Syftet med den här uppsatsen var att vidga förståelsen av hur musikgenren death metal samspelar med scener från skräckfilm. För att metodiskt genomföra detta skapades fyra gestaltningar där musikstycken av sagda genre spelas ihop med fyra filmscener. Dessa gestaltningar analyserades och visades för fem informanter i samband med att de blev intervjuade. Resultatet indikerar på att genren deathmetal samspelar med sagda gestaltningar likt traditionell filmmusik. Resultatet indikerar även på att detta samspel uppfattas snarlikt oberoende på informanternas erfarenhet av musikgenren.

This article is meant to work as a resource for a level designer looking to create a level for a horror game.  To achieve this the article will go through the different components that a level designer needs to keep in mind when designing for the horror genre. But also how to use the design perspective emotional design (Van Gorp & Adams, 2012) to create a level that fulfills the goals a level in a horror game strives to fulfill. This is to build up a feeling of fear and make the player feel the emotion of horror. But how can a level designer with the help of  emotional design create specific moods and emotions in the levels they create? The purpose of this text is to explore how through combining emotional design with methods like Design Pillars, Moodboards and storyboards a level designer can create specific feelings and emotions in their levels. The article will serve as an example for level designers through explaining the components they have to keep in mind and the methods they can use when making levels for horror games. the article is tied to a production created using the methods i go through in the article and it serves as an example of what is written in the article. / Att bygga miljöer och banor för spel är ett område som har utforskats enda sen spel först kom till. Men hur kan man med hjälp av emotionell design (Van Gorp & Adams, 2012) skapa specifika känslor och stämning i de banor och miljöer man skapar i spel? Syftet med denna text är att utforska hur spelutvecklare kan använda sig at emotionell design för att skapa en känsla av skräck i spelets miljöer genom olika metoder som till exempel design pillars, moodboards och storyboards. Vad en level designer kommer behöva hålla i åtanke i sitt designande när det kommer till level design för just skräckspel. I texten kommer jag försöka ge spelutvecklare en resurs de kan använda sig av för att skapa spelmiljöer vars syfte är att ge känslan av skräck och ett stämning av rädsla till spelaren. Samt ge exempel på vilka metoder man kan använda sig av för att uppnå detta. Med denna artikel finns en gestaltning vars syfte är att vara ett praktiskt exempel på de metoder jag demonstrerar i texten.

I denna uppsats operationaliseras feministisk skräckfilmsteori på tre nyproducerade filmer ur en filmtyp som kommit att kallas bland annat post-horror. Teorier och koncept ur Carol J. Clovers Men, Women, and Chain Saws och Barbara Creeds The Monstrous-Feminine operationaliseras på tre post-horror-filmer som behandlar esoteriska teman och särskilt lyfter fram kön och genus. Syftet är att undersöka hur kompatibla teorierna är med filmerna, och vad i filmernas representation av genus som ligger utom räckhåll för teorierna. Uppsatsen landar i ett redogörande för teoriernas fortsatta relevans i analysen av genusmässigt kodande av våld såväl som esoterism. Analysen av gestaltning bortom en binär könsuppdelning och transnationella produktionsmodeller utgör aspekter av filmerna som skulle kräva andra teoretiska perspektiv.

Supermassive Games’s Until Dawn tasks its players with helping eight teenagers survive a night of terror. All eight playable characters may live or die depending on the player’s choices and gameplay proficiency. Despite its intricacies, the game still relies heavily on horror movie tropes, which the characters embody, and they face different treatment based on their gender, race, and sanity. Particularly, the weapons available to them and the scenarios for their deaths and survival contribute to trapping the characters within their given characteristics and forcing them into a role that they cannot ever fully break free from. While the branching narrative style opens up the possibility for the hegemony to be challenged, the characters are so stiffly created that, in spite of the multitudes of choices and paths to go down, all the characters are confined to their archetypes and stereotypes related to their identities regardless of the player’s choices.

