This study explores the patriarchal unconscious underlying the Korean horror genre through a critical feminist psychoanalytical reading of the family dynamics and female agency in three landmark texts, namely, The Public Cemetery under the Moon (Kwon, Chul-hwi, 1967), Mother's Han (Lee, Yusup, 1970) and Woman's Wail (Lee, Hyuksu, 1986). By closely examining these horror film texts using insights from feminist psychoanalytic approaches and situating the texts within historical events and popular culture in the Park Chung Hee era, this study produces an understanding of the cultural dilemmas of women's desire and agency, and especially those of mothers. These textual analyses demonstrate that Confucian virtues, especially as been reinvented under Park Chung Hee's leadership to facilitate developmentalist goals, have formed the roots that shape the mother-child relationship into one that both parties want to dissolve. Through placing the cinematic representation of the monstrous feminine within a historical understanding of Korean horror cinema, this dissertation also demonstrates that the sacred, perfect image of the mother as it is known in Korean popular culture today is in fact historically produced formation within the genre. Besides, with Woman's Wail, a very characteristic Confucian female monster is discussed, namely, the mother-in-law. With this very rare type of the female monster, the misogynistic gender politics within Confucian patriarchy is saliently represented. The feminist psychoanalytic discussion on the spectatorship focuses on the interplay between the image and the Confucian female spectator. In a close reading of the two women's desires in The Public Cemetery under the Moon, this study explores the ways in which the female spectator may find visual pleasures in Korean horror cinema and the ways in which they are communicated and negotiated vis-à-vis the matrix of gender politics in Confucian culture. Taken together, this work demonstrates how the Confucian value system re-invented in the Park Chung Hee era has been a crucial apparatus for women's oppression, and at the same time, how women's agency is nonetheless evinced despite the strictures of Confucianism.

Carol Clover defined a Final Girl as a stereotype of the pure, virginal sole survivor in 1980’s slasher films such as Texas Chainsaw Massacre and Halloween. But does this representation hold up in 2016 films? Because the horror genre is so broad today, it’s almost impossible to nail down a certain stereotype of the genre, if there even is one. Films like the 1996 slasher parody Scream historically subverted the slasher genre, and since then there has been little to no iconic Final Girls. I argue that this trope is one very much set inside the confines of the 1980’s slasher genre, and instead is being replaced by an older, more responsible Dysfunctional Mother female character that arises from supernatural films of the late 2000’s-2010’s.

With Second Wave Feminism and the Women’s Rights Movement, 1970’s Americans began to see a shift in gender norms affecting how we relate to one another, particularly within a family structure. Scholars have noted an anxiety permeating the decade over the potential negative ramifications of such a drastic cultural shift. We see these issues of gender politics played out in numerous popular films from the 1970s and into the 1980s. Kubrick’s The Shining, like many horror films of the time, preys upon the societal fear for the family, due to these shifting gender norms, by featuring a crumbling patriarch (Jack), a troubled child (Danny), and mother struggling to hold her family together (Wendy). Upon closer examination The Shining stands out for its progressive narrative which supports leaving behind outdated ideas of masculinity and femininity, in favor of embracing a more open and ambiguous definition. Kubrick uses his characters as figures, representative of broader social and cultural conflicts. His film operates at two levels, the individual (or micro level of the character’s story) and the systemic (or macro, how their story reflects large social issues). In this way he exposes the toxicity of traditional masculinity and its detrimental effects on a family. By killing Jack and allowing Wendy and Danny to escape, The Shining emphasizes the need to progress and reshape our perceptions of gender identity. In my examination of the film I combine film theory with historicism, leaning on the works of cultural history scholars as well as film scholars. My analysis of The Shining expands both our understanding of the film and of its cultural moment, unearthing issues we continue to grapple with as a society today.

The thesis analyse methods of adaptation Dracula character by using five movies in chronological order. The heart of the thesis follows changes of the character in order to relationship with other characters of the movie, also in order to narrative and ideological changes. The thesis also considers differences between individual movies and what part Dracula character takes in it.

