Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-10-01T13:38:48Z No. of bitstreams: 1 SILVA, Bruno dos S. (Re)leitura e tradução do horror em O Coração das Trevas e Apocalypse Now.pdf: 1795887 bytes, checksum: 87fd9502056b11d3c5f513867c9ed607 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-10-01T14:57:17Z (GMT) No. of bitstreams: 1 SILVA, Bruno dos S. (Re)leitura e tradução do horror em O Coração das Trevas e Apocalypse Now.pdf: 1795887 bytes, checksum: 87fd9502056b11d3c5f513867c9ed607 (MD5) / Made available in DSpace on 2018-10-01T14:57:17Z (GMT). No. of bitstreams: 1 SILVA, Bruno dos S. (Re)leitura e tradução do horror em O Coração das Trevas e Apocalypse Now.pdf: 1795887 bytes, checksum: 87fd9502056b11d3c5f513867c9ed607 (MD5) / A presente dissertação aborda as relações intersemióticas entre a novela O Coração das Trevas (1899) e o filme Apocalypse Now (1979), dando ênfase à (re)leitura e tradução do horror operada no processo de adaptação. Seguindo algumas das teorias pós-estruturalistas, concebemos a prática da tradução como uma operação de leitura. Ao identificarmos as leituras conflituosas da obra de Joseph Conrad, que se inscreveram na pós-modernidade, principalmente com a emergência da crítica pós-colonial, buscamos compreender qual das perspectivas de leitura em conflito foi adotada por Francis Ford Coppola na composição do projeto fílmico de Apocalypse Now. Discutimos teoricamente a tradução intersemiótica enquanto leitura e como tomada de posição nesse embate de significações que emergiu de algumas décadas para cá em relação à novela em questão. Seguindo as novas abordagens no campo de estudos da adaptação de obras literárias para o cinema, nos debruçamos sobre aspectos históricos, sociais e discursivos que permitiram a reconfiguração da novela conradiana para o contexto da guerra do Vietnã, e como a obra fílmica buscou instaurar o efeito crítico instaurado por O Coração das Trevas no que concerne às diferentes formas de imperialismo (belga, inglês e, no caso do filme, norte-americano). Para a análise do horror em O Coração das Trevas e Apocalypse Now, buscamos mapear as principais definições do horror, analisar tanto os esforços críticos que buscaram posicioná-lo num horizonte teórico quanto a apropriação feita pela crítica literária, cinematográfica e psicanalítica dos textos que o evocam. Foi possível identificar como a noção de horror foi sendo historicamente reconfigurada, passando a ser concebida, sobretudo pela crítica literária e cinematográfica, enquanto um elemento atrelado às narrativas que buscam despertar em seus leitores/espectadores sensações que remetem ao medo. O fechamento dessa noção, promovido pelos estudos literários e cinematográficos, nos permitiu buscar caminhos teóricos que possibilitassem o desdobramento de seus sentidos, a compreensão de suas dinâmicas e a construção de novas possibilidades de interpretação das suas manifestações na literatura e no cinema. Por fim, analisamos o horror em ambas as obras literária e fílmica, de modo a compreender quais elementos narrativos estão relacionados a esse horror, bem como as convergências e divergências, tanto de sentidos como das relações narrativas, que se inscrevem no processo de releitura. Identificamos que em O Coração das Trevas o horror está associado ao nativo, à terra e ao imperialismo e que pertence à seara da experiência do homem branco nos trópicos, ou seja, nos lugares distantes de sua civilização. Em Apocalypse Now, o mesmo se relaciona à terra, à loucura e a guerra. Apesar de alguns deslocamentos no que concerne ao que o horror está atrelado, na novela e no filme, a experiência nos trópicos demonstra que o espaço colonial e o espaço do conflito são os lugares primordiais nos quais o horror se manifesta. Para além das ambivalências de sentido que se configuram na análise do horror em O Coração das Trevas e Apocalypse Now, discutimos como esse horror pode funcionar, para seus leitores/espectadores, como um elemento que os permita questionar experiências históricas e discursos de algumas potências ocidentais que promoveram ações de pilhagem e extermínio em espaços além de suas fronteiras. / This thesis approaches the intersemiotic relations between the novel Heart of Darkness (1899) and the film Apocalypse Now (1979), emphasizing the (re)reading and translation of horror operated in the adaptation process. Following some poststructuralists theories, we understand the practice of translation as a reading operation. By identifying the readings in conflict of Joseph Conrad’s work, which emerged in postmodernity, especially with the emergence of the postcolonial criticism, we aimed at understanding which perspectives of reading in conflict was adopted by Francis Ford Coppola in the composition of his film Apocalypse Now. We aim at discussing theoretically the intersemiotic translation as reading and as a position in this signifying battle which emerged, from some decades on, in relation to the novel in question. Following some new approaches on the field of adaptation studies of literary works to film, we aimed at studying the historical, social and discursive aspects which allowed the reconfiguration of Conrad’s novel to the context of the Vietnam war, and how the film aimed at establishing the critical effect of Heart of Darkness concerning the different forms of imperialism (Belgian, English and, in the case of the film, North American). To analyze the horror in Heart of Darkness, we maped the main definitions of horror, analyzing both the critical efforts to position it in a theoretical horizon and the appropriation of texts which evoke it by literary, cinematographic and psychoanalist criticism. It was possible to idenfity how the notion of horror has been historically set, starting to be understood, mostly by literary and cinematographic criticism, as an element linked to narratives which aim at arousing in their readers/audiences sensations that refer to fear. The immobilization of this notion, promoted by the literary and cinematographic studies, allowed us to search for theoretical paths that enabled the outspread of the senses of horror, the comprehension of its dynamics and the construction of new possibilities of interpreting its manifestations both in literature and cinema. Lastly, we analyzed the horror in the novel and the film to understand which narrative elements are related to this horror, as well as convergences and divergences, both in senses and in narrative relations, present in the (re)reading process. We identified that horror in Heart of Darkness is associated with the native, the land and the imperialism and that it has to do with the experience of white men in the tropics, that is, places which are far from their civilization. In Apocalypse Now, the horror is related to the land, the madness and the war. In spite of some shifts concerning what horror is related to, both in novel and film, the experience in the tropics shows that the colonial space and the conflict space are the primordial places where the horror manifests itself. In addition to the ambivalence of meaning that are present in the analysis of horror in Heart of Darkness and Apocalypse Now, we discussed how this horror can function, to their readers/audiences, as an element that allows the questioning of historical experiences and discourses of some Western powers that promoted actions of loot and extermination in the spaces beyond their boundaries.

