, Suhad. "Literature as a Pedagogical Tool in Medical Education: The Silent Patient Case." Humanities 10, no. 3 (August 8, 2021): 95. http://dx.doi.org/10.3390/h10030095.
Повний текст джерелаАнотація:
The arts have seen increasing use in medical education over the last 4 decades. Literature in particular is now frequently used as an educational tool in different medical humanities programmes. This paper analyses Alex Michaelides’ novel The Silent Patient with the goal of examining the professional issues presented in this psychological thriller and how the novel’s themes can be used to prompt discussion among medical students about professionalism and ethics in psychiatric settings. Following Strauss and Corbin’s qualitative procedure for conventional content analysis, this study employs content analysis of the literary text. The process of analysis began with open coding in which codes were assigned to all relevant sentences and paragraphs addressing professionalism in working with silent patients in psychiatry. These codes were then analysed to identify five major themes: multidisciplinary teamwork; therapy for the therapist; patient-centred care for silent patients; communication with silent patients; professional challenges in working with silent patients. The paper concludes that The Silent Patient novel represents important issues related to ethics and professionalism in working with silent patients in psychiatric settings. The novel can be used as a creative tool to guide discussion surrounding these issues. The paper argues that although the impact of its use is short-term, literature can make a significant contribution by provoking thought and discussion about professional and ethical aspects of practising medicine and caring for patients.
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Clemente Arribas, Beatriz, and Francisco Godoy Tena. "Cohesive Devices in Literary texts: Analysis of Stephen King’s The Mist for Students of Foreign Languages, Linguistics and Translation." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 5, 2022): 35–41. http://dx.doi.org/10.32996/ijllt.2022.5.3.4.
Повний текст джерелаАнотація:
Text analysis constitutes one of the most challenging and complex practices for every student. Owing to this fact, linguists need a theoretical framework that would explain every linguistic device in text cohesion. Those cohesive devices may identify those units that are part of the analysed text. Among the huge amount of literary works that might be analysed, we chose one by Stephen King, one of the most prolific thriller writers of the 20th century. The aim of this study is to analyse one of his bestsellers in American Literature, The Mist, a psychological horror novella published in 1980. The main work used in this research is Hasan and Halliday’s Cohesion in English, which will be the centre of the linguistic study. Thanks to this investigation, we shall establish certain linguistic parameters to help students build a linguistic analysis to ease their academic and professional areas, such as linguistics and translation. The excerpt analysed will include certain linguistic cohesive devices, such as anaphora-cataphora, the use of direct speech, relative clauses, or Hasan and Halliday’s terms of field, tenor, and mode, among others. As a result of this, EFL students from different disciplines, such as foreign languages, translation, or linguistic studies, will therefore increase their knowledge of this literary model in order to be applied to other literary and non-literary works.
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Sanborn, Wallis R. "The Vietnam War in Cormac McCarthy’s No Country for Old Men." Cormac McCarthy Journal 21, no. 1 (February 2023): 54–72. http://dx.doi.org/10.5325/cormmccaj.21.1.0054.
Повний текст джерелаАнотація:
ABSTRACT Cormac McCarthy’s ninth novel No Country for Old Men is at points a thriller, a shoot-em-up, a novel of violence, a novel of the Border Southwest, but at its heart, it is a novel of the Vietnam War. Set in 1980, the text is populated by veterans of the war in Vietnam, and even those not explicitly identified as such carry the Vietnam War in their person and psyche. Llewelyn Moss and Carson Wells are sniper and Special Forces, respectively, while Anton Chigurh is too trained to be anything but a special operator. All three return from war to participate in war—a war based on the narco-economy and the violence secondary to such. In the work, each of the three uses military-taught skills to survive or not as the author conjoins each veteran’s postwar life with his peri-war training. Subversively, McCarthy creates a fourth Vietnam War veteran though the character of Sheriff Ed Tom Bell, a veteran of World War II. Bell’s psychological makeup, his guilt, his regret, his self-ostracization, is that of the Vietnam veteran. But, while McCarthy creates a novel of the Vietnam War, the Coen brothers’ film of the same title marginalizes the Vietnam War and cuts the theme from the film. The novel could not exist without the Vietnam War, but the film can, and does.