Submitted by Flávio Renato dos Santos (flavioguap@hotmail.com) on 2018-10-03T21:51:38Z No. of bitstreams: 1 Dissertação - FLÁVIO RENATO DOS SANTOS - FINALIZADO.pdf: 3662521 bytes, checksum: 5c4c1aa3cb5b99a4f276d0d3f26499c2 (MD5) / Rejected by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br), reason: Prezado Flávio, O documento enviado para a coleção Campus Unesp Rio Claro foi recusado pelo(s) seguinte(s) motivo(s): - Falta o local de defesa na capa, elemento obrigatório. Agradecemos a compreensão e aguardamos o envio do novo arquivo. Atenciosamente, Biblioteca Campus Rio Claro Repositório Institucional UNESP https://repositorio.unesp.br on 2018-10-04T17:29:01Z (GMT) / Submitted by Flávio Renato dos Santos (flavioguap@hotmail.com) on 2018-10-04T18:48:02Z No. of bitstreams: 1 Dissertação - FLÁVIO RENATO DOS SANTOS - FINALIZADO.pdf: 3662521 bytes, checksum: 5c4c1aa3cb5b99a4f276d0d3f26499c2 (MD5) / Approved for entry into archive by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br) on 2018-10-04T19:12:25Z (GMT) No. of bitstreams: 1 santos_fr_me_rcla.pdf: 3662521 bytes, checksum: 5c4c1aa3cb5b99a4f276d0d3f26499c2 (MD5) / Made available in DSpace on 2018-10-04T19:12:25Z (GMT). No. of bitstreams: 1 santos_fr_me_rcla.pdf: 3662521 bytes, checksum: 5c4c1aa3cb5b99a4f276d0d3f26499c2 (MD5) Previous issue date: 2018-08-15 / A presente pesquisa, de natureza qualitativa, discute a escrita de gêneros textuais por alunos do último ano do Ensino Fundamental I, procurando avaliar sobretudo os componentes formais do gênero escrito, tais como estrutura composicional, estilo de linguagem e conteúdo temático. Este estudo divide-se em duas fases: 1. Discussão teórico-bibliográfica e levantamento de estudos acadêmicos; 2. Estudo de campo com a análise dos textos escritos pelos alunos. A bibliografia estudada apontou para a necessidade do letramento escolar e, portanto, para a obrigatoriedade do ensino dos gêneros textuais nas escolas de modo sistematizado (de seus componentes internos e externos), uma vez que seu aprendizado propicia a participação dos sujeitos em práticas sociais de uso da escrita. Constatou-se também, pela leitura de teses, dissertações e artigos acadêmicos, que os alunos escreveram gêneros textuais funcionais nas escolas, contudo, houve diferentes problemas na construção de seus componentes internos que comprometeram o uso social de tais textos. Para resolvê-los, essas pesquisas sugeriram o uso das Sequências Didáticas, já que, por meio delas, é possível identificar os problemas de escrita do gênero e construir atividades direcionadas à sua solução. No mesmo sentido, também estão os resultados obtidos no estudo de campo, constatou-se, na escrita de poemas e de narrativas de terror, a capacidade escritora de gêneros textuais pelos alunos, porém, com fragilidades no desenvolvimento de seus componentes internos. As análises dos textos permitiram traçar uma relação direta entre as atividades desenvolvidas pelas docentes e os resultados das escritas. O desenvolvimento do conteúdo temático, por exemplo, foi 100% alcançado na escrita dos poemas, cujo trabalho com o tema foi sistematizado pela Professora A; já o desenvolvimento verossímil do terror e do medo nos contos de terror, não trabalhado pela outra docente, foi alcançado apenas por 27,2% dos alunos. O trabalho feito pela professora A com a estrutura do poema, em versos e em estrofes, também propiciou resultados satisfatórios nas escritas, diferente do que ocorreu com a linguagem, cujo estilo conotativo, necessário aos poemas, não foi trabalhado pela docente e, portanto, quase não aconteceu nos textos dos alunos. Da mesma forma, os contos de terror, para os quais a Professora B não propôs nenhuma intervenção, apresentaram muitos problemas relativos ao uso da norma padrão da língua, dentre eles, 22,7% tiveram o entendimento de excertos dos textos comprometido pelas dificuldades de escrita apresentadas. Diante disto, conclui-se que a criação das Sequências Didáticas, destinadas ao atendimento das dificuldades dos alunos, é necessária para o avanço na construção dos componentes internos dos gêneros textuais escritos, já que se observou que, quando trabalhados sistematicamente pelas professoras, houve progresso na escrita. / The present research, of a qualitative nature, discusses the writing of textual genres by students of the last year of Elementary School I, trying to evaluate, in particular, the formal components of the written genre, such as compositional structure, language style and thematic content. This study was divided into two phases: 1. Theoretical - bibliographic discussion and survey of academic studies; 2. Field study with the analysis of texts written by the students. The bibliography studied pointed to the necessity of school literacy and, therefore, to the compulsory teaching of the textual genres in schools in a systematized way (of their internal and external components), since their learning provides the