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The decay of monsters: horror movies throughout history, description:.
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Gynaehorror: Women, theory and horror film
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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of this subgenre outside of the dominant modes of inquiry by placing an emphasis upon philosophies of sex, gender and corporeality, rather than focussing on psychodynamic approaches. Thirdly, I consider not only what these theories may do for the study of horror films, but what spaces of inquiry horror films may open up within these philosophical areas.
To do this, I focus on six broad streams: the current limitations and opportunities in the field of horror scholarship, which I augment with a discussion of women’s bodies, houses and spatiality; the relationship between normative heterosexuality and the twin figures of the chaste virgin and the voracious vagina dentata; the representation and expression of female subjectivity in horror films that feature pregnancy and abortion; the manner in which reproductive technology is bound up within hegemonic constructions of gender and power, as is evidenced by the figure of the ‘mad scientist’; the way that discourses of motherhood and maternity in horror films shift over time, but nonetheless result in the demonisation of the mother; and the theoretical and corporeal possibilities opened up through Deleuze and Guattari’s model of schizoanalysis, with specific regard to the 'Alien' films. As such, this thesis makes a unique contribution to the study of women in horror film, while also advocating for an expansion of the theoretical repertoire available to the horror scholar.
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Introduction: Defining Folk Horror
2020, Revenant: Critical and Creative Studies of the Supernatural
Related Papers
Irish Journal of Gothic and Horror Studies
Máiréad Casey
Casey highlights the Folk Horror in the Twenty-First Century conference at Falmouth University. The conference was a two-day multidisciplinary exploration and interconnected discussion of this new and vibrant facet of Horror Studies. The issues of normalcy and Otherness, the re-examination and re-evaluation of national identity, and humanity's relationship with the environment, were common threads throughout the two-day conference. The call for papers had an abundant and enthusiastic response from international scholars and creative practitioners, and was divided into parallel panels packed with diverse content.
Craig Mann and Christopher Cooke
Diane Rodgers
Gothic Nature
Dawn Keetley
The dominant form of folk horror is distinctly anthropocentric, focused on unwitting outsiders who are brutally sacrificed after they stumble into a rural, pagan community. This plot is epitomised by Stephen King’s short story ‘Children of the Corn’ (1977) and its film adaptations (1984 and 2009), as well as by Robin Hardy’s The Wicker Man (1973). There is another, less anthropocentric variant of folk horror, however. ‘Folk horror without people’ is exemplified by another of King’s stories, ‘In the Tall Grass’ (2012), written with his son Joe Hill, as well as by one of its antecedents, the TV series Children of the Stones (1977). The critical element of sacrifice is still present in these ‘stone-centric’ folk horror texts, but humans are thoroughly displaced from their central role. Agency and sacrifice belong instead to stone. Both of these folk horror plots, the anthropocentric and the stone-centric, serve to critique—albeit in different ways—the devastating effects humans have had on the environment.
Derek Johnston
There has been a veritable outpouring of both popular and academic writing on folk horror in the wake of folk horror's resurgence in the post-2009 period. The last three years, for instance, has seen an excellent and comprehensive documentary film, Kier-La Janisse's Woodlands Dark and Days Bewitched: A History of Folk Horror (2021); a special issue of the journal Revenant: Critical and Cultural Studies of the Supernatural (2020) dedicated to folk horror (with a special issue of Horror Studies in the works); and four collections of scholarly essays either just published or forthcoming in 2023 (see Bacon; Bayman and Donnelly; Edgar and Johnson; and Keetley and Heholt). While Janisse's documentary devotes a significant length of time to American folk horror and at least two of the academic collections include a handful of essays on the topic, the overwhelming focus of this scholarship has been British folk horror. This is not surprising, of course, since the articulation of folk horror as either a genre or a literary and cinematic form emerged from writers' engagement with specifically British folk horror (see, e.g., Macfarlane, Beem and Paciorek, Newland, Scovell, Cowdell, Rodgers, Thurgill, Chambers, and Luckhurst). In a selfperpetuating feedback loop, definitions of folk horror that center British texts inevitably render British texts more visible as folk horror.
