標(biāo)題: Titlebook: Contemporary Horror on Screen; An Evolving Visual N Sarah Baker,Amanda Rutherford,Richard Pamatatau Book 2023 The Editor(s) (if applicable) [打印本頁] 作者: 聲音會爆炸 時間: 2025-3-21 16:13
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作者: 乏味 時間: 2025-3-21 20:30
Panic Watching: On the Function of Consuming Fictional Pandemics During a Real Pandemicting contemporaneous hopes, fears, and aspirations, Tom Gunning reminds us that it is not that social trauma triggers the production of certain types of films, but that we come to better understand trauma using films, whether contemporaneous or not. This insight was witnessed as COVID-19 rapidly spr作者: 系列 時間: 2025-3-22 03:55 作者: 煤渣 時間: 2025-3-22 05:24
Representations of Environmental Apocalyptic Horror in , (2020)the continuation of life and societies in a rapidly changing ‘infected’ world. Epic disaster film not only brings visions of the horrors of death, but it grounds us in the reality that life is easily taken and serves to address anxieties surrounding adaptation or deviations to the status-quo within 作者: forebear 時間: 2025-3-22 09:49 作者: MIRTH 時間: 2025-3-22 14:48 作者: MIRTH 時間: 2025-3-22 18:25
Haunted Churches, Wicked Schools, Addressing Postcolonial History Through Philippine Horrornd production is insistence that what is supernatural, paranormal, and ‘otherworldly’ is, nonetheless, grounded in the lived experiences of the Filipino people. This emerges from observing the necessity of daily rituals to ward off bad spirits, being wary of one’s surroundings in case of demented sp作者: ULCER 時間: 2025-3-23 00:55 作者: BRUNT 時間: 2025-3-23 01:58
Shifting Subjectivities: Adopting the Perspective of the Other in Mother and Get Outising this movement, she argues the constitutive films and television series are ‘a(chǎn)llegories for contemporary anger and despair’ and that ‘their interest lies in the emotional fault lines between the characters, not in some external menace’ (Benson-Allott, . 72:71–76, 2018, p. 71). Several of these 作者: transdermal 時間: 2025-3-23 06:34
Pedophobiac Audiences: Mapping the Presence of the Child in Horror Cinemartoire of roles as the juvenile victim, orphan, or martyr, but towards the mid-twentieth century, they have ubiquitously become capable of metamorphosing into the incurable delinquent, villain, and murderer. The horror genre allows the modification of real but unconscious fears into something fathom作者: 不能和解 時間: 2025-3-23 11:23
Good for Her; Ready or Not’s Final Girl and the Rich, Patriarchal Family as Monster Girl’ was originally coined by Carol J. Clover in her 1987 essay ‘Her Body, Himself: Gender in the Slasher Film,’ where she extracted an analysis of the female victim hero through close readings of 70/80 s horror films. Clover, drawing on Robin Wood’s concept of the ‘repressed,’ utilised the slashe作者: travail 時間: 2025-3-23 14:42 作者: Outspoken 時間: 2025-3-23 22:01 作者: Peculate 時間: 2025-3-23 22:49 作者: 暴行 時間: 2025-3-24 05:04
The Horror Film and Donald Trump: The Revenge of Minoritiesding his protectionist economic speech and anti-immigration statements. He has been accused of racism, but also of being contemptuous of minorities. Many horror movies have been made from this period, as it common for film to capture the mood and fears of a nation. During Ronald Reagan‘s tenure, for作者: Consensus 時間: 2025-3-24 08:00 作者: auxiliary 時間: 2025-3-24 13:02
audiences and to pop culture in general in addressing moder.This book highlights how horror in film and television creates platforms to address distinct areas of modern-day concern. In examining the prevalence of dark tropes in contemporary horror films such as?.Get Out,?Annabelle: Creation,?A Quie作者: calorie 時間: 2025-3-24 17:44 作者: fetter 時間: 2025-3-24 21:13
Origins: A View from the Literatureting contemporaneous hopes, fears, and aspirations, Tom Gunning reminds us that it is not that social trauma triggers the production of certain types of films, but that we come to better understand trauma using films, whether contemporaneous or not. This insight was witnessed as COVID-19 rapidly spr作者: SENT 時間: 2025-3-25 01:52 作者: Synchronism 時間: 2025-3-25 06:22
