This study builds on the Uses and Gratifications body of knowledge as applies to motivations surrounding television use, specifically the cult television program Buffy the Vampire Slayer. Through the distribution of online survey it was found that respondents who read and/or wrote fanfiction were more likely to engage in the variable of parasocail relationships. One hypothesis was disregarded due to the invalidity of the variable. Through two research questions it was found that the variable of affinity was indicative of a viewer's involvement with the show. The second research question found only two marginally significant variables, personal identity and realism, with regard to the number of years one had been a fan of the show. Age was found to be significant in all the variables and was accounted for. / Department of Journalism

La saga Saw est une franchise qui a marqué le cinéma d’horreur des années 2000. Le présent mémoire tâchera d’en faire une étude détaillée et rigoureuse en utilisant la notion de jeu. En élaborant tout d’abord un survol du cinéma d’horreur contemporain et en observant la réception critique de la saga à travers l’étude de différents articles, ce travail tentera en majeure partie d’analyser la franchise Saw en rapport avec l’approche ludique du cinéma en général et celle adoptée par Bernard Perron. Cette étude, qui s’élaborera tant au niveau diégétique que spectatoriel, aura pour but de montrer l’importance de la place qu’occupe la notion de jeu dans cette série de films. / The Saw saga is a franchise that marked the horror film industry in the 2000’s. This report will try and give a thorough and detailled study while using the idea of a game. At the same time taking a cursory glance at contemporary horror films and observing how the critics were received by studying different articles. This assignment will in majority analyse the Saw saga using a recreational approach of movies in general as well as the one adopted by Bernard Perron. This study will be elaborated on a "diegetique" and "spectatoriel" level – the goal being to show the importance that games occupy in this film series.

Le cinéma d’horreur, plus particulièrement le slasher, sous-genre qui a émergé dans les années 1980, a souvent été le lieu pour l’exploration d’enjeux sexuels. Les héroïnes qui ont marquées cette décennie ont connu une évolution parallèle aux changements socioculturels. Le présent projet vise à montrer la transformation de cette protagoniste au fil des décennies. Je m’intéresserai d’abord et avant tout à la théorie de Judith Butler qui montre le gender comme une construction sociale. Puis, ma démarche s’appuiera sur le rapport spectatoriel tel que développé par l’auteure Laura Mulvey dans son texte « Visual Pleasure and Narrative Cinema » ainsi que sur la notion de Final Girl théorisée par Carol J. Clover et qui concerne précisément les personnages de survivantes dans le slasher américain. À la lumière de ces études, j’analyserai trois films d’horreur produits au début des années 2000 : All the Boys Love Mandy Lane (2006), Teeth (2004) et May (2002). En plus de préciser les rouages liés à la construction du gender (féminin) et de l’identité sexuelle, ces études de cas serviront à présenter une nouvelle forme de personnage conscient de sa féminité et de son pouvoir. / Horror cinema, more specifically the slasher, a sub-genre that obtained its popularity during the 1980s, has often been the place for a discourse about sexual politics. The evolution of the heroines from some of the films of this decade is indissociable from the importance of context and culture. This work concentrates on the transformation of this female protagonist during the years. First, I will take a look at Judith Butler’s notion of gender performativity. My approach will also emphasize the gaze of the spectator with “Visual Pleasure and Narrative Cinema’’ by Laura Mulvey and the Carol J. Clover’s theory of the Final Girl, the latter regarding those slasher female leading characters. Then, three movies of the new millennium will be analyzed: All the Boys Love Mandy Lane (2006), Teeth (2004) and May (2002). These analyses will serve to demonstrate the mechanisms at play in the construction of gender and sexual identity. Furthermore, they will reveal a new kind of female character, one who is both aware of her femininity and her/its power.

Walking in the house of Daedalus – An analysis of the katabasis motif in Mark Z. Danielewski’s House of Leaves   This study analyses the depiction of the labyrinth as a symbolic landscape in regard to both subject and form in the multi-layered novel House of Leaves by Mark Z. Danielewski. Using the mythological katabasis motif as a structural principle, this study discusses modern labyrinthine narratives wherein selfhood is constructed through an infernal journey between a descent and a return. This study analyses the novel with a thematic perspective from two points of view; how the labyrinth acts as central motif for the self in the novel and how the novel visually depicts the narrative through typographical choices throughout the text. The study’s main question is how the novel depicts the labyrinth in regard to its historical and cultural context and how it inscribes itself into a tradition of narratives that depicts the labyrinth as a metaphor for the mind and as a symbol for the exploration of the self.   The result shows that House of Leaves uses a complex cluster of narratives to tell a katabatic story, both through the narrative and the form. Through the symbolic landscape and through the use of a genre typical and uncanny horror story, House of Leaves tells a story about alienation, guilt and love where the characters psychological developments changes in regard to confrontations with the labyrinth and through the symbolical tests that exists throughout the katabatic journey. The characters ascends traumatized from the labyrinth, but are at the same time rewarded with personal insight

