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L'horreur Dans La Bibliothèque!
Belphégor Norbert Spehner L'Horreur dans la Bibliothèque! Bibliographie internationale sélective des études sur l'horreur dans la littérature, la bande dessinée, et le cinéma. Avertissement: traditionnellement, le concept d'horreur est relié à la littérature fantastique et au gothique, au gore, et au cinéma dit d'épouvante, fantastique ou non (ex. le slasher film avec ses psychopathes terrifiants ou pire, le splatterfilm du cinéma gore). Les études sélectionnées ici mettent l'accent sur ce concept d'horreur. Il n'est donc pas question de mentionner ici toutes les études sur le fantastique, par exemple. La compilation bibliographique permet quelques remarques immédiates: le terme "horror" est très prisé par les Anglo-Saxons et les Italiens, alors que les Français lui préfèrent "fantastique" ou "terreur" sauf quand il s'agit d'explorer les sous-cultures du genre fantastique comme le gore, par exemple. Les théoriciens français de la littérature fantastique, comme Roger Bozzetto ou Denis Mellier (parmi d'autres) n'emploient que très rarement le mot horreur, concept auquel ils ne consacrent que quelques rares pages. Les ouvrages sur le cinéma prédominent, peut-être parce que l'horreur, c'est spectaculaire, c'est quelque chose qui se mon(s)tre facilement . La grande majorité des références est donc d'origine anglo-saxonne, en partie à cause de leur usage très général du mot "horror". Pour des raisons pratiques, nous n'avons pas retenu les innombrables monographies sur les auteurs et les cinéastes individuels. La première partie recense les ouvrages sur la littérature, les ouvrages mixtes (littérature/cinéma), la bande dessinée, l'illustration et la psychologie de l'horreur. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
Tracking the Research Trope in Supernatural Horror Film Franchises
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2020 Legend Has It: Tracking the Research Trope in Supernatural Horror Film Franchises Deirdre M. Flood The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3574 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEGEND HAS IT: TRACKING THE RESEARCH TROPE IN SUPERNATURAL HORROR FILM FRANCHISES by DEIRDRE FLOOD A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2020 © 2020 DEIRDRE FLOOD All Rights Reserved ii Legend Has It: Tracking the Research Trope in Supernatural Horror Film Franchises by Deirdre Flood This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Leah Anderst Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Legend Has It: Tracking the Research Trope in Supernatural Horror Film Franchises by Deirdre Flood Advisor: Leah Anderst This study will analyze how information about monsters is conveyed in three horror franchises: Poltergeist (1982-2015), A Nightmare on Elm Street (1984-2010), and The Ring (2002- 2018). My analysis centers on the changing role of libraries and research, and how this affects the ways that monsters are portrayed differently across the time periods represented in these films. -
Cinemeducation Movies Have Long Been Utilized to Highlight Varied
Cinemeducation Movies have long been utilized to highlight varied areas in the field of psychiatry, including the role of the psychiatrist, issues in medical ethics, and the stigma toward people with mental illness. Furthermore, courses designed to teach psychopathology to trainees have traditionally used examples from art and literature to emphasize major teaching points. The integration of creative methods to teach psychiatry residents is essential as course directors are met with the challenge of captivating trainees with increasing demands on time and resources. Teachers must continue to strive to create learning environments that give residents opportunities to apply, analyze, synthesize, and evaluate information (1). To reach this goal, the use of film for teaching may have advantages over traditional didactics. Films are efficient, as they present a controlled patient scenario that can be used repeatedly from year to year. Psychiatry residency curricula that have incorporated viewing contemporary films were found to be useful and enjoyable pertaining to the field of psychiatry in general (2) as well as specific issues within psychiatry, such as acculturation (3). The construction of a formal movie club has also been shown to be a novel way to teach psychiatry residents various aspects of psychiatry (4). Introducing REDRUMTM Building on Kalra et al. (4), we created REDRUMTM (Reviewing [Mental] Disorders with a Reverent Understanding of the Macabre), a Psychopathology curriculum for PGY-1 and -2 residents at Rutgers Robert Wood Johnson Medical School. REDRUMTM teaches topics in mental illnesses by use of the horror genre. We chose this genre in part because of its immense popularity; the tropes that are portrayed resonate with people at an unconscious level. -
