The paper examines how the slasher genre has developed over the years. The main point of this examination focus on differences in the stylistic appearance of the killer, the development of the “final girl”, the film sole survivor and if there are some narrative changes in the plot structure. The films selected for analysis are scattered over the years, including films like Halloween (Carpenter, 1978), A Nightmare on Elm Street (Craven, 1984) and Scream (Craven, 1996). The main changes that have occurred over the years according to this examination tells us that the stylistic features to hide the killer from the spectators isn’t that important and prominent today as it was in the late 70’s and early 80’s, especially the lightning feature, that characterized Michael Myers in Halloween. Even the characteristic point-of-view shots, who marks the killers presence, is as gone. The biggest development for the final girl is that she doesn’t need to be a virgin anymore in order to defeat the killer, who was the case early on. The narrative structure haven’t changed significantly over the years, but the characteristic opening scene which used to contain a sequence that takes place several years earlier where the killer experiencing a trauma of some kind is gone.

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Orientador: Marcelo Magalhães Bulhões / Banca: Ana Sílvia Lopes Davi Médola / Banca: José Carlos Marques / Banca: Laura Loguercio Cânepa / Banca: Valquiria Michela John / Resumo: Apesar de recorrente como referência de filmes dos mais variados gêneros, os textos jornalísticos nem sempre ganham a devida atenção no âmbito da pesquisa cinematográfica. Nesta tese, busca-se lançar um olhar ao tema, direcionando o trabalho para as narrativas jornalísticas usadas como referencial para cineastas, que transformam em narrativa audiovisual a representação da realidade de uma história que ganhou as páginas dos jornais ou de um livro-reportagem. O foco da pesquisa é no cinema de horror, que costuma não apenas valer-se deste material, como também se utilizar do vínculo com a não ficção como estratégia para atrair o espectador com a promessa da reprodução de um "caso verídico". Parte- se, pois, da hipótese de que a frase "baseado em uma história real" no início da película funciona como estímulo da curiosidade do espectador. Para o presente estudo, optou-se pelo clássico Horror em Amityville (The Amityville Horror, 1979), adaptado do livro-reportagem homônimo de Jay Anson, de 1977, que ganhou uma nova edição no Brasil neste ano, pela Darkside. O remake de 2005, cujo título é o mesmo, também faz parte da pesquisa. Como corpus de análise, também serão utilizadas reportagens do jornal Newsday, de Long Island, do período em que a história da casa supostamente mal-assombrada foi destaque e do crime que teria dado início à história de assombração. O objetivo desta pesquisa é analisar como se dá o entrelaçamento de narrativas jornalísticas, jornalístico- literária e cinema... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Although recurring as a reference of films of varied genres, journalistic texts do not always gain an attention in the space of film research. In this thesis, the aim is to take a look at the theme, to direct the work to narrate the news narratives as a reference for the filmmakers, who transform the audiovisual narrative into a presentation of the reality of a winning story as pages of a book or a book - reporting. The focus of the research is horror film, which is not only a didactic material, but also makes use of a link with a strategy to attract the viewer with the promise to replicate a true case. It is therefore hypothesized that the phrase "based on a true story" at the beginning of the film works as a stimulus for the spectator's curiosity. For the present study, we opted for the classic Amityville Horror (1979 and 2005), adapted from Jay Anson's eponymous book, which won a new edition in Brazil this year by Darkside. The remake of 2005, whose title is the same, is also part of the research. As a corpus of analysis, reports from the Newsday newspaper of Long Island will also be used for the period in which the story of the supposedly haunted house was highlighted and the crime that would have started the haunting story. The objective of this research is to analyze how the intertwining of journalistic, journalistic-literary and cinematographic narratives occurs, seeking in this work to point out how the process of translation from one medium to another was transformed... (Complete abstract click electronic access below) / Doutor

Cult media is often an area of media studies that is difficult to define. Cult media branches through numerous time periods, genres, and fandom patterns. Cult trends are also constantly evolving over time, changing from word-of-mouth and point-of-sale advertising to social networks and Internet culture. But have the rudimentary basics of how media cults develop and spread their message changed along with the progressing marketing presentation? This dissertation explores the definition of media cults, their history, and marketing styles over time, ultimately exploring the tools utilized to market cult media and examine how these tools are now synthetically applied to many media products in hopes of garnering a passionate cult audience.