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Devina Natalie and Cosmas Gatot Haryono. "Representation Of Violence In The Film Malignant 2021." Jurnal Info Sains : Informatika dan Sains 14, no. 02 (May 15, 2024): 103–17. http://dx.doi.org/10.54209/infosains.v14i02.4382.
Повний текст джерелаАнотація:
Violence refers to physical, verbal, or psychological behaviors carried out to injure or harm others or other beings, including acts of physical abuse, bullying, and warfare. Its impacts often harm societies and individuals, violating human rights principles. Violence can affect the mental and physical conditions of individuals who are victims of it. The purpose of this research is (1) to analyze the meaning conveyed in the film "Malignant" and (2) to analyze the representation of violence depicted by actors within the film "Malignant." The method used by the researcher is a qualitative approach, where the film "Malignant" by James Wan, released in 2021, serves as the primary data source analyzed. The analysis technique used is semiotic analysis from Charles Sanders Peirce, consisting of signs, objects, and the use of signs (interpretant). The analysis results show that the film "Malignant" combines supernatural horror elements with mystery and thriller elements to create a gripping story with many surprises. "Malignant" creates a tense atmosphere with various captivating scenes. It narrates the life of a woman who often receives visions of gruesome murders, which disrupt her peace. These murders are carried out by a terrifying figure. The woman named Madison, portrayed by Annabelle Wallis, also experiences violence from her husband while she is pregnant, leading to a miscarriage. Additionally, at the beginning of the story, her husband is also killed by the same terrifying figure.
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Madhona, Rizkyka Hamama, and Yenny. "Representasi Emosional Joker Sebagai Korban kekerasan Dalam Film Joker 2019 (Analisis Semiotika Ferdinand De Saussure)." Soetomo Communication and Humanities 3, no. 1 (May 26, 2022): 1–13. http://dx.doi.org/10.25139/sch.v3i1.4475.
Повний текст джерелаАнотація:
This study aims to explain the emotional representation of the Joker as a victim of violence in the 2019 Joker film based on Ferdinand De Saussure's theory. Joker is a psychological thriller genre film. The film opens with Arthur Fleck trying out various expressions. With a clown-style make-up, Arthur pulled his face in a motion pulling the corners of his lips up to create a smiling facial expression. Arthur then lowered the corners of his lips down to make a sad expression with his lips down, and then pulled his lips back into a smile. A few tears flowed between her black eye makeup. The research method used in this paper is descriptive qualitative. This means that the data used in this study is qualitative data (data that does not consist of numbers) in the form of words and pictures that may be the key to what is being studied. Then the existing data are described from a number of aspects of signs or semiotics in a number of scenes. For example, from the emotional side that appears in a scene, the facial expressions of the actors, the dialogue delivered by the actors, background music and so on. Emotional representation is also shown through messages that are interpreted semiotically based on Ferdinand de Saussure's theory through changes in costumes (markers), from being originally monochrome (dark dominant) to being more colorful, and changes in a person's character from being closed to being more expressive in expressing their feelings sign).
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Watson, Anna. "Norwegian Political Theatre in the 1970s: Breaking Away from the “Ibsen Tradition”." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 50. http://dx.doi.org/10.7146/nts.v28i1.23972.
Повний текст джерелаАнотація:
The dominant theatre aesthetic in Norwegian theatre has been, and remains at large to be, psychological-realism and the bourgeois “living room drama”. In a Norwegian context this tradition is best represented by Henrik Ibsen’s dramas, staged at Nationaltheatret and Den Nasjonale Scene. However, throughout the 20th century there have been several attempts to break with the “Ibsen tradition”, especially among left-wing political and socially engaged theatre-makers and playwrights such as Gunvor Sartz, Olav Daalgard, and Nordahl Grieg in the 1930s, and Jens Bjørneboe and Odin Teatret in the 1960s. I argue that the clearest and most decisive break with Realism and the Aristotelian dramaturgy, in a Norwegian political theatre context, was made in the late 1970s, instigated by the independent theatre groups Perleporten Teatergruppe and Tramteatret. Their break did not only constitute an aesthetic and dramaturgical break, but also a break in organizational terms by breaking the hierarchy of the institutional theatre ‘machine’. Perleporten Teatergruppe and Tramteatret aimed at making a political, progressive theatre both in form and content. Perleporten and Tramteatret were both inspired by contemporaneous political and experimental theatre in Europe and Scandinavia as well as by the historical avant-garde experiments, and, for Tramteatret’s part, the workers' theatre movement from the 1920s and 30s in their search for a theatre that could express the social and political climate of the day. In this article, I will place Tramteatret and Perleporten Teatergruppe’s debut performances Deep Sea Thriller (1977) and Knoll og Tott (1975) within a historiographical and cultural-political context.