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Primrose and Other Stories is a short story collection that explores themes of family, loss, and legacy.

After a jaded K-pop star rebels against his controlling manager by announcing his solo career, his new handler takes him to a remote cabin to record his debut album. His dream skids to a halt when he realizes his handler is actually an obsessed, delusional fan who demands the pop star write his debut album about her — or else.

This thesis documents my process as the Costume Designer for the University of Central Florida Conservatory Theatre’s production of Richard O’Brien’s musical, The Rocky Horror Show. The production opened on March 29, 2007 and ran for fifteen performances in the University of Central Florida’s Mainstage Theatre before closing on April 15, 2007. This document presents the analysis, research, and design process that I used to create the costume design for the performance. In this thesis, I document how I combined my own analysis and research with that of the director and design team to take the design from concept, through construction, to completion. This thesis will contain specific information on my design process including an analysis of the script, research, preliminary sketches, final designs, photographs of the production, and all paperwork I generated for the show. A journal of the challenges and solutions that I encountered during the design and construction process are included, along with a self evaluation and reflection on the finished production.

A fictional novel utilizing third person limited narration from the perspective of the primary character, Ilya Kollide, who narrates the story as though it were happening in his head as it occurred, with frequent embellishments. He has come to live near an old mansion on the Trans-Siberian Railroad, named Neimasaurus, to find an antiquated, dusty world of faded aristocracy. Temporarily orphaned at the age sixteen by the recent death of his parents, he has traveled four thousand miles to live with his last living relative, an uncle named Demetri, whom he has never met. The year is 1990, only this is not a world where the rule of the Tsar was supplanted by the Soviet Union. Instead, it is a logical exploration of what Russia might resemble, had communism never taken root. While the fantastical may or may not occur, depending upon how the reader chooses to interpret the point of view of the narrator, the setting in and of itself is not meant to be fantastical. Ilya discovers that all the servants who work there are deaf, as is his uncle and his own now deceased parents, whom he carries around in an urn after mixing their ashes together. While working at the great estate of the Neimasaurus family, Ilya discovers a surprising numbers of stories and people who both parallel his own experiences and serve as allegorical warnings toward his future mistakes in life. He becomes obsessed with the idea that he is to blame for his parents’ death and sets out on a quest to bring redemption to the wounded inhabitants of the estate, only to discover that not everyone wants to be helped. In fact, they want him dead. They see him as an allegory, just as he sees them. To the young man Shoji Yamano, iii Ilya represents everything he was, and can no longer be. As such a reflection, he resolves to shatter Ilya like a mirror. The novel charts Ilya’s personal growth from a neurotic wreck, incapable of normal interaction with people, to a young man capable of not just self-sacrifice, but an understanding of what it actually means to literally sacrifice himself for the well-being of someone he barely knows. He learns to value time spent with others rather than dwelling within a narcissistic and lonely fantasy world.

In Spring 2007, the University of Central Florida (UCF) Department of Theatre mounted a production of "The Rocky Horror Show." This thesis focuses on the author's process of using the gospel music style to revitalize "The Rocky Horror Show," a cult musical. The author uses defining characteristics of the cult film genre to establish a set of guidelines. "The Rocky Horror Picture Show" is the movie version of the stage musical and is responsible for the show's inevitable cult status. He discusses the history and journey of "The Rocky Horror Show" and how audience participation was integral in establishing this landmark musical. The reader observes the process used in rearranging "The Rocky Horror Show" score from start to finish and recordings used as influence throughout. Although this is a discussion of a musical process, this portion of the document is written in terms for all to understand, and a glossary of terms is provided for those that are unsure of certain vocabulary. With a show that is well established, one must be careful when making stylistic changes. The author took this into consideration when arranging the score and rationalizes through a discussion of gospel music history, key gospel elements apparent throughout the score, and how the essence of Richard O'Brien's music remains intact.