In this essay I will present a stylestudy of he New Zeeland born author Katherine Mansfield, 1888 - 1923 and american master of horror, Stephen King, born 1947. The main focus is to analyze how they use the literary tools of time, place and focalisation and to make a literary experiment where I practise the learnings I have made.  I will try to answer how the authors use time, place and focalisation in the novels? In my literary experiment, can I find the differences and similarities? I have studied two shortstorys: Katherine Mansfields The Garden Party and from Stephen King, 1922.I read my first short story from Mansfield and King more than twenty years ago and over the years they have stayed in my memory as strong and positive experiences of reading. My aim is to learn more about the author's style with special attention to time, place and focalisation.  The tools for this is studies of their works in connection to these three concepts and a literary experiment where I try to mimic the authors. In this my work I have found similarities and differencies between the two authors. Differencies coming from the different times when they write: Mansfield from early 1900  modernism and romanticism and King contemporary literature and horror. I have deepened my understanding of place and time and captured new knowledge about focalization, a term that was new to me as I started the course. Both authors write chronologically over different timespace (one day and a decade). They use dialogue, both internal and external. They switch between external nd internal/varied internal focalization wich makes the novels fascinating and intriguing. I have found that is is possible to cross the style of the tho authors and create a credible story.

Syftet av denna kvalitativa studie var att undersöka hur karaktärer som framställs med psykisk ohälsa porträtteras i skräckfilm samt hur de övriga karaktärerna i filmerna förhåller sig till dem. Med hjälp av semiotiska analysverktyg, neoformalism och stereotypiska kategorier som teori och metod avslöjade vi underliggande meningar i filmerna genom att observera karaktärernas beteende och estetiska egenskaper i bakgrunden. Analysen delades upp i tre kategorier; porträttering av avvikande beteende, omgivningens förhållningssätt och miljö, detta för att göra det enklare att få fram ett resultat. Materialet bestod av filmerna The Shining (1980) och Lights Out (2016) och valdes eftersom båda filmerna porträtterar karaktärer med psykisk ohälsa. Resultatet påvisade att det i båda utvalda karaktärernas beteende går att identifiera samtliga av de utvalda stereotyper som presenterats i teorikapitlet. Det framkom även att majoriteten av de konnotationer som identifierades var negativa vilket även speglades i omgivningens förhållningssätt till karaktärerna. The Shining visade en större skillnad gällande positiva och negativa konnotationer som identifierats mellan början och slutet av filmen medan Lights Out inte visade någon förändring. / The purpose of this qualitative study was to examine how characters with mental illnesses are portrayed in horror movies and also the other characters attitude towards them. With the help of semiotic analyzing tools, neoformalism and stereotypical categories as both theory and method did we discover the underlaying meanings of the movies by observing the characters behavior and aesthetic characteristics in the background. The analysis was split in three categories; portrayal of deviant behavior, the other characters attitude towards the characters and environment, this to make it easier to get a result. The material consisted of the movies The Shining (1980) and Lights Out (2016) and were chosen since both movies portray characters with mental illnesses. The result did show that in both of the chosen characters behaviors was it possible to identify all of the stereotypes presented earlier in the theory chapter. It also appeared that the majority of all connotations that were identified was negative which was also reflected in the surrounding characters attitude towards the chosen characters. The Shining showed a bigger difference regarding positive and negative connotations between the beginning and ending of the movie while Lights Out barely showed any difference between them at all.