Horror, one of the most popular genres of entertainment, can be quite hard to get right. This report explores the visual subject of psychological horror in games, aiming to answer the following questions: How is the genre handled in movie production? How have previous game developers done this, both for bigger productions as well as indie games? How well did the chosen movies and games manage to translate the horror feeling into the visuals? The chosen method to determine this is image analyses and surveys. The results showed that there are not many differences between how the genre is handled in movies compared to games, though there are a few. Results from the surveys showed that games are more often perceived scary and disturbing on a higher degree than movies. / Skräck, en av de mest populära genrerna inom underhållning, kan vara ganska svår att få till. Den här rapporten utforskar de visuella ämnenena inom psykologisk skräck i spel, utifrån följande frågeställningar: Hur hanteras genren inom filmproduktion? Hur har tidigare spelutvecklare genomfört detta, både för större produktioner och för indiespel? Hur väl har de utvalda filmerna och spelen lyckats översätta skräckkänslan i det visuella? Den valda metoden för att fastlägga detta är bildanalyser och enkätundersökningar. Resultaten visar att det inte finns många skillnader mellan hur genren hanteras inom film jämfört med spel, även om det finns några. Resultat från enkätundersökningarna visar på att spel oftast ses som läskigare och obehagligare på en högre nivå än filmer.

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I detta examensarbete undersöks ljuddesign för skräck inom scenkonst. Skräckberättande kan i stora drag delas in i två förlopp: väntan på det otäcka och det otäcka. Här sätts Seth S Horowitz teorier om människans förmåga att medvetandegöra faror i relation till skräckberättande. Horowitz teorier kan enklast sammanfattas med att lyssna och att höra, vilket blir en av de viktigaste aspekterna i uppdelningen av skräckberättandets två förlopp. Definierandet och konkretiserandet av dessa två förlopp blir i denna rapport ett designverktyg för ljuddesign inom skräck. Undersökandet sker genom enskilda experiment samt genom analys av designprocesser för föreställningen Life Before/After. / In this thesis the student examines sound design in horror performing arts. The craft of horror storytelling can broadly be divided into two parts: waiting for the horrifying to happen and the horrifying happening. In this thesis, horror storytelling principles is compared to Seth S. Horowitz’s theories of the human brain’s ability to process auditory information in order to recognize danger. Horowitz’s theories can roughly be divided into listening and hearing, which also define the two parts in horror storytelling. This principle has not just been the theoretical foundation of this thesis, but also a practical tool in designing sound for the experiments and the performance Life Before/after.

Detta arbete, som utgår ifrån observationen att många spel inom survival horror-genren använder sig av en realistisk grafisk stil på sina texturer, undersöker om det är möjligt att förmedla samma läskiga känsla genom användandet av en stiliserad, eller tecknad, grafisk stil. Tre 3D-modeller föreställande monster, modellerade med inspiration från survival horror-spel, texturerades på ett sätt som motsvarade en realistisk grafisk stil, samt ett som motsvarade en stiliserad grafisk stil. Dessa låg sedan som grund för en enkätundersökning där respondenterna fick välja vilken version av monstren som var läskigast.

In Tulpamancy Groom explores themes of gender, girlhood, and the grotesque in a collection of poems that confront our stereotypical assumptions about what it means to be feminine. Lyrical and disturbing, the poems in Tulpamancy use language in a highly associative manner to dismantle our preconceived notions about women, the muse, and the relationship between the two.

