In this paper, I will share in detail the entire process of creating my thesis film, The Woodshed. I will cover each step from writing and pre-visualization to producing, directing, production design, cinematography, editing, and sound. I will mainly focus on the style of directing I employed and the key decisions I made as an editor to best tell my story. I will then evaluate my decisions to determine the success of the project.

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Объектом исследования эмоциональная сфера. Предметом исследования стала эмоциональная сфера у лиц, предпочитающих жанр хоррор. Выпускная квалификационная работа состоит из введения, двух разделов, заключения, списка литературы (100 источников) и двух приложений, включающих в себя бланки применявшихся методик. Объем работы 90 страниц, на которых размещены 8 рисунков и 11 таблиц. Во введении раскрывается актуальность проблемы исследования, разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная и дополнительные гипотезы, указываются методы и эмпирическая база, а также этапы проведения исследования, научная новизна, теоретическая и практическая значимость работы. Первая глава включает в себя обзор иностранной и отечественной литературы по теме эмоциональная сфера, эмоциональная структура личности. Представлены разделы, посвященные исследованию эмоциональной сферы у лиц, предпочитающих жанр хоррор. Выводы по первой главе представляют собой итоги по изучению теоретического материала. Вторая глава посвящена эмпирической части исследования. Для проведения эмпирического исследования было подобрано 4 тестовые методики: «Шкала позитивного аффекта и негативного аффекта, ШПАНА» (Д. Уотсон, Л. Кларк и А. Теллеген, адаптация – Е. Н. Осин), «Тест эмоционального интеллекта» (Н. Холл, адаптация – Е. П. Ильин), «Опросник Басса-Дарки» (А. Басс, А. Дарки, адаптация – А. А. Хван, Ю. А. Зайцев, Ю. А. Кузнецова), «Самооценка эмоциональных состояний» (А. Уэссман и Д. Рикс, адаптация – А. Карелин). Также в главе представлен сравнительный и корреляционный анализ результатов исследования. Выводы по главе 2 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики. / The object of the study is the emotional sphere. The subject of the study was the emotional sphere of people who prefer the horror genre. The final qualification work consists of an introduction, two sections, a conclusion, a list of references (100 sources) and two appendices, including forms of the methods used. The volume of work is 90 pages, which contain 8 figures and 11 tables. The introduction reveals the relevance of the research problem, the development of the problematics, the purpose and objectives of the research are set, the object and the subject of research are determined, the basic and additional hypotheses are formulated, the methods and the empirical base are specified, as well as the stages of the research, the scientific novelty, the theoretical and practical significance of the work. The first chapter includes a review of foreign and domestic literature on the topic of the emotional sphere, the emotional structure of personality. The sections devoted to the study of the emotional sphere in people who prefer the horror genre are presented. The conclusions of the first chapter represent the results of the study of theoretical material. The second chapter is devoted to the empirical part of the study. To conduct an empirical study, 4 test methods were selected: "Scale of positive affect and negative affect, punks" (D. Watson, L. Clark and A. Tellegen, adaptation – E. N. Osin), "Emotional intelligence test" (N. Hall, adaptation – E. P. Ilyin), "Bass-Darky questionnaire" (A. Bass, A. Darkey, adaptation – A. A. Hwang, Yu. A. Zaitsev, Yu. A. Kuznetsova), "Self–assessment of emotional states" (A. Wessman and D. Rix, adaptation - A. Karelin). Also, the chapter presents a comparative and correlation analysis of the results of the study. The findings of Chapter 2 are the main results of the empirical study. In conclusion, brief results of the theoretical and empirical parts of the work are presented, as well as conclusions on the hypotheses. The practical significance of the study is substantiated and possible prospects for further development of the problematics are described.

Horror, one of the most popular genres of entertainment, can be quite hard to get right. This report explores the visual subject of psychological horror in games, aiming to answer the following questions: How is the genre handled in movie production? How have previous game developers done this, both for bigger productions as well as indie games? How well did the chosen movies and games manage to translate the horror feeling into the visuals? The chosen method to determine this is image analyses and surveys. The results showed that there are not many differences between how the genre is handled in movies compared to games, though there are a few. Results from the surveys showed that games are more often perceived scary and disturbing on a higher degree than movies. / Skräck, en av de mest populära genrerna inom underhållning, kan vara ganska svår att få till. Den här rapporten utforskar de visuella ämnenena inom psykologisk skräck i spel, utifrån följande frågeställningar: Hur hanteras genren inom filmproduktion? Hur har tidigare spelutvecklare genomfört detta, både för större produktioner och för indiespel? Hur väl har de utvalda filmerna och spelen lyckats översätta skräckkänslan i det visuella? Den valda metoden för att fastlägga detta är bildanalyser och enkätundersökningar. Resultaten visar att det inte finns många skillnader mellan hur genren hanteras inom film jämfört med spel, även om det finns några. Resultat från enkätundersökningarna visar på att spel oftast ses som läskigare och obehagligare på en högre nivå än filmer.