Many theories exist attempting to explain the allure of horror films to the human psyche. None can fully explain this fascination to the horror genre. However, there are clear visual techniques used routinely in these films to produce fear in audiences. This thesis explores the application of those cinematic techniques used in horror cinema for well over a century into a virtual reality (VR) experience, The Invasion. Using a wide range of examples from classic horror films, The Invasion endeavors to show how the lessons learned from the study of horror cinema’s use of color theory, light, shadow, and sound design, when paired with the virtual reality medium, can provide a richer, more immersive horror vehicle and create new possibilities for fear-based content. / Includes bibliography. / Thesis (MFA)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

This study traces the history and culture of Spain as seen through the lens of the nation´s production of horror cinema. Starting from the boom of Spanish horror film in the early 1960s, the thesis compares and contrasts the political and social aspects of Spanish society throughout three distinct eras of the 20th century: 1962 – 1975 (the boom of Spanish horror film through the Franco dictatorship), 1975 – 1999 (the transition to democracy through the end of the 20th century) and 2000 – present (the 21st century). Movies as diverse as Gritos en la noche (1962, Jesús Franco), ¿Quién puede matar a un niño? (1976, Narciso Ibáñez Serrador) and Angustia (1987, Bigas Luna) are framed by culturally-related anectodes as well as correlations to their respective social environments. Special attention has been paid to the production and release of each film, especially in regards to censorship during the Franco dictatorship. The results show that Spanish horror cinema has acted as a true mirror to culture, society and politics in its native country throughout the 20th century and that this trend will likely extend in to the future.

No description available.

The work is a collection of poems entitled The Sometime Joy, comprising a mix of poems completed before and during my studies at UNT. The manuscript is my second completed full-length work after my first manuscript, the unpublished Night, Translated. The Sometime Joy shares many of the same themes with its predecessor, although stylistically the more recent work hews much more strongly toward the infusion of speculative and fantastical elements (just one example being the apocalyptic poem "Petal Storm"). The speculative components of the collection allow me to express and utilize the full range of my imagination, to use poetry to explore alternate existences and to create allegories, such as the "Market" series of poems, where capitalism is embodied as a chimerical beast that would fit in a horror film. The collection functions as my exploration of the intersections between folklore and pop culture, a series of meditations on the strangeness of human perspectives and how the relation between perceiver and the perceived alloys and transforms both. The collection also delves into horrific subjects varying from serried monsters (wendigos, the capitalist system, J. Edgar Hoover), the apocalypse, and the capacity of mundane humans to be cruel to each other, but also affirms the same imagination's potential to delight and sooth or poke fun. One of the central themes is embodiment and the human body and its components, seen through the "organ" sequence of poems that explore various human organs, as well as poems like the Market poems or "Hereby, Dragons" where concepts or abstractions are incarnated and embodied. Overall, the collection functions as an example of a contemporary poetry collection with an eclectic stylistic range and multiple linked sequences within the different sections.

The Little Things is a draft of a novel.

