• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 202
  • 57
  • 50
  • 26
  • 12
  • 11
  • 9
  • 4
  • 2
  • 2
  • 2
  • 1
  • 1
  • 1
  • 1
  • Tagged with
  • 470
  • 119
  • 101
  • 98
  • 68
  • 67
  • 55
  • 50
  • 45
  • 44
  • 39
  • 38
  • 37
  • 36
  • 35
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
101

“Use of Thematic Conventions to Distinguish Genre in Horror Cinema"

Walli, Nic 15 December 2021 (has links)
No description available.
102

Filmový a malířský obraz oneirického žánru - Problém interpretace / Film and Painting image of Oneiric Genre - The Problem of Interpretation

Malina, Lukáš January 2017 (has links)
The subject of the thesis is a comparative analysis of sign production and the interpretation of the film and painting of oneiric or horror genre focused on Vall Lewton's films and their similarity to the painting in creating an atmosphere of uneasiness and fear. Although these works are based on a sign structure, which is an important key to their interpretation, they are not independent of the different interpretations they allow. On the contrary, it seems that the work's intention is to encourage the viewer to complete the art by projecting his own fear into it. This approach is based on Umberto Eco's and Jan Mukařovský's theory of the interpretation, both of which emphasizing the reader's role in understanding the principle of functioning of the work of art. The concepts of the model author and model reader in Eco's theory and the term semantic gesture within Mukařovský's work are sharing numerous similarities.
103

The Evolution of Yōkai in Relationship to the Japanese Horror Genre

Johnson, Adam J 17 July 2015 (has links)
In 2007, popular mystery author Kyōgoku Natsuhiko attempted to adapt a collection of random stories known as the Mimi bukuro or Tales Heard into kaidan, tales of the strange and mysterious for today’s readership. The writing experiment ended with Kyōgoku questioning his own writing abilities and publishing his small collection of adapted stories into a book that was not considered very frightening. Although the experiment failed, Kyōgoku’s efforts raise the question, “if not kaidan, what is frightening in the twentieth century?” The reason why kaidan are no longer frightening is because their central characters, yōkai, have been displaced from the horror genre. Today the yōkai that were once popular in the Edo period have been “cutesified” for businesses, films, and children’s shows. What is frightening today is no longer the Edo period monster, but rather aliens, ghosts, scientific monsters, and serial killers that represent a fear of the unknown. While the unknown has been a fear of man since the beginning, how it is symbolized and interpreted changes over time based on society and individual experiences. Chapter one traces the development of yōkai’s transformation from traditional horror story icons to children’s characters and role models. Chapter two analyzes and compares four of the original stories from the Mimi bukuro to Kyōgoku’s adaptation to understand what was scary during the Edo period, and what Kyōgoku deemed frightening in modern times. Chapter three analyzes three different monsters and explains why they were frightening and what problems or unknown situations each monster represented for modern audiences.
104

FROM REAL TO REEL: WHITE SUPREMACY AND ITS EVERYDAY HAUNTING OF BLACK LIVES

Iyun, Abimbola 01 August 2023 (has links) (PDF)
White supremacy fundamentally organizes society in its own image. It places itself at the top of a social hierarchical order where everything defaults to its own likeness and desires. In this dissertation, I deconstruct the nature of White supremacy and highlight the conventions of Black horror that interrogate it as evil and monstrous. In the chapters that follow, I do this through a close reading of the television series Lovecraft Country (Misha Green, USA, 2020) and underline how Black horror brings to the surface the everyday experiences of Black subjects in a racist society. While several commentators had claimed that with the presidency of Barack Obama we had moved into a post-racial society, cultural texts like Lovecraft Country show that such claims are disconnected from reality.#White Supremacy #White Monstrosity #Whiteness as evil #Black horror.
105

Cross-Cultural Standards of Femininity in the Post-Modern Horror Film: A Case Study of Carrie and Shutter

Linneman, Laura Marie 16 May 2011 (has links)
No description available.
106

A dark new world : anatomy of Australian horror films

Ryan, Mark David January 2008 (has links)
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.
107

Fronteiras do medo: semelhanças produtivas e diferenças culturais em Ringu e o Chamado

Maciel, Filipe Tavares Falcão 27 February 2014 (has links)
Made available in DSpace on 2015-05-07T14:46:45Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3360568 bytes, checksum: 1c01f6b8c73ab099752603932d52c725 (MD5) Previous issue date: 2014-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Since the release of the film Ringu, in 1998, the Japanese contemporary horror cinema, or J Horror, became a filmic addressing form for the West. These Japanese horror movies have created a way of production that was soon "discovered" and exported by Hollywood through remakes for international audiences. The fact that the production of a remake will present differences between the original film and the new version is clear and doubtless. When these horror films are analysed as entertainment, it is possible to study much more than just filmic differences presented by cultural aspects. We developed our analysis in the perspective that there are reframings in the remakes of the movies as this means part of a productive logic way of the film industry as entertainment. In addition to the comparisons between Ringu and its American remake, The Ring, this research aims to develop the elements of production, distribution and exhibition as these three topics answer the aspects of the cinema as an industry. Through this triad, besides the cultural environment, it may be possible, for example, to find answers to suggest the changes we can notice in the remakes due to get an extension of an international audience as the original movie is usually released only in Japan. / Formatado a partir do lançamento do filme Ringu, de 1998, o horror japonês contemporâneo, ou J Horror, tornou-se uma forma de endereçamento fílmica para o Ocidente. As obras japonesas geraram um modelo de produção de sentido logo descoberto e exportado por Hollywood com refilmagens para um público internacional. Que a produção de um remake gera diferenças entre o filme original e a refilmagem, não há dúvidas. Mas, ao analisar o cinema de terror como entretenimento, é possível perceber muito mais do que apenas diferenças fílmicas em função de aspectos culturais. Trabalhamos nossa análise na perspectiva de que há reenquadramentos temáticos nas refilmagens de obras uma vez que as mesmas fazem parte de uma lógica produtiva da indústria do cinema como entretenimento. Além das comparações entre Ringu e sua refilmagem norte-americana, O Chamado, esta pesquisa pretende se debruçar, em particular, nos aspectos extratextuais do cinema como entretenimento em cada nação, o que faz necessário debater elementos de produção, distribuição e exibição. Por meio desta tríade, além do entorno cultural, talvez seja possível, por exemplo, compreender as mudanças feitas nas refilmagens em função de obter um alargamento de um público internacional ao qual o remake é destinado em comparação com o produto original, que costuma ser exibido apenas no Japão.
108

Extreme horror fiction and the neoliberalism of the 1980s: Splatterpunk, radical art, and the killing of the collective society

Michael R Duda (8837930) 14 May 2020 (has links)
<p>Splatterpunk was a short-lived, but explosive horror literary movement birthed in the 1980’s that utilized graphic depictions of violence in its prose. Drawing parallels to other subversive and radical art movements like Dada and Hardcore Punk, this paper examines through a Marxist lens how Splatterpunk, influenced by the destructive nature of 1980’s neoliberalism, reflected the violence, categorized as direct and structural, of its period of creation and used extreme vulgarity as an act of rebellion against traditional horror canon.</p>
109

Female Leads: Negotiating Minority Identity in Contemporary Italian Horror Cinema

De Camilla, Lauren January 2020 (has links)
No description available.
110

Hunks of Meat: Homicidal Homosociality and Hyperheteronormativity in Cannibal Horror

Ryan, Christopher James 24 July 2012 (has links)
No description available.

Page generated in 0.0375 seconds