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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.
Повний текст джерелаАнотація:
Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.
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Christopher, David. "Horror and the Cube Films: An unlikely medium for the negotiation of Nationalist-Cultural ideologies." Mutual Images Journal, no. 11 (December 20, 2023): 139–70. http://dx.doi.org/10.32926/2023.11.8.
Повний текст джерелаАнотація:
Over the past several decades, scholarship has come to recognise the unexpected significance of horror cinema ventures as both culturally and politically relevant. One of Canada’s greatest horror film successes was Vincenzo Natali’s 1997 psychological thriller Cube that metaphorically explores the suffocating nature of vocational social relations under the conditions of a patriarchal military-industrial capitalism. So innovative was its premise that US interests quickly acquired the rights to produce and distribute Cube 2: Hypercube (2002) and Cube Zero (2004), but they were just as quick to reformulate the most subversive critique of the original film. Two decades later, in 2021, Japanese producers released a remake of the original film (which was so popular there), although it also re-coded the thematic critique, just as the American sequels had done. With this group of films across three national production traditions arises an opportunity to “detect shifts in the ideological constellation”, as Slavoj Žižek has argued, by “compar[ing] consecutive remakes of the same story” (2011, p. 61). Following primarily Herbert Marcuse’s understanding of political repressive tolerance, this article demonstrates the way in which constructions of cultural identity are negotiated across national traditions in the age of globalisation. Cube and its follow-ups demonstrate the nationalist-inflected limits of critical expression in the way that each subsequent film attempts to re-focus and re-code the horrors of the narrative machine in order to assert their own nationalist sensibilities threatened by the cultural levelling effect of globalisation in an age of transnational cinema distribution.
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Rajadurai, R., A. Arul, and J. Vignesious Stanley. "Rage: Stephen King’s Strange Fiction becomes a Grim Reality." Shanlax International Journal of English 12, no. 2 (March 1, 2024): 39–47. http://dx.doi.org/10.34293/english.v12i2.7188.
Повний текст джерелаАнотація:
In this study, a critical analysis of one of Stephen King’s most well-known novels, Rage, is taken into consideration. A psychological thriller is what you will find in Rage. There is a school shooting depicted in the novel that is based on actual incidents that took place in secondary schools throughout the late 1980s and early 1990s. The psychology of school children and the conditions in which they find themselves are also discussed in this essay. The plot revolves around a troubled high school student who struggles with issues of authority and who commits murder against one of his teachers while also holding the majority of his classmates captive. While Charlie Decker is in the midst of a protracted, stressful, and exhausting warm evening, he discusses what led him to this dramatic series of acts. At the same time, he is examining the identities of his peers and asking each of them to defend their own lives. Surprisingly, this book is linked to a number of incidents involving shootings at top universities. There was one such incident that resulted in the deaths of three classmates and the injuries of five more. A teenager named Michael Carneal’s closet serves as the setting for the tale. In this particular instance, Rage was responsible for the sixth high school shooting. As a result, the purpose of this research is to investigate the causes and consequences of the novel as well as the shootings that occurred in real life that are linked to it.
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Kryshtof, Nadiia. "SOCIO-POLITICAL ISSUES OF THE DETECTIVE TRILOGY OF ZYGMUNT MILOSHEVSKY." Polish Studies of Kyiv, no. 39 (2023): 203–17. http://dx.doi.org/10.17721/psk.2023.39.203-217.