participat ion of the subjects in social practices of use of the writing. It was also verified by reading theses, dissertations and academic articles, that students wrote functional textual genres in schools; however, there were different problems in the construction of its internal components that compromised the social use of such texts. In order to solve them, these researches suggested the use of Didactic Sequences, since, through these, it is possible to identify the problems of writing of the genre and the const ruction of activities directed to its solution. In this way, are also the results obtained in the field study; it was verified, in the writing of poems and horror narratives the writing ability of textual genres by the students; however, with weaknesses in the development of its internal components. The analysis of the texts allowed to draw a direct relation between the activities developed by the teachers and the results of the writing. The development of the thematic content, for example, was 100% achieve d in the writing of the poems, whose work with the theme was systematized by Professor A, and the verisimilar development of terror and fear in the tales of terror, not worked by the other teacher, was reached by only 27.2% of the students. The work done b y teacher A with the structure of the poem, in verses and in stanzas, also provided satisfactory results in the writings. Different from what happened with language, whose connotative style, necessary to the poems, was not worked by the teacher and, theref ore, almost did not happen in the texts of the students. Similarly, the horror stories, for which Professor B did not propose any intervention, presented many problems related to the use of the standard language, among them, 22.7% had an understanding of e xcerpts from texts compromised by the difficulties of presented. From this, it was concluded that the creation of Didactic Sequences, at addressing the difficulties observed, are primordial to obtain improvements in the construction of internal components of written text genres, since it was observed that, when they were systematically worked by the teachers, there was progress in writing.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicão e Expressão. Programa de Pós-Graduação em Letras/Ingles e Literatura Correspondente / Made available in DSpace on 2013-07-16T00:42:06Z (GMT). No. of bitstreams: 0 / Esta dissertação propõe uma interpretação Jungiana e Pós-Jungiana do romance Drácula, escrito por Bram Stoker, e sua versão cinematográfica Drácula de Bram Stoker de Francis Ford Coppola. Incluindo alguns aspectos do Romantismo, características de algumas narrativas de horror e o uso de conceitos Jungianos e pós-Jungianos, apresento uma proposta de um conceito teórico e crítico que decidi chamar de "Fog Era" (a Era da Bruma). Este conceito é essencialmente dinâmico e contém um aspecto seminal e imutável que faz com que seus elementos passeiem por diferentes contextos históricos e se readaptem, adquirindo novos contornos. A função proposta para a "Fog Era" é servir como uma ferramenta para análise de algumas facetas do horror, primeiro nas narrativas mencionadas e depois em outras narrativas analisadas brevemente. Na Introdução mostro os passos que devo seguir nos outros capítulos e que bases do Romantismo e fronteiras literárias devem limitar meu trabalho. No Capítulo I, item 1, mostro quais conceitos Jungianos uso para minha análise, bem como uma perspectiva mais contemporânea dos pesquisadores pós-Jungianos. No item 2, apresento o Romantismo em antagonismo com os valores Vitorianos e explico porque o conceito Jungiano da sombra é válido para dizer que os Vitorianos são a sombra dos Românticos. No item 2.1, o arquétipo da Mãe é usado para justificar o contexto em que as narrativas de horror foram criadas. No item 2.2, uma relação entre arquétipos e personagens é feita e será o suporte para a análise no próximo capítulo. O Capítulo II traz a análise completa da versão de Coppola, sendo que no item 1 mise-en-scène e caracterização são relacionadas com os conceitos Jungianos e o item 2 mostra a reiteração da análise e o novo contexto histórico do filme. O item 3 apresenta minha proposta de um novo conceito teórico para analisar as narrativas horror, chamada de "Fog Era". Na Conclusão revejo a teoria usada, confirmo as características e a utilidade da noção de "Fog Era". This thesis proposes a Jungian and post-Jungian interpretation of the novel Dracula, written by Bram Stoker, and its filmic version Bram Stoker's Dracula, directed by Francis Ford Coppola. With the inclusion of some aspects of Romanticism, characteristics of some horror narratives and the use of Jungian and post-Jungian concepts, I attempt at defining a new critical theoretical concept that I call the Fog Era. This concept is essentially dynamic and contains a seminal immutable aspect that makes its elements travel through different historical