A proposta deste trabalho é refletir de que forma a construção do horror presente em alguns contos de Horácio Quiroga revela aspectos da dicotomia, civilização e barbárie do Facundo de Sarmiento. Trata-se de buscar entender os contornos que o horror recebe deste contista uruguaio, a partir do horizonte estético e temático das suas influências ou pressupostos, bem como discutir alguns aspectos possíveis do Estado Nacional Argentino em suas fantasmagorias, enquanto espaço de inclusão e exclusão de atores e cenários sociais e históricos. / The purpose of this paper is to reflect on how the construction of horror in some tales of Horacio Quiroga reveals aspects of dichotomy, civilization and barbarism of Facundo de Sarmiento. It seeks to understand the contours that receives this Uruguayan horror short story writer, from the aesthetic and thematic horizon of their influence or assumptions, as well as discuss some possible aspects of the Argentine Government in its phantasmagoria, for as much as an area of inclusion and exclusion of actors and social and historical settings.

A proposta deste trabalho é refletir de que forma a construção do horror presente em alguns contos de Horácio Quiroga revela aspectos da dicotomia, civilização e barbárie do Facundo de Sarmiento. Trata-se de buscar entender os contornos que o horror recebe deste contista uruguaio, a partir do horizonte estético e temático das suas influências ou pressupostos, bem como discutir alguns aspectos possíveis do Estado Nacional Argentino em suas fantasmagorias, enquanto espaço de inclusão e exclusão de atores e cenários sociais e históricos. / The purpose of this paper is to reflect on how the construction of horror in some tales of Horacio Quiroga reveals aspects of dichotomy, civilization and barbarism of Facundo de Sarmiento. It seeks to understand the contours that receives this Uruguayan horror short story writer, from the aesthetic and thematic horizon of their influence or assumptions, as well as discuss some possible aspects of the Argentine Government in its phantasmagoria, for as much as an area of inclusion and exclusion of actors and social and historical settings.

Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition – a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture.

MA by Coursework and Research Report Wits School of Arts - Film & Television 2019 / This thesis is a study of post-socialist Chinese horror cinema – namely, horror films of the period from the film industry reform in 2003 to the present – and centres around the question of how Chinese horror filmmakers are responding to the new policies and regulations and achieve their financial success by fulfilling audiences’ expectations from the perspective of cultural traditions. It contributes to an overview of the Chinese film industry and the production value chain of horror films that is rarely accessible to the English-speaking world, thus it is also intended as a practical guide for producers and potential investors interested in entering the contemporary Chinese horror film market. This thesis argues for the essential role of government regulation and the cultural context of China in shaping the generic attributes of Chinese horror film in both post-socialist China and post-socialist cinema. / NG (2020)

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Thesis (M.A.)--University of Kentucky, 2002. / Title from document title page. Document formatted into pages; contains vii, 63 p. : ill. Includes film clips utilizing MPG files. Includes abstract. Includes bibliographical references (p. 60-62).

Thesis (Ph. D.)--University of Florida, 1979. / Vita. Typescript. Includes bibliographical references (leaves 189-199).

“From Slasher to Slaptsick: How Rewriting The Queen Bee Took Me from Horror to Teen Comedy” examines the process of switching preferred film genres through rewriting an existing script on assignment. / text

“Surviving ‘Maleficium’: the Perils of Writing Fantasy Horror” examines the creation and development of Lydia M. Harter’s feature length script and the personal impact of the process on the writer. / text

My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.