The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016 Lauren Cupp Scripps College Recommended Citation Cupp, Lauren, "The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016" (2017). Scripps Senior Theses. 958. http://scholarship.claremont.edu/scripps_theses/958 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE FINAL GIRL GROWN UP: REPRESENTATIONS OF WOMEN IN HORROR FILMS FROM 1978-2016 by LAUREN J. CUPP SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR TRAN PROFESSOR MACKO DECEMBER 9, 2016 Cupp 2 I was a highly sensitive kid growing up. I was terrified of any horror movie I saw in the video store, I refused to dress up as anything but a Disney princess for Halloween, and to this day I hate haunted houses. I never took an interest in horror until I took a class abroad in London about horror films, and what peaked my interest is that horror is much more than a few cheap jump scares in a ghost movie. Horror films serve as an exploration into our deepest physical and psychological fears and boundaries, not only on a personal level, but also within our culture. Of course cultures shift focus depending on the decade, and horror films in the United States in particular reflect this change, whether the monsters were ghosts, vampires, zombies, or aliens. -
Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences. -
Horror Film and Psychoanalysis: Freud's Worst Nightmare
P1: KDF CB660-FM CB660/Schneider-v3 April 1, 2004 18:2 This page intentionally left blank ii P1: KDF CB660-FM CB660/Schneider-v3 April 1, 2004 18:2 Horror Film and Psychoanalysis In recent years, psychoanalytic theory has been the subject of attacks from philosophers, cultural critics, and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility, and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres. Steven Jay Schneider is a scholar of cinema and philosophy. He is the author of Designing Fear: Aesthetics of Cinematic Horror and editor of New Hollywood Violence, among other publications. i P1: KDF CB660-FM CB660/Schneider-v3 April 1, 2004 18:2 ii P1: KDF CB660-FM CB660/Schneider-v3 April 1, 2004 18:2 Cambridge Studies in Film General Editors William Rothman, University of Miami Dudley Andrew, University of Iowa Cambridge Studies in Film is a series of scholarly studies of high intellectual standard on the history and criticism of film. Each book examines a different aspect of film as a social and cultural phenomenon, setting standards and directions for the evaluation and definition of film scholarship. -
From Master Story Teller, Guillermo Del Toro, Comes the SHAPE of WATER - an Other-Worldly Fairy Tale, Set Against the Backdrop of Cold War Era America Circa 1962
2 From master story teller, Guillermo del Toro, comes THE SHAPE OF WATER - an other-worldly fairy tale, set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa’s life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment. Rounding out the cast are Michael Shannon, Richard Jenkins, Doug Jones and Michael Stuhlbarg. Fox Searchlight Pictures presents, in association with TSG Entertainment, a Double Dare You Production, THE SHAPE OF WATER directed by Guillermo del Toro from a screenplay by del Toro & Vanessa Taylor with story by Guillermo del Toro. The producers are Guillermo del Toro, p.g.a. and J. Miles Dale, p.g.a.. The filmmaking crew includes director of photography Dan Laustsen, DFF, production designer Paul Denham Austerberry, film editor Sidney Wolinsky, ACE, associate producer Daniel Kraus, visual effects supervisor Dennis Berardi, music by Alexandre Desplat, costume designer Luis Sequeira and casting by Robin D. Cook, CSA. 3 “Water takes the shape of whatever is holding it at the time and although water can be so gentle, it’s also the most powerful and malleable force in the universe. That’s also love, isn’t it? It doesn’t matter what shape we put love into, it becomes that, whether it’s man, woman or creature.” --Guillermo del Toro on THE SHAPE OF WATER In a secret government laboratory at the height of the Cold War, a visually dazzling, emotionally daring feat of the imagination erupts. -
Fantasy Subgenres (Courtesy
Fantasy Subgenres (courtesy http://www.cuebon.com/ewriters/Fsubgenres.html) (Definitions and Examples - All) Whether set on our familar Earth (past or present), or in a vast parallel world, or some dreamlike realm where everything is different, fantasy tales allow our imaginations free reign. Even so its relationships, and use of magic, must be internally consistent. Alternate World fantasy involves different worlds hidden within or parallel to our own. In past times these could be found in a mysterious country, as in Johnathan Swift's novel Gulliver's Travels. With the Earth explored, some were envisioned inside a mirror, as with Lewis Carroll's novel Through the Looking Glass. Others 'distill' whole fictional libraries, as with John Myers Myers' novel Silverlock. In our scientific era, often these worlds are in a parallel cosmos, as depicted in Roger Zelazny's "Amber" series. Arthurian subgenre tales are set in the world of King Arthur's legendary Camelot. Merlin, Lancelot, Ygraine and friends are involved in fresh adventures. These novels have been popular for centuries, and one famous modern example is Thomas Pynchon's Gravity's Rainbow. Bangsian fantasy takes its name from a 19th century author named John Bangs. This subgenre deals all or mostly with the afterlife. Early legends speak of Hades, and it's been going strong ever since. A modern example is Philip Jose Farmer's "Riverworld" series, which overlaps with 'science fiction.' Though marketed as literary fiction, with its Heaven-dwelling narrator, Alice Sebold's novel and movie The Lovely Bones fits this category. Celtic fantasy draws upon the rich lore of the Celtic peoples, mostly but not always from Ireland. -
OS FANTASMAS DA FOTOGRAFIA E DO CINEMA PHOTOGRAPHY, CINEMA, and the GHOSTLY Processo De Revisão N