contexts and re-adapt themselves while acquiring new contours. The function proposed to the Fog Era concept is to serve as a tool to analyze some of the horror manifestations in the narratives mentioned above; at the same time, some other narratives are analyzed briefly. In the Introduction, I show the steps I will follow in the subsequent chapters and establish what basis of Romanticism and what literary boundaries will limit my corpus. In Chapter I, item 1, I show which Jungian concepts I need in order to develop my analysis, as well as a more contemporary and reviewed perspective of post-Jungian researchers. In item 2, I present aspects of Romanticism in antagonism with Victorian values and explain why the concept of shadow proposed by Jung is valuable to define the Victorians as the shadow of the Romantics. In item 2.1, the Mother Archetype is used to justify the context in which the horror narratives were created. In item 2.2, a relation is made among the archetypes and the characters present in the narratives, which will support the analysis for the next chapter. In Chapter II a full analysis of Coppola's filmic version is done: in item 1 the mise-en-scène and characterization are related to the Jungian concepts and in item 2, a reiteration of the analysis and the new historical context of the film. In item 3, I finally present my proposal of the new theoretical concept to analyze horror narratives, called the Fog Era. In the Conclusion, I review the theoretical frame used, and confirm the characteristics and usefulness of the Fog Era.

This paper explores the way that “truth” is constructed in a fictional sphere through visual and narrative references. I draw upon Caetlin Benson-Allott’s Paranormal Spectatorship, and Jay David Bolter and Richard Grusin’s Remediation to inform my analysis of these constructions. I look specifically at Roanoke, the sixth season of American Horror Story, to provide examples of the way faux footage horror’s unique use of the subjective shot constructs the spectator as both a witness and an interrogator, and creates an aesthetic language of truth. While being immersed in the story, viewers are simultaneously invited to consider how the narrative is being constructed, and by whom. This parallactic viewing experience suggests a future for the unique challenge of serialized televisual horror.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-11-01T22:24:23Z No. of bitstreams: 1 JulianaLopesDaSilvaPessoa_DISSERT.pdf: 1582697 bytes, checksum: a52face607fae13679d6ff06752e4545 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-11-13T23:27:27Z (GMT) No. of bitstreams: 1 JulianaLopesDaSilvaPessoa_DISSERT.pdf: 1582697 bytes, checksum: a52face607fae13679d6ff06752e4545 (MD5) / Made available in DSpace on 2017-11-13T23:27:27Z (GMT). No. of bitstreams: 1 JulianaLopesDaSilvaPessoa_DISSERT.pdf: 1582697 bytes, checksum: a52face607fae13679d6ff06752e4545 (MD5) Previous issue date: 2017-07-28 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq) / O estudo investigou a interface da literatura de horror com a educa??o. Sua relev?ncia consiste em valorizar a presen?a do conto de horror na sala de aula, visto que o medo experimentado por meio desse g?nero ? um modo de conhecer e de fortalecer nossas estruturas emocionais para fazer face aos horrores da vida. O medo ? o sentimento mais antigo, mais forte da humanidade e, destes, o medo do desconhecido talvez seja o mais poderoso. A pesquisa foi realizada em uma escola p?blica do munic?pio de Natal/RN,Brasil, em uma turma de 5? ano do ensino fundamental com 17 sujeitos. Filia-se ? pesquisa de abordagem qualitativa, na qual se privilegiou a observa??o participante com interven??o. Como instrumentos para constru??o de dados, recorreu-se ? grava??o em v?deo, a entrevistas e ao di?rio de campo. A professora titular da turma recebeu forma??o para atuar como mediadora do processo. As sess?es de leitura de literatura de horror foram apoiadas na metodologia de andaimagem (scaffolding) descrita por Graves e Graves (1995). O foco de an?lise privilegiou a forma??o docente e a experimenta??o do leitor ao medo atrav?s das aulas de Literatura de Horror. O corpus liter?rio foi composto pelos contos dos livros ?Sete ossos e uma maldi??o? de Rosa Amanda Strausz (2013) e ?Sete hist?rias para balan?ar o esqueleto? de Angela Lago (2011) em um total de 8 sess?es de leitura de literatura. O aporte te?rico fundamenta-se em estudos da literatura e inf?ncia: Amarilha (2009), Bettelheim (2015), Zilberman (2004). Literatura de Horror: Burke (2013), Eco (1994), Fran?a (2008), Lovecraft (2007), Todorov (2010; 2014), dentre outros. Os resultados apontam para a necessidade de haver forma??o espec?fica para o trabalho com o conto de horror, que pode encontrar resist?ncia por parte do mediador; os aprendizes se engajaram nas sess?es de leitura, demonstraram apreciar o g?nero e apresentaram criticidade aos temas abordados. A literatura de horror provoca