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This essay will focus on the people using and are involved in, and have a large interest in the horror film genre. The purpose of this essay is to find what urge these people to continuously watch horror movies and how they believe to be acknowledge by the society in a modern sense. Our study is mainly based on two separate interviews and therefore, mainly from the users perspective. This essay is also complemented by earlier research on this topic. In context of stigma, violence debate, exclusion we found that the users truly can be found in a rare type of alternative sphere, besides the public sphere. But this is also in relationship with age and gender of the user. Our stands in all this is that horror movies should be accepted as an escape from reality, not a genre that twist people to become violent, and that users can see the difference between reality and fiction and using horror movies should not be considered a deviant behavior in a modern society.

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.

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.

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.

Made available in DSpace on 2016-04-26T18:12:32Z (GMT). No. of bitstreams: 1 Andre Oliveira.pdf: 62201460 bytes, checksum: 7bd1951f3685c007ed4c8fd33e190d34 (MD5) Previous issue date: 2012-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Zombies have been part of people s imagination for many centuries. However, for the last twenty years, a zombie culture has been developed and it has been taking its place throughout different types of media, such as audiovisual and press. Moreover, this culture has also been present in people´s celebrations and manifestations, for example: festivals, parties, performances, etc. The purpose of this dissertation is to identify how the new versions of zombies constitute not only a form of entertainment, but also a political metaphor, representing the disqualification of human life (bare life) and the fine line between life and death. This research comprises from the pioneer movie Night Of The Living Dead (1968), directed by filmmaker George Romero, to recent work related to films, comic books, photographs and images found online. The methodology brings together bibliographical research and the analysis of images which were selected from diverse media. The theoretical context is formed by the political studies of the fictional genre, which are based on body horror, proposed by Benjamin Noys (2005), and the analysis of Auschwitz Living Dead, known as Muselmann and transformed into one of the important paradigms of contemporary political philosophy by Giorgio Agamben (2008). The study of the way man s natural life influences power mechanisms will be carried in the field of communication throughout the corpomidia theory (KATZ & GREINER, 2005). The expected result is the questioning and discussion of the apathy that is brought by zombies, which characterizes some of the fundamental dimensions of current social behavior in society and in the media / O personagem zumbi faz parte da imaginação humana há muitos séculos, no entanto, nos últimos vinte anos tem constituído a chamada cultura zumbi que ocupa diferentes ambientes midiáticos como a mídia impressa, audiovisual e uma pluralidade de manifestações urbanas (festivais, festas, performances etc). O objetivo desta dissertação é identificar como as novas versões dos zumbis constituem, mais do que mero entretenimento, uma metáfora política, representando a desqualificação da vida humana (vida nua) e o limiar entre a vida e a morte. O corpus da pesquisa reúne desde o filme pioneiro Night Of The Living Dead (1968), dirigido pelo cineasta George Romero, até experiências recentes (cinema, quadrinhos, fotografias, imagens de internet). A metodologia alia pesquisa bibliográfica e análise de imagens selecionadas em diversas mídias. Integram o contexto teórico, os estudos políticos do gênero ficcional baseado no cinema de terror ou body horror propostos por Benjamin Noys (2005) e a análise dos chamados Mortos-Vivos de Auschwitz, conhecidos como Muselmann , e transformados em um dos importantes paradigmas da filosofia política contemporânea por Giorgio Agamben (2008). O estudo da implicação da vida natural do homem nos mecanismos e nos cálculos do poder será ainda abordado tendo como referência a área da comunicação, através da teoria corpomídia (KATZ & GREINER, 2005). O resultado esperado é a problematização de uma certa apatia, representada pelos zumbis, que caracteriza algumas dimensões fundamentais do comportamento social hoje, na vida e em seus diversos ambientes midiáticos