Acknowledging folklore as central to folk horror and how it is perpetuated through mass media is something that neither folklorists nor screen studies scholars are yet exploring in great depth. Although folk horror and 'wyrd' media are still relatively new categories, the British landscape is invariably noted as a key factor in creating eerie atmospheres onscreen. Robert Macfarlane notes that, rather than offering picturesque backdrops, the English landscape is "constituted by uncanny forces, part-buried sufferings …a realm that snags, bites and troubles...". This paper examines to what extent the use of landscape and themes of 'unearthing' characterises film and television as British, folk horror as a peculiarly British genre, and the British landscape as a character in its own right.
The Folkloresque: Reframing Folklore in a Popular Culture World
Jeffrey A Tolbert
This chapter considers the relationships between academic and popular attitudes toward folklore as revealed by a close analysis of one form of popular culture: the video game. Specifically, by analyzing several entries in the Fatal Frame video game series, this chapter considers one way in which popular culture has tended to conceptualize folklore, both as an academic discipline and as an aspect of social experience. In either case, popular culture’s use of folklore frequently centers on the supernatural. The folkloresque often hinges on issues of belief in the supernatural. Folk religion or “occult” folklore is often understood to be more “real” than official, orthodox faiths or scientific knowledge (real, in the sense that the supernatural forces it articulates have actual, verifiable existence). The frameworks for ritual behavior provided by folkloric sources (broadly conceived), according to many popular media, are in fact accurate and necessary for humans to survive interactions with those forces. Popular understandings of folklore are often embedded—sometimes quite self-consciously—in popular media. The use of folklore in such contexts raises important theoretical questions. Why should folklore create a more engagingly frightening experience? Examining these attitudes illustrates the considerable gap between disciplinary interests and understandings, on the one hand, and popular or vernacular ones. By considering these issues in the context of Fatal Frame, this chapter illustrates the savvy, creative uses of folklore by makers of popular culture, as well as the critical commentary they offer on the professional study of folklore.
Joyce O N O R O M H E N R E Agofure
Television schedules in 1970s Britain were so full of with stories involving folkloric narratives featuring paganism, witchcraft, stone circles and ghosts that such tales account for many hundreds of hours of programming. These often eerie series, episodes and teleplays had lasting effects on audiences and on makers of film and television today like Ben Wheatley (Kill List, 2011) Mark Gatiss (The Tractate Middoth, 2013) and Jeremy Dyson (Ghost Stories, 2017) whose work often distinctly references British 1970s television. My research examines how folklore is communicated in British television during the 1970s and the reasons for its continued impact. Television narratives like these are now beginning to be widely referred to as 'folk horror', coined in 2003 by director Piers Haggard to describe his film Blood on Satan's Claw (1971). Haggard's film is now canonised as one of the 'holy triumvirate' of folk-horror films alongside Witchfinder General (1968) and T...
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releasing all the tension and anxiety. Tudor (1989) researched 990 horror films in Britain from years 1981 to 1934, proposing. a three part narrative: instability is introduced in a stable condition, threat to instability is. resisted, and lastly, threat is diminished and situation becomes stable again. His proposal.
ABSTRACT. The purpose of this project is to examine gothic influences in contemporary horror cinema of the 2010s. To fulfill this purpose, the study employs comparative film analysis methods to analyze The Babadook (2014), The Invitation (2015), and Crimson Peak (2015) in order to identify intertextual gothic references in the cinematography ...
THE DECAY OF MONSTERS: HORROR MOVIES THROUGHOUT HISTORY by STEPHEN LOUTZENHISER A THESIS Presented to the Department of Digital Arts and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Fine Arts March 2016 View metadata, citation and similar papers at core.ac.uk brought to you by CORE
Appendices - Pg. 29. ABSTRACT. In the everchanging horror landscape, a group of recent horror films labelled as "elevated" has become commercially and critically successful. Critics and audiences alike praise them for the 'reinvigoration' of the genre. This thesis undertakes an analysis of two elevated horror films, Hereditary and ...
Murphy interrogates two key narratives within zombie culture, that of "limits" and of "democratic pragmatism"(p. 4-9). Limits, which is the more commonly used narrative, is marked by scarcity, conflict, threat (especially from the "other"), and a drive to trust in traditional institutional powers and structures.