Повний текст джерелаАнотація:
The problems presented in the detective trilogy of Zygmunt Miłoszewski do not lose their relevance because there are connected with the past and the social life of the country. The author immerses the reader in historical plots in order to show social occurrence more fully. In “Entanglement” the leitmotif is the activities of the Security Service of the People’s Republic of Poland and the consequences of the existence and disintegration of this structure. “Grain of Truth” addresses the problem of anti-Semitism in Poland. In order to explain the genesis of this phenomenon, the author touches on the issue of common Polish-Jewish history. The third part, titled as “Rage” addresses a problem that has begun to be recognized and discussed recently, namely domestic violence. It was established that the detective touches on many aspects of this phenomenon, namely describing all types of domestic violence, namely psychological, economic, sexual and physical, showing its negative impact on children, as well as the problems the victim faces in society. The socio-political background of Zygmunt Miłoszewski’s trilogy is diverse and vivid. Detective intrigue does not dominate, but it allows to fully discuss a certain social problem, to look at it from a new, still unpopular point of view and to form the reader’s own opinion on the subject. The modern literary process is not characterized by genre purity, so the detective stories of the trilogy by Z. Miloszewski combine features of several subgenres, as well as other literary genres. The focus on the protagonist’s inner world and the psychological motives behind all the murders indicates a psychological detective story. The use of the motif of a crime that took place in the past and requires investigation in the present indicates that the trilogy belongs to historical detective fiction. «Entanglement» uses the motif of a closed space, supposedly as in a classic detective story, but the main rule was broken, as the killer entered from the outside. «Grain of Truth» with its constant plot tension and the only action scene in the entire trilogy, can be considered a thriller. “Rage” on the other hand, which pays great attention to the protagonist’s daily and personal life, contains elements of a novel of manners. In the context of this genre diversity, the social problems of contemporary Poland are shown comprehensively, realistically and with great artistic aesthetics. The problems signaled in the novels require further research in the future.
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Kolisnyk, Н. "The image of the book as a means of realizing the image of the «Absent father» in the stories of David Bell and Ken Bruen." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 119–26. http://dx.doi.org/10.34079/2226-3055-2023-16-28-119-126.
Повний текст джерелаАнотація:
The work of David Bell and Ken Bruen is well known to English-speaking fanatics of detectives and thrillers. Their novels regularly hit the bestseller lists and receive favorable reviews from literary critics. But they have not yet become the object of a distinct literary study. But if you take into account that both D. Bell and K. Bruen skillfully combine the artistic qualities of crime stories and deep psychology in their works, it becomes obvious that the writers' works require a more detailed analysis. The subjects of our research were the short stories «Rides a Stranger» by D. Bell and «The Book of Virtues» by K. Bruen, which were included in the collection «BIBLIOMYSTERIES: Crime in the World of Books and Bookstores». The collection became a professional challenge for authors who work in thriller genres, as only short stories were accepted for it, the plot core of which was a book. D. Bell and K. Bruen complied with all the specified requirements and even more: in both stories, the central image of the book is inextricably linked with the image of the father. More precisely, they are related to the image of the "absent father" - one of the most relevant topics in modern psychology, the study of which also provoked the appearance of numerous literary studies in the field of modern literature. The aim of the work was to identify means of interaction between the image of the book and the image of the «absent father» in the stories of D. Bell «Rides a Stranger» and K. Bruien «The Book of Virtues». The relevance of the work is determined, first of all, by a small number of literary studies of the writers' work, taking into account their considerable popularity among readers. Secondly, the image of the father in the work of writers is insufficiently developed, despite the rather high relevance of this topic among psychological and literary studies of modern literature. It was established that the plot of both novels has a similar structure, but the writers depicted different types of the «absent father». D. Bell created the image of a father who is «absent» in the son's life due to detachment, reluctance to communicate, and K. Bruen portrayed a version of «absent» due to the aggression of the father, whose authoritarianism forces the son to remove any parental presence from his life. But in both stories, the role of a psychological trigger is played by the appearance of a book inherited from the father. The very fact of its appearance prompts the heroes to a kind of revision of their own idea of their father. In one case, this contributes to the creation of a situation of reconciliation of the hero with his father and the past in general, and in another, the book turns out to be powerless against the stability of the formed parental stereotype and becomes a decisive factor in the downfall of the main character. Key words: image of the book, image of the father, «absent father», parental stereotype, American literature, Irish literature.