The horror genre is obsessed with being treated as fact rather than fiction. From movies that plaster their title screens with "Based on actual events" to urban legends that happened to a friend of a friend, the horror genre thrives on being treated as fact even when it is more often fiction. Yet horror does more than claim verisimilitude. Whereas some stories are content to pass as reality, other stories question whether a boundary between fiction and reality even exists. They give us monsters that become real when their names are spoken (Tales from the Darkside) and generally undermine the boundaries we take for granted. Wes Craven's New Nightmare, for instance, shows a malevolent being forcibly blending the characters' reality with the fiction they themselves created. But why are scary stories concerned with seeming real and undermining our notions of reality? To answer this, I draw on various horror films and philosophical and psychological notions of the self and reality. Ultimately, I argue, horror is a didactic genre obsessed with showing us reality as it is, not as we wish it to be. Horror confronts us not only with our mortality (as in slasher films) but also with the truth that fiction and reality are not the easily divided categories we often take them to be. / Master of Arts

This study examines how the knowledge of that a game belongs to the horror genre affects the players gameplay experience and choices in the game. Ten participants were recruited for the study. First, the participants had to fill in a pre-study form to make sure that they were a part of our target group. During the data gathering the participant was informed of what kind of prototype they were about to play, either a horror prototype or a puzzle prototype. Then they proceeded to play the horror prototype. To gather the data, stimulated recall and semi-structured interviews were used. The data was analysed with an EPP-method. No significant connection were found between the play experience or the choices the player made and the type of information given beforehand to the participant. A connection were found between fear and expectations, that could be linked to knowledge of the horror. / I studien utreds hur vetskapen om att ett spel är av skräckgenren påverkar spelarens spelupplevelse och val i spelet. Tio deltagare rekryterades. Deltagarna fick svara på en förundersökning för att säkerställa att de tillhörde målgruppen, sedan informerades de skriftligt att de skulle spela antingen en skräck -eller pusselspelsprototyp. Efter den skriftliga förvarningen fick deltagarna spela en skräckspelsprototyp som utvecklats för datainsamlingen. Stimulerad återkallelse och semistrukturerade intervjuer användes till datainsamling. Datan analyserades med en EPP-analys. Ingen signifikant koppling hittades mellan spelupplevelsen eller val deltagarna gjorde i spelet samt vilken skriftlig information spelarna tagit emot innan speltillfället. Däremot hittades en koppling mellan rädsla och förväntningar som kunde anknyta till vetskap om skräck.

Home Sweet Home is a short horror film that tells the story of Gavin and his encounters with supernatural energies after he moves to a new room. In the end, the story reveals that his roommate is the initiator. The movie draws inspiration from a variety of classic horror films, with an emphasis on those that are set in homes and bedrooms. Home is usually considered the safest place, but when this familiar place is haunted, it tortures us, and we have nowhere to run. Taiwanese religious elements along with urban legends, are featured prominently in the video as a source of the terror. / Master of Fine Arts / Home Sweet Home is a short horror film produced by a group of Virginia Tech students. The film tells the story of Gavin following his encounters with the paranormal following his relocation to a new room. In the end, the story reveals that his roommate is the initiator. The film is inspired by many classic horror films with a concentration on films containing scenes in the bedroom and at home in particular, such as the Japanese movie" Ju On," the "A Nightmare on Elm Street" series, and "It Follows," etc. Home is usually considered the safest place, but when this familiar place is haunted, it tortures us, and there is nowhere we can flee. Taiwanese religious elements and urban legends are featured prominently in the video as a source of terror. Details in the film show Taiwanese's unique religious belief culture: a blend of Taoism, Buddhism, and some Hinduism and local beliefs.

Deivisceris is a four-player role-playing tabletop game that focuses on themes of horror. It looks into ideas from the horror genre as a whole while combining aspects from the body horror and cosmic horror subgenres to create a discomforting horror experience. The game features illustrations and written events with a choice-based narrative that can have multiple outcomes depending on a player's decisions, stats, and items. Deivisceris utilizes randomness in order to create a new experience each time it is played through randomized characters and a randomized game board that is built up as it is played. The game reveals its narrative through clues within the gameplay, illustrations, and written text as characters enter the game's world blindly. Deivisceris is an immersive tabletop horror experience that can be further expanded on in the future with the possibility of a larger production. / Master of Fine Arts / Deivisceris is a four-player tabletop game that looks into the ways horror can be created in a board game format. It examines various ideas from the horror genre as a whole while taking inspiration more directly from two subgenres of horror: body horror and cosmic horror, each of which has very different ways of evoking horror. The game includes a variety of full-color illustrations and written situations that give players a chance to make their own decisions. Deivisceris utilizes randomness in order to create a new experience every time it is played. The game board is built up differently every time it is played and characters' stats, such as strength, intelligence, and endurance, may be different in each game. The game's story is revealed through clues within the gameplay, illustrations, and text. Deivisceris is a tabletop role-playing horror experience that can be further expanded on in the future with the possibility of a larger production.