Horror movies give the. most effective platform for analyzing the fears of Americans, especially when discussing. gender. The films discussed here are, in chronological order: Psycho (1960), The Birds. (1963), Rosemary's Baby (1968), The Exorcist (1973), Carrie (1976), The Invasion of the.
Terminator a tortured monster, a visual symbol of the narrative of 2: judgment day. USA, 1991 isolation and madness. Frankenstein is the one of most famous horror stories, which might live forever in horror circles - remade over and over again in horror movie history. The storyline in this movie is simple.
This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as "folk horror": a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry.
This thesis offers an analysis of women in horror film through an in depth exploration of what I term 'gynaehorror' - horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I
horror films directed by women filmmakers for a primarily female audience. Placing this new wave of horror cinema in dialogue with the canonical works of Linda Williams, Carol Clover, and Barbara Creed, I re-evaluate the assumption that horror forecloses the possibility of female spectatorship in favour of male audiences.
In this thesis, I explore the rich history of horror films through their most popular and well-remembered entries. Using this analysis of why each individual movie is well-remembered, I examine them as products of their own time and as classic media. This thesis discusses the concept of the "other", what the monsters and protagonists represent ...
evolution of horror-related movies and alters the aesthetics of animation to fit differing visual themes. I delve into the details of designing a character that can be altered to exist in these conjoining sections, as well as how to best cinematically tell my story. Additionally, I specifically examine the role of young women in horror movies, as
Abstract and Figures. Hanich looks at fear at the movies — its aesthetics, its experience and its pleasures--in this thought-provoking study. Looking at over 150 different films including Seven ...
The paper, through a method of literature analysis, explores some deep meanings behind nowadays horror movies and how they achieve these by using cinematography, color elements and metaphors ...
Furthermore there is a methodological dilemma, with film scholars preferring a qualitative approach, often via film textual analysis, and media psychologists primarily taking a quantitative ...
The Girl with All of the Gifts is a film that is premised on the zombie, post-apocalyptic. sub-genre of horror cinema. Melanie is a young girl who is one of the many infected with the. fungal disease along with a swatch of children who were born with the infection (colloquially.
This thesis offers an analysis of women in horror film through an in depth exploration of what I term 'gynaehorror' - horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry.
This thesis will seek to provide answers, firstly, as to how Halloween narratives serve as a subversion of the typical horror formulas and, secondly, why this particular field of study has been ignored for so long. Horror literature and cinema, typically, has the effect of frightening their audience, by creating a sense of fear,
A History of Horror. W. Dixon. Published 24 August 2010. History. Ever since horror leapt from popular fiction to the silver screen in the late 1890s, viewers have experienced fear and pleasure in exquisite combination. Wheeler Winston Dixon's A History of Horror is the only book to offer a comprehensive survey of this ever-popular film genre.
Female ghosts, such as the figure of Sadako in Nakata Hideo's film Ringu, have become icons of a new Asian Horror Cinema. The haunting protagonists of J-Horror (Japanese Horror) films have set the style for an abundance of similar works—with cultural specificities—in South Korea, Hong Kong, Thailand, the U.S. and elsewhere, and yet many characteristics of J-Horror films are hardly new ...
Red dots represent individual molecules of total Cdc42-GTP (both Cdc42-GTP and Bem1-GEF-Cdc42-GTP). The movie shows 600 simulated seconds. [Cdc42] = 0.050 μM. (MOV) PDF | On Jan 1, 2019, Manaar ...
See Full PDFDownload PDF. 1 Introduction: Defining Folk Horror Dawn Keetley (Lehigh University) Fans and critics alike have expended considerable energy defining 'folk horror', a form of cultural production that first emerged in the late 1960s and that has enjoyed a resurgence in the 2010s.
The Horror Cinema Professor: Farshad Aminian Time: Tuesdays 1:30 p.m.—4:15 p.m. (On Time) Class Location: Holmes Engineering 224 ... You must develop a thesis; that is, take a point of view on your topic and use evidence to support that point of view. Please do not use any direct quote in