RCL — Revista de Comunicação e Linguagens e Linguagens Comunicação de — Revista RCL 53 ISSN 2183-7198 ISSN Journal of Communication and Languages Communication of Journal 2020 Fall/Winter N.53 (2020) ISSN 2183-7198 N.53 (2020) ISSN Outono/Inverno OS FANTASMAS DA FOTOGRAFIA E DO CINEMA PHOTOGRAPHY, CINEMA, AND THE GHOSTLY José Bértolo Margarida Medeiros (Eds.) 1 FICHA TÉCNICA EDITORIAL INFORMATION Revista de Comunicação Frequência Frequency e Linguagens Semestral bi-annual Journal of Communication Publicação em acesso livre and Languages Publication in open access — OS FANTASMAS DA FOTOGRAFIA E DO CINEMA PHOTOGRAPHY, CINEMA, AND THE GHOSTLY Processo de revisão N. 53 Review process Revisão cega por pares double blind peer review Direcção Editors-in-Chief ISSN Margarida Medeiros 2183-7198 ICNOVA e Faculdade de Ciências Sociais e Humanas da Universidade DOI Nova de Lisboa https://doi.org/10.34619/55s6-rw65 [email protected] Teresa Mendes Flores Endereço da Redação ICNOVA e Faculdade de Ciências Journal address Sociais e Humanas da Universidade Nova Instituto de Comunicação da NOVA de Lisboa e Universidade Lusófona Faculdade de Ciências Sociais e Humanas [email protected] Universidade Nova de Lisboa Avenida de Berna, 26-C | 1069-061 Lisboa E-mail: [email protected] Editores deste número URL: www.icnova.fcsh.unl.pt This issue Editors José Bértolo Design Universidade de Lisboa, Tomás Gouveia Faculdade de Letras Centro de Estudos Comparatistas Capa Cover [email protected] Fotografia de Staveley Bulford, 1921 Margarida Medeiros Universidade Nova de Lisboa, Faculdade Revista de Comunicação e Linguagens de Ciências Sociais e Humanas. Journal of Communication and Languages Instituto de Comunicação da NOVA www.fcsh.unl.pt/rcl/index.php/rcl/index [email protected] Edições anteriores a 2017 Last issues www.icnova.fcsh.unl.pt/revista-de- comunicacao-e-linguagens/ Este trabalho está licenciado sob a Licença Creative Commons Atribuição-NãoComercial 4.0 Internacional. -
Mythopoeia and Communal Subjectivity: Mistranslations of Mythology in Philippine Popular Culture1
SCHOLARLY ESSAY Mythopoeia and Communal Subjectivity: Mistranslations of Mythology in Philippine Popular Culture1 J. Neil C. Garcia University of the Philippines Diliman, Quezon City MYTHOPOEIA REFERS TO the creative use of folkloric—specifically, mythological—material in any of the contemporary arts.2 Examples of it abound nowadays: from books, graphic novels, television shows, to independent and mainstream cinema. In this short paper, I will examine contemporary mythopoetic appropriations— focusing on a particular filmic one, from two years ago, and unpack it for its “misuse” of its chosen mythological text. In sum, this misuse emerges out of a mistranslation of the past in presentist terms. In particular, what artists generally fail to appreciate is the fact that the theory of subjectivity underlying our contemporary reality is simply different from that which animated oral cultures, as a whole. 1. This paper was originally delivered by the author as a lecture at the Abraham Sarmiento Hall, University of the Philippines, Baguio, on April 4, 2018. 2. The Oxford English Dictionary lists a recent use (2015) of mythopoeia to refer to Tolkien’s The Lord of the Rings books. See Oxford English Dictionary Online, “mythopoeia,” accessed 2 February 2018, http:// www.oed.com/view/Entry/235084?redirectedFrom=mythopoeia#eid 349 LIKHAAN 12 The Journal of Contemporary Philippine Literature A key idea in my unpacking of this conceptual slippage will be the communal— as opposed to the individualistic—model of the self that operated in oral societies, and that literacy has effectively dismantled and supplanted. The film I will be discussing is Roderick Cabrido’s Tuos.3 Starring the one and only superstar, Nora Aunor, it was one of the most anticipated entries in the Cinemalaya Festival of 2016. -
Cinema and Media Studies (CIMS) 1
Cinema and Media Studies (CIMS) 1 CIMS 016 Freshman Seminar in Cinema and Media Studies CINEMA AND MEDIA STUDIES The primary goal of the freshman seminar program is to provide every freshman the opportunity for a direct personal encounter with a faculty (CIMS) member in a small sitting devoted to a significant intellectual endeavor. Specific topics be posted at the beginning of each academic year. Please CIMS 005 In Dark Times: The Dystopian Imagination in Literature and see the College Freshman seminar website for information on current Film course offerings https://www.college.upenn.edu/node/403. This CWiC course will offer a guided introduction to the one of the most One-term course offered either term resilient genres of the human imagination: dystopian and apocalyptic Also Offered As: ARTH 100, ENGL 017, URBS 106 fiction. Like a group of survivors huddled around a campfire, we will Activity: Seminar turn to literature and cinema to debate some of the big questions 1.0 Course Unit about the future of science, technology, religion, and capitalism. This CIMS 024 Introduction to American and British Film and Media course is designed as a Critical Speaking Seminar, and the majority of This topic course explores multiple and different aspects of Cinema class assignments will be devoted to oral presentations: including a Studies. Specific course topics vary from year to year. See the Cinema Parliamentary-style debate and a video essay. We will begin by reading Studies website at cinemastudies.sas.upenn.edu/courses for a some of the early, influential works in the dystopian genre by authors description of the current offerings.