Made available in DSpace on 2017-07-21T14:43:00Z (GMT). No. of bitstreams: 1 Rodolfo Stancki.pdf: 977171 bytes, checksum: 6a8d9a944b1b667ad4b2054c276f0810 (MD5) Previous issue date: 2011-02-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to analyze social representations of the horror film in a group of consumers of the genre. The research is motivated by two questions posed by author Noël Carroll (1999) in the book "The Philosophy of Horror or Paradoxes of the Heart": how people can be attracted to narratives whose logic is to provoke horror and fear? And why should anyone have fear in this genre, when they know the plot is fictional? For Carroll, the people are interested in the horror stories because they are curious and it is not the plot that they are afraid, but the content generated by thinking about it. The objective is to test these two responses by author – which seem essential to understand the consumption of film horror – in the reception field with a group of potential viewers of the genre. For this objective, we look, in the social networking twitter, for people who showed interested in the cinema of horror. The criterion for selection was that their accounts/profiles were following the account/profile bocadoinferno – whose content is all oriented to the cinema of horror. For the first stage of selection, we considered the age and presenting a personal account at the account/profile: 190 subjects were approached at that stage, questioned if they want to participate. For those who agreed (86 people) were sent a questionnaire trying to find out if these spectators really are interested in the cinema of horror. The 32 individuals who responded were sent another questionnaire to identify how they perceived the gender they consume. Of the 24 respondents, six were selected for a virtual interview. In analyzing the results of data collection was reached three categories of social representation of the subjects about the consumption of horror cinema: a narrative perception, emotion and attraction caused by gender. / Este trabalho tem por objetivo analisar representações sociais sobre o cinema de horror em um grupo de consumidores do gênero. A pesquisa é motivada por duas questões colocadas pelo autor Nöel Carroll (1999) na obra “A Filosofia do Horror ou Paradoxos do Coração”: como as pessoas podem se atrair por narrativas cuja lógica é provocar horror e medo? E por que alguém sentiria medo em obras desse gênero, quando a trama não passa de uma ficção? Para Carroll, as pessoas se interessam pelas narrativas de horror porque são curiosas e não é da trama que elas têm medo, mas do conteúdo gerado ao pensar nelas. O objetivo deste trabalho é testar essas duas respostas do autor – que parecem essenciais para entender o consumo do cinema de horror – no âmbito da recepção, com um grupo de espectadores potenciais do gênero. Para isso, buscou-se na rede social twitter pessoas que se mostrassem interessadas pelo cinema de horror. O critério de escolha era o de que suas contas/perfis estivessem seguindo (following) a conta/perfil bocadoinferno – cuja produção de conteúdos é toda voltada para o cinema de horror. Para a primeira etapa da seleção, foram consideradas a idade e a apresentação de uma descrição pessoal na conta/perfil: 190 sujeitos foram abordados nessa fase, questionados se gostariam de participar da pesquisa. Para os que aceitaram (86 pessoas) foi enviado um questionário, buscando descobrir se esses sujeitos realmente se interessavam pelo cinema de horror. Aos 32 indivíduos que responderam, foi enviado outro questionário para identificar como eles percebiam o gênero que consumiam. Dentre os 24 que responderam, seis foram selecionados para uma entrevista virtual. Na análise dos resultados da coleta de dados chegou-se a três categorias de representação social dos sujeitos acerca do consumo de cinema de horror: a percepção narrativa, a emoção e a atração provocada pelo gênero.

This project details the ways in which the classic slasher films of the 1970s, and their post-9/11 remakes, are representative of the individual and complex world views out of which each set of films were borne. The remakes manipulate gender roles including those of the Final Girl and the mother; genre conventions, including increases in domestic melodrama and pathos; production models, including the use of star actors, directors, and producers; sexuality and presentation of the sexualized female body; and race, especially in fine differences between white and non-white characters. In doing so, the post-9/11 films reveal a conservative cultural climate that strives to show recovery of the nuclear family unit after trauma, unlike the originals which are more nihilistic in tone and portray families as either absent or deeply flawed and unrecoverable.

Wolf at the Door concerns a thirteen year old boy, Wilmer, during the summer of his sexual awakening, where he explores the boundaries of his sexuality and his attraction to violence and danger, primarily through an older teenage boy, Bricktone, all while young women from his working class community are being kidnapped, abused, and murdered by a human predator. Wilmer considers what kind of man he will become and whether can escape the influence of the wolf.

REMEMBER is a film script that operates within the horror genre but touches upon the subgenre of body horror as well as the sub-subgenre of body modification/alteration. It examines psychological and sociological issues such as identity and acceptance, gender understanding and social assignment. The story follows five young women who live outside the norms of ‘acceptable’ society. After an accident near a small, isolated, rural town called Tantalus leaves them stranded with strangers, the girls soon find that something is amiss. Having arrived during a tornado just before the towns Founder’s Day festival, they discover there is more in Tantalus than meets the eye. The town is founded on a dark past which appears to be returning in a fashion. Now with a body count rising and no way to leave, the women find themselves connected to the murders. The only question that remains is how?

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, Aug. 2003. / Includes bibliographical references (p. 252-271). Also available on the Internet.