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Simonyi, Gabriella. "Developing empathy in adolescents with the aid of film art." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 21 (2022): 253–71. http://dx.doi.org/10.5937/univmis2221253s.
Повний текст джерелаАнотація:
Empathy is a very important prosocial behavior, a part of emotional intelligence and it is necessary for the formation of well-functioning relationships, so that we can work together with others. Empathetic children are more successful in their own social environment and make friends more easily. Empathy is not a fixed personality trait, although there are innate differences in people's social sensitivity. Empathy can also be developed, which requires the right environment and siblings and adults and time to develop. The atmosphere of the family and the wider environment, the behavior of the adults, their relationship with each other and with children is the key, which children also see and learn from it (Borba, 2018). In order to develop empathy in adolescents, we went towards the psychology of art, to see the impact, the relationship of film for developing empathy. Therefore, in the first, theoretical chapter of the work, the taxonomy of film reception by viewers is presented from the perspective of psychology of art, film and theoretical works, empirical results of literary aesthetics, psychological interpretation of empathy and mentalization. The goal of our research is to support the theory that empathy and affective influence are greater in viewers who can more intensely identify with the film's protagonists. We had other goals: to analyze the effects of character identification and to study the relationship between identification and empathy. The results of Vische and Tan (2009), support that the emotional experience is significantly determined by the genre of the film. Examining the collected data, we can conclude that there are statistically significant differences between genres in terms of identification with the male protagonist, and the identification with the hero of the film is stronger in individuals who watched the thriller.
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Zhukova, N. A. "KARIN ALVTEGEN AS RESEARCHER OF "ONGOING SUFFERING": CULTURAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 63–68. http://dx.doi.org/10.17721/ucs.2018.1(2).15.
Повний текст джерелаАнотація:
The article deals with the cultural analysis of the novels "Shame" and "Betrayal" by the famous contemporary Swedish writer Karin Alvtegen, which are an example of a new art that has replaced the art of "post". "New art" is expressed in the return to the subject-object coherence, the reflection of reality in holistic, specifically-sensual artistic and expressive forms. The novel "Shame" is a psychological thriller where the author tells about the fate of three women - Monica, May-Britt and Vanya Turin. All three of them (independently) feel ashamed for their whole lives because of the events they had experienced during their childhood or youth, and this feeling, in its turn, influenced their behavior, and determined the subsequent attitude to people and life. In Alvtegen’s novel "Betrayal" she describes the psychological state of all the heroes, who, as it turns out, are both victims of betrayal and the traitors. Simultaneously, the author develops the topic of devastating revenge and the dilemma of forgiveness-non-forgiveness. In the end, the author inclines to the first variant, which helps to overcome a psychological trauma - "a trauma of betrayal". For the heroes of Alvtegen, betrayal and vengeance are the phenomena of the same tier, and both bring unbearable mental pain, and all characters have a constant internal dialogue with it. "Trauma of betrayal" rules over the author’s characters, who do not realize what drives them. According to Sigmund Freud, this trauma separates a person from the surrounding reality, closes him/her on itself, and, at some point, brings satisfaction. However, if Freud’s "trauma" is constructive even in case its consequences are abnormal, the damage it caused is compensated, even though in a neurotic way. Yet, for the heroes of Alvtegen, the trauma takes away human ability to act, induces a negative belief in oneself or in others, and, at the same time, it is a trial given to a person, a kind of initiation. None of the characters of the Swedish writer can pass this initiation. As a result, the lives of all characters are ruined. Hence, having appeared in the world due to the trauma of birth (according to O. Rank), experiencing various types of traumas during life (S. Freud, C.G. Jung, A. Adler, S. Spielrein, J. Lacan), the vector of behavior depends on a person. The novels by Alvtegen showed the tendency to combine the problems of fundamental ontology, psychoanalysis, and the idea of "integral humanism" in the new art ("proto-art") as a way to escape the "ongoing suffering." It is noted that the novels by Alvtegen are a complicated, aesthetically organized system of meanings that involve "multiple coding", organic interweaving of psychoanalytic ideas, in particular, the phenomenon of "trauma" into the concept of the M. Heidegger fundamental ontology.