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. Contemporary horror production has been driven by numerous forces, including a strong worldwide market demand for horror films and the increasing international integration of the Australian film industry; the lowering of production barriers with the rise of digital video; the growth of niche markets and online distribution models; an inflow of international finance; and the rise of international partnerships. In light of this study, a ‘national cinema’ as an approach to cinema studies needs reconsideration – real growth is occurring across national boundaries due to globalisation and at the level of genre production rather than within national boundaries through pure cultural production. Australian cinema studies – tending to marginalise genre films – needs to be more aware of genre production. Global forces and emerging distribution models, among others, are challenging the ‘narrowness’ of cultural policy in Australia – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced domestically.

Denna studie utgör en didaktisk läsning av tre tv-spel inom skräckgenren, Among the Sleep (2016), Little Nightmares II (2021) samt Until Dawn (2015). Syftet är att undersöka hur dessa spel potentiellt kan länkas till litteraturen i svenskämnesundervisningen och fungera som en bro mellan medierna tv-spel och litteratur i undervisningen i gymnasieskolan. Analyserna bygger på en narratologisk läsning av materialet i ljuset av karakteristiska drag för skräckgenren som diskuteras i relation till teorier om undervisning. Analyserna visar att de analyserade tv-spelen besitter likheter med de karakteristiska drag som förekommer inom andra medieformat inom skräckgenren, däribland litteraturen. En slutsats som kan dras utifrån analyserna är att det tycks finnas potential i att nyttja tv-spelen som fiktion i litteraturundervisningen i svenskämnet för att använda de som en bro över till litteraturen, i form av gemensamma nämnare mellan medieformaten. / This study constitutes a didactical reading of three videogames within the horror genre, Among the Sleep (2016), Little Nightmares II (2021) and Until Dawn (2015). The aim is to investigate how these games potentially can be utilized to create a connection between videogames and literature within the context of education, more specific the Swedish subject in upper secondary school. The analyses are based upon a narratological reading of the videogames, through the lens of traits usually found within the horror genre, to be discussed in relation to didactical aspects. The analyses address that the videogames, within this study, occupy similarly traits as presented in other formats of media, including literature. A conclusion that can be drawn based upon the analyses is that there ought to be a potential in using the videogames as fiction to create a bridge over to the literature, more specific to use the similarities that exists between the two types of media, this within the Swedish subject at upper secondary school.

Este proyecto de investigación tiene como objetivo explicar las características del personaje de Norman Bates y su aporte en la narrativa del género terror. Por lo que, para realizar la investigación se optó por el diseño de la estrategia metodológica cualitativa. Esta metodología de investigación resulta idónea, porque el objetivo es interpretar los discursos, opiniones, comentarios y percepciones del grupo de interés para la investigación. Además, se busca identificar y analizar el proceso de creación de los personajes en la narrativa del género terror. Se aplicó entrevistas como método de investigación y se descubrió que el personaje de Norman es el resultado del conjunto de elementos audiovisuales propios del género de terror contemporáneo. Siendo considerada la serie Bates Motel como una hibridación de géneros, se tiene en claro que el personaje de Norman es un ícono representante de la nueva generación de series de terror, el cual usa sutilmente los elementos propios del género. / This research project aims to explain the characteristics of the character of Norman Bates in the Bates Motel series and his audiovisual contribution in the narrative in the contemporary horror genre. Therefore, in order to carry out the research, the design of the qualitative methodological strategy was chosen. This research methodology is ideal, because the objective is to interpret the speeches, opinions, comments and perceptions of the research interest group. In addition, it seeks to identify and analyze the process of creating the characters in the narrative of the horror genre. After the application of the research method, it was found that the character Norman is the result of the set of audiovisual elements typical of the contemporary horror genre. Being considered the series Bates Motel as a hybridization of genres, it is clear that the character of Norman is a representative icon of the new generation of horror series, which subtly uses the elements of the genre. / Tesis