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-07-07T18:24:03Z No. of bitstreams: 1 André Campos Silva.pdf: 2838135 bytes, checksum: 2872728d2a874e2b7e29377031d7f44d (MD5) / Made available in DSpace on 2015-07-07T18:24:03Z (GMT). No. of bitstreams: 1 André Campos Silva.pdf: 2838135 bytes, checksum: 2872728d2a874e2b7e29377031d7f44d (MD5) Previous issue date: 2014-01-31 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / A pesquisa busca problematizar o uso do clichê no cinema, entendendo-o como um processo comunicacional que ajuda contribuir com a compreensão da forma e do conteúdo dos filmes. O foco do estudo recai sobre os clichês, presentes no subgênero de terror slasher, por meio de conexões com o arquétipo da sombra. Três eixos conceituais basilares organizam o trabalho: filmes terror, forma e conteúdo estéticos, processo de construção e narrativas dos personagem dos filmes de terror. As poucas pesquisas específicas sobre os clichês no cinema nos levaram à utilização de autores de diversas vertentes, entre eles estão os pesquisadores do campo da comunicação e do audiovisual como Eco, Mcluhan, Xavier, Aumont, Bordwell. Também participaram da construção teórica estudiosos de narrativa como Candido, Mckee, Campos, Field. O campo da filosofia em sua ligação com a vertente estética foi igualmente importante com Kant, Szondi e Burke. A pesquisa empírica se deu sobre uma coleção de seis filmes do subgênero slasher produzidos entre 1979 e 1984, a partir dos quais foi realizada uma análise em três etapas que visaram um mapeamento dos clichês de medo encontrados no corpus. A tese afirma que o clichê faz parte da instituição cinema, bem como, constitui a linguagem cinematográfica e se compõe a partir de certo grau de mobilidade. No que se refere às lógicas que constituem o clichê de medo em filmes de terror slasher fica evidenciada a presença do sublime nos 18 clichês encontrados. Eles se organizam na forma-conteúdo de maneira a estabelecer uma forte característica de valorização do espaço-tempo de incerteza dentro da estrutura dramática, colocando em destaque a ideia de ameaça. / The research aim problematize the use of cliché in film , considering it as a communication process that helps contribute to understanding the form and content of the films . The focus of the study is on the clichés present in the slasher subgenre of horror, through connections with the archetype of the shadow. Three basic conceptual axes organize work: horror movies, fashion and aesthetic content, the construction process of the characters and narratives of horror movies. The few specific studies on the clichés in movies led us to the use of authors from various aspects, among them are researchers in the field of communication and audio visual as Eco, McLuhan, Xavier, Aumont, Bordwell. Also participated in the theoretical construction of narrative as Candido, Mckee, Fields, Field. The field of philosophy in its connection with the aesthetic aspect was also important to Kant, Burke and Szondi. The empirical research took place over a collection of six films of the subgenre slasher produced between 1979 and 1984, from which performed was analysis in three steps aimed at mapping the clichés of fear found in the corpus. The thesis argues that the cliché movie is part of the institution as well, is the cinematic language and is composed from a certain degree of mobility. With regard to the logic that constitute the cliché of fear in horror movies slasher is evident the presence of the sublime in the 18 cliches found. They are organized in the form-content in order to establish a strong feature of appreciation of space - time uncertainty within the dramatic structure, highlighting the idea of threat.