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Yefimenko, Adelina. "Ludwig van Beethoven’s “Fidelio”: Participation of the Public in Graham Vick and Tobias Kratzer’s Productions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 8–23. http://dx.doi.org/10.31318/2522-4190.2021.130.231172.
Повний текст джерелаАнотація:
Relevance of the study. Versions of the only opus magnum of the German genius in modern filmmaking practice are associated with various sources: from myth, historical documentary to modern political thriller. The performances of Fidelio by the German Tobias Kratzer on the stage of the London Royal Opera and the British Graham Vick with the Birmingham Opera Company directed the vector of directorial innovations into the mainstream of the actual problem in the field of art — communication. Both directors brought the image of an opera audience onto the stage.Main objective of the study is to analyze the aforementioned opera productions from the point of view of the public participation, which presupposes the use of the stage experience of performance, documentary and Immersion Theater.Research methodology. Expending the experience of scientists who have developed the classification of the concepts of the public and the audience, the structural vector of these concepts in the form of a link in the recipient-performer-creator chain is revealed. In the versions from Vick and Kratzer, the public and the audience not only actively influence the artistic processes, but also become their participants. A watershed between the concepts of the public and the audience, important for comparing these artifacts, is revealed which required, provided the reason to use a comparative research methodology.The results of directorial artifacts. Vick interprets “Fidelio” as a performer-director. His fourth interactive version of the opera features Birmingham residents. Kratzer accentuates the historical traditionally theatrical barriers between performers and spectators and first gives the opportunity to relive the events of the costumed “Fidelio”, designed for a suggestive public reaction, which gives impetus to an unexpected evolution. At first, the audience, passively reflecting the events, acquires a certain breakthrough in consciousness in the finale and begins to act on a par with the protagonists of the opera. For Kratzer and Vick, the argument for including the image of the audience in the production was the historical fact (the creation of an opera during the French Revolution) and the coverage of the connections between Beethoven’s opera narrative and the social realities of modern society. Vick associated “Fidelio” with modern outbursts of totalitarianism. For Kratzer, the key idea is ideal love, inherent in Beethoven’s ideas of humanism, loyalty and moral duty. Vick’s Theater connects the type of audience as a spontaneous community. Kratzer focuses on the centuries-old culture of opera lovers united by common interests. The approbation of various forms of integration of performance and opera shows how important the artistic, social, didactic and psychological results of participation are. The public develops, evolves and becomes a professional audience.
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Marynenko, Yuriy. "THE MOTIF OF ESCAPE IN YAROSLAV MELNYK`S NOVEL «DISTANT SPACE»." CONTEMPORARY LITERARY STUDIES, no. 20 (December 20, 2023): 59–66. http://dx.doi.org/10.32589/2411-3883.20.2023.293543.
Повний текст джерелаАнотація:
The article examines the motif of escape in the novel «Distant Space» by the modern Ukrainian writer Yaroslav Melnyk. Upon reviewing critical literature, the genre classification of the work was identified as a hybrid, encompassing elements of a dystopian novel intertwined with features of science fiction, allegory, adventure, psychological and mystical fantasy, as well as a thriller novel. Its intertextual space covers the works of Ray Bradbury, Ken Kesey, George Orwell, V. Vynnychenko, H. Skovoroda, as well as V. Domontovych, M. Khvylovy. It has been emphasized that the plot collision of the metamodernist novel by Ya. Melnyk has its roots in the biblical story of Adam’s and Eve’s expulsion from paradise. The polyphonic and didactic character of the novel is revealed: everyone has their own truth, the author convinces, and makes it possible to hear everyone. Аt the same time, the book teaches to be tolerant, and to make an informed choice in difficult life situations.The artistic vision of space is embodied in the novel in three locations: metropolis (the land of blind people), Transparent Spot (the camp of blinded rebels who seek to destroy the metropolis), Quiet Corner (elite village of the sighted). The three specified locations of the novel are three options of fate that the author offers to his protagonist. Whenever the protagonist declines to adhere to the suggested course, the outcome of such ventures leads to three escapes in pursuit of a balanced cosmos—distant space.Gabra’s three escapes are also three women. Lioz, Niya, Natalie, each in their own way, in the course of the story become close to the main character. This aspect of the relationship gives the story piquancy, intimacy, and simultaneously dramatizes it. Relations with Lioz have no prospects, because it remains an organic part of the ugly pragmatic world of the metropolis. Beautiful Natalie is completely indifferent to the distant space of the main character. Instead, the «cautious optimism» of the novel can be traced in the relationship with Nia. The ethical and visual aspect for the artistic persuasiveness of the story is also emphasized.In the image of the main character Gabr Silk, the author shows a person who has to compete with unfavorable circumstances for the right to be happy, to be himself, to live a private life, even a marginal one, not involved in social and political currents. At the same time, indecisiveness, doubts about the expediency of one’s active actions lead to the fact that other people usually solve his problems (Oks, Nia).