no leitor o sentimento de medo f?sico ou psicol?gico; o crit?rio final de autenticidade de uma obra de horror n?o ? o enredo, mas o tipo de sensa??o que ela ? capaz de produzir. Se a literatura de horror lida com sentimento t?o fundamental do ser humano - o medo, ent?o, ? relevante que ela seja acess?vel aos jovens leitores, como um ensaio geral para a vida. / The study investigated the interface between horror literature and education. Its relevance refers to the valorization of the presence of horror stories in the classroom once the fear experienced through this genre is a way of knowing and strengthening our emotional structures to face horrors in life. Fear is the oldest feeling, the strongest of mankind, and among its several kinds, the fear related to the stranger is perhaps the most powerful. The research was carried out in a public school in the city of Natal/RN, Brazil, in a class of 5th grade of elementary school with 17 students. The study is based on a qualitative research that focused on the participant observation with intervention. Video records, interviews and field diary were used as instruments for data construction. The teacher of the class was trained to act as mediator of the process. The reading sessions of horror literature were supported by the scaffolding methodology described by Graves and Graves (1995). The focus of the analysis was on the teacher training and the fear reader experimentation through Horror Literature classes. The literary corpus was composed by short stories of the book "Sete ossos e uma maldi??o" by Rosa Amanda Strausz (2013) and "Sete hist?rias para balan?ar o esqueleto" by Angela Lago (2011), totalizing 8 literature reading sessions. The theoretical contribution is based on children?s literature studies: Amarilha (2009), Bettelheim (2015), Zilberman (2004); Horror Literature: Burke (2013), Eco (1994), France (2008), Lovecraft (2007), Todorov (2010; 2014), among others. The results point to the need for specific training on the work with horror stories, which may encounter resistance from the mediator; the apprentices engaged in the reading sessions, demonstrating appreciation of the genre and presenting criticality to the themes; horror literature causes the feeling of physical or psychological fear in the reader; the ultimate criterion for a work authenticity is not the plot, but the kind of sensation it is able to produce. If horror literature deals with such a fundamental human feeling - fear - it is relevant, therefore, that it becomes accessible to young readers as a general experiment for life.

Entertainment is an ever-changing medium, and television specifically has gone through many technological innovations since its bright beginnings. These innovations have consistently changed the way stories are told. Stylistic shifts in key elements ranging from shot format to the way shows are constructed can be seen especially clearly in horror which does not have the same narrative constraints as many other genres, and therefore more room to experiment. By tracking changes in the narrative formats of serialized and anthology horror shows, I define a new era of television brought about by the prevalence of streaming, and the rise of binge culture.

This thesis examines the depiction of warfare in post-9/11 ancient world epics and assesses the extent to which these films engage with contemporary events by means of allegory and analogy. Inspired by scholarship on allegorical and analogous interpretations of 1950s-60s ancient world epics, I explore how the current cycle engages with the American socio-political landscape in the wake of 9/11, with particular emphasis on the War on Terror and ensuing conflicts in Iraq and Afghanistan. I chart the genre’s evolution in relation to the combat film, and examine how the current cycle of ancient world epics integrates the tropes of other genres into its portrayal of warfare, invasion, occupation and imperialism. Within this context, I explore the recurrent motif of the father-son dynamic, and assess how its use in combat films corresponds to that in ancient world epics. I also discuss how this motif was employed in 1980s Vietnam War films, and what its use in these modern epics suggests about the conflicts in Iraq and Afghanistan. Furthermore, I discuss the use of the unreliable narrator to engage with wider debates on the value of historical films compared to written history. The aim of this study is to demonstrate that the ancient world epic is a malleable construct with which filmmakers can engage with the present while depicting the past. I build on existing studies of the ancient world in cinema, contributing new understanding of the current cycle’s relationship to its predecessors, to other genres, and to post-9/11 American society. In so doing this thesis contributes to notions of film as art, as industry, and as history, and how they intersect in cinematic depictions of the ancient world.