Paradoxal, le rire de l’horreur constitue cependant une donnée majeure de l’expérience théâtrale contemporaine. Il procède d’une mutation du comique qui en vient à exprimer la violence au lieu de l’édulcorer. Sur la scène anglaise d’après l’abolition de la censure (1968), le comique se fait miroir des angoisses de la société et l’horreur, mise en scène de façon de plus en plus naturaliste, fait rire le public tout en suscitant un profond malaise qui interroge la position du spectateur. Mais, dans un mouvement inverse et encore plus dérangeant parce qu’insidieux, l’humour se fait aussi vecteur d’effroi quand l’horreur est tue ou euphémisée, renvoyant alors au public une interrogation profondément éthique sur l’humanité de son rire. Ces mutations esthétiques s’insèrent dans une profonde déstabilisation de la nature même de la comédie et de son idéologie optimiste et humaniste : si certains sous-genres (la farce, la comedy of manners, la city comedy, la parodie) représentent volontiers des situations horribles, la comédie est structurellement défigurée quand elle incorpore une ontologie horrible, quand sa forme n’implique plus le progrès mais l’arbitraire et quand son dénouement se fait explicitement dissonant. L’horreur, défigurant de manière ludique la forme de la comédie, devient un principe poétique qui renouvelle le genre, et en particulier les archétypes comiques inoffensifs pour les rendre terribles. Car c’est à l’aune de la tragédie défaillante que se refonde la comédie et le rire s’y étouffe, lesté d’une conscience du tragique soulignée par la culpabilité inhérente à de nombreux éclats de rire, mais surtout par la dérision des valeurs tragiques et la relativisation de l’absolu dans l’humour. Dans ces conditions, le rire devient un moyen d’accéder à la puissance des émotions tragiques, et la catharsis se redéfinit, s’éloignant de la traditionnelle purification des passions pour devenir une réintensification de leur pouvoir humanisant. / Paradoxical as it may be, laughing at horror is a major feature of the contemporary theatrical experience. It emerges from a shift in the comic mode which now expresses violence instead of muffling it. In the aftermath of the abolition of censorship in the United Kingdom (1968), this comic mode has held a mirror up to society’s fears and horror has been staged in a more and more naturalistic way, so as to make the audience laugh while unsettling them, questioning the very position of the spectators. However, in a converse and even more disturbing way, humour has become a way to appal them, subduing horror instead of underlining it and thereby deeply questioning them on the humanity of laughter. Those aesthetic shifts take part in a general process of undermining comedy’s humanistic optimistic ideology; even though some subgenres (namely farce, city comedy, comedy of manners or parody) easily stage horrible scenes, comedy is structurally defaced when it includes an ontology of horror, when its shape does not express progress but arbitrariness and when its ending is explicitly unhappy. Playing on the structure of comedy to the point of defacing it, horror becomes a poetic principle that renews the genre and especially the comic archetypes, making them dreadful instead of harmless. It is indeed tragedy’s failure that becomes the measure of this renewal of comedy, as laughter gets stifled by the tragic consciousness that tinges many laughs with guilt, caused by the way tragic values are ridiculed and tragic absoluteness belittled by humour. In those conditions, laughing turns into a means for the spectator to surreptitiously feel the power of tragic emotions; the experience redefines catharsis, no longer a purification of emotions but a new way to reach their humanising power.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-10-20T17:07:49Z No. of bitstreams: 1 2015 - Viviane Ignacio Rosa Cortez.pdf: 21169338 bytes, checksum: d64b4967c11cefcaf6108b596fd20d76 (MD5) / Made available in DSpace on 2017-10-20T17:07:49Z (GMT). No. of bitstreams: 1 2015 - Viviane Ignacio Rosa Cortez.pdf: 21169338 bytes, checksum: d64b4967c11cefcaf6108b596fd20d76 (MD5) Previous issue date: 2015-08-27 / CAPES / This work aims to verify if the students of the seventh grade of elementary school are situated as reading comprehension. In addition, it was decided to propose metacognitive activities using the horror stories that are our object of interest. We developed this study in the light of theoretical assumptions contained in the studies on metacognition. Studies in metacognition can provide important strategies to explore the cognitive ability of students as readers, as they intend to discuss the understanding of the horror stories. The aim of this work is to contribute with the application of possibilities of the assumptions related to metacognition in teaching reading narratives. The activities were developed in order to help students of the classes of the seventh year of elementary school to become readers and reading comprehension texts more conscious. / Esta disserta??o tem o objetivo de verificar se os alunos do s?timo ano do ensino fundamental encontram-se situados como compreendedores em leitura. Al?m disso, optou-se em propor atividades metacognitivas utilizando as narrativas de terror, que s?o o nosso objeto de interesse. Desenvolveu-se este estudo ? luz dos pressupostos te?ricos apresentados pelos estudos em metacogni??o. Os estudos em metacogni??o podem fornecer importantes estrat?gias que explorem a habilidade cognitiva dos alunos como leitores, pois eles pretendem discutir a compreens?o das narrativas de terror. Pretende-se com esse trabalho contribuir para as possibilidades de aplica??o dos pressupostos relacionados ? metacogni??o no ensino de leitura de narrativas. As atividades foram elaboradas com o intuito de ajudar os alunos das turmas do s?timo ano do ensino fundamental a se tornarem leitores e compreendedores de textos mais conscientes.

<p>This study is a conscious attempt at opening up the discussion on the Italian giallo film of the 1960’s & 1970’s. Part of its mission is examine views and writings currently available on the giallo and using these to analyse the body of films known as the giallo. It is also an attempt at the generic definition seeing the giallo as a series of thriller films according to Tzvetan Todorov’s model and in depth discussing the influence of the horror story and the whodunit. Beyond that it is a close look upon the form and devices of giallo narration, with focus upon the role of the eyewitness, focalization and point of view as first person narration. The study also traces the giallo’s influences interdisciplinary including placing it in the cultural context of the Italian adult comics known as fumetti neri. The study also includes a close look upon the idea of the eroticised violent set piece tracing it to the French theatre of horror – the Grand Guignol. Furthermore the study addresses the concept of seriality as understood in reference to the giallo. Finally the study examines the role of the giallo hero and suggests that the giallo is posing existential questions, and can be understood as existential suspense thrillers. The findings are exemplified through a wide scope of films including brief references and longer analytic examples elaborating on topical discussions in this developing field of study.</p>