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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.
Повний текст джерелаАнотація:
Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.
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Bari, Dindar S., and Haval Yacoob. "Psychological Correlates of Acceleration Stress for Thrill Seekers." Eastern Journal Of Medicine 27, no. 3 (2022): 410–17. http://dx.doi.org/10.5505/ejm.2022.21703.
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van Teeffelen, Toine. "Scripts and Projects as Modes of Understanding Political Actions: The Representation of Palestinians in Bestselling Literature." Journal of Narrative and Life History 2, no. 2 (January 1, 1992): 163–82. http://dx.doi.org/10.1075/jnlh.2.2.05scr.
Повний текст джерелаАнотація:
Abstract This article analyzes the representation of Palestinian actions in Western bestsell-ing thrillers. Most of these actions can be understood through the application of scripts—cognitive structures of stereotypical action sequences. It is argued that the scriptal representations activate causal schemas of Palestinians and Arabs at both a psychological and a social level. The concept of script is set against that of project, characterized by a narrative understanding. It is shown how the need to make a story interesting and thus not completely stereotypical is met by, among others, the amplification of aspects of threatening scripts, and by a tension producing ambivalence toward Palestinian nationalism. In almost all cases a scriptal understanding remains privileged. (Qualitative Psychology, Cultural Studies)
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Novaković, Nikola. "To Laugh or to Cry? Ambiguity and Humour in Jason's Graphic Novels." Libri et liberi 11, no. 1 (September 23, 2022): 51–78. http://dx.doi.org/10.21066/carcl.libri.11.1.3.
Повний текст джерелаАнотація:
The paper offers a reading of Jason’s use of sparsity, seriousness, and reduction as a concealment of a technique that is based on multifaceted ambiguity involving the blending of genres, a playfully intertextual attitude, and surprising emotional depth of character and story. It discusses the connection between humour and visual, textual, and structural ambiguity in Jason’s works, as well as ambivalence in the reader’s response, illustrates Jason’s combination of incongruous genres and simultaneous employment of motifs from children’s literature and various genre movies (such as science fiction, crime thrillers, heist movies, and horrors), and explores Jason’s technique of subverting expectations of comic relief by withholding certain structural parts of a joke (typically a punchline) or inserting an unexpected element (such as psychological depth).
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Durov, Viktor. "REPRESENTATION OF A JUDICIAL PROCESS IN AMERICAN CINEMA (ON THE EXAMPLE OF THE FILM “A TIME TO KILL”, 1996)." Культурный код, no. 2024-2 (2024): 20–34. http://dx.doi.org/10.36945/2658-3852-2024-2-20-34.
Повний текст джерелаАнотація:
The article analyzes the problems of persisting racism in the US judicial system and its reflection in cinema. The study is based on the analysis of the film “A Time to Kill”. The main method is system analysis. The author notes the autobiographical nature of the plot in the film. The main themes raised in the film were racial discrimination, the right of revenge, and judicial execution. The article reveals how visual images, musical accompaniment, and the cast realize the director’s vision. The legal and psychological research involved confirms the realism of the trial in the southern states of the United States presented in the film directed by Joel Schumacher. In addition, the promising use of legal thrillers in the educational process at law faculties is noted.