https://doi.org/10.1007/978-94-015-8342-8the continuation of life and societies in a rapidly changing ‘infected’ world. Epic disaster film not only brings visions of the horrors of death, but it grounds us in the reality that life is easily taken and serves to address anxieties surrounding adaptation or deviations to the status-quo within 作者: 智力高 時間: 2025-3-25 07:37 作者: Trigger-Point 時間: 2025-3-25 11:58 作者: 統(tǒng)治人類 時間: 2025-3-25 16:42
Some Biophysical Elements of Homoeopathynd production is insistence that what is supernatural, paranormal, and ‘otherworldly’ is, nonetheless, grounded in the lived experiences of the Filipino people. This emerges from observing the necessity of daily rituals to ward off bad spirits, being wary of one’s surroundings in case of demented sp作者: avarice 時間: 2025-3-25 20:27
Unimodality of Probability Measuresubversive treatment of the horror genre. This paper draws on the complex affective-aesthetic frameworks that characterise Woolf‘s?similarly innovative?treatment of the Gothic genre?to?better understand how? Lowery?restages the relationship between affect and form that defines the?horror genre, and, 作者: Intersect 時間: 2025-3-26 02:51 作者: 拔出 時間: 2025-3-26 06:41
Evidence for 520-Km Discontinuityrtoire of roles as the juvenile victim, orphan, or martyr, but towards the mid-twentieth century, they have ubiquitously become capable of metamorphosing into the incurable delinquent, villain, and murderer. The horror genre allows the modification of real but unconscious fears into something fathom作者: HALL 時間: 2025-3-26 09:52 作者: 輕率看法 時間: 2025-3-26 15:35 作者: Annotate 時間: 2025-3-26 18:32
Zissis Samaras,Spencer C. Sorenseniety’ (Allison .). After the Lost Decade (1990s) of economic, political, and sociocultural crises, Japan was perceived as a country where its people were living in increasing isolation. These crises worsened during the Second Lost Decade (2000–2010), a time of general malaise, isolation, and the per作者: Palter 時間: 2025-3-26 22:23
Olf Herbarth,Uwe Schlink,Matthias Richteron, actually reifies the white privilege of the other films in the series. We see this perception and interpretation play out in the reviews of .. For example, Richard Corliss’ ‘Familiar Scares with a Salsa Tang’: the film ‘takes a detour…from the nice white people getting haunted in suburban Los An作者: installment 時間: 2025-3-27 04:43 作者: 馬賽克 時間: 2025-3-27 06:07
Francisco J. Varela,Jean-Pierre Dupuyody snatchers, slashers, or supernatural monsters for example. Odell and LeBlanc (2011) described the horror film genre as having ‘a(chǎn) fearsome reputation, dismissed by critics and pilloried by the media. Yet it is hugely popular, diverse in content and as old as cinema itself’ (7).作者: Conquest 時間: 2025-3-27 10:42
Sarah Baker,Amanda Rutherford,Richard PamatatauPresents a rigorous examination of the horror genre in the context of contemporary popular culture.Examines what the horror genres offers to audiences and to pop culture in general in addressing moder作者: 羊欄 時間: 2025-3-27 15:42
http://image.papertrans.cn/c/image/236504.jpg作者: obeisance 時間: 2025-3-27 21:17
Introduction,ody snatchers, slashers, or supernatural monsters for example. Odell and LeBlanc (2011) described the horror film genre as having ‘a(chǎn) fearsome reputation, dismissed by critics and pilloried by the media. Yet it is hugely popular, diverse in content and as old as cinema itself’ (7).作者: 數(shù)量 時間: 2025-3-28 00:23
https://doi.org/10.1007/978-981-99-4965-6Apocalyptic Horror; Contemporary Horror; Horror Cinema; Global TV and Horror; Gender and Contemporary ho作者: Myosin 時間: 2025-3-28 03:56
978-981-99-4967-0The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Singapor作者: Adenoma 時間: 2025-3-28 09:01 作者: 詞根詞綴法 時間: 2025-3-28 12:07
When Corporate Biology Gets Caught up with Mother Nature: An Analysis of the Netflix Viral Horror thas havoc and horror are unleashed and many are wiped out just from getting wet. But in this case the virus becomes an important character or figure in the horror of what ecologic shock, perhaps akin to climate change projections, and how it might affect every aspect of society. Aligned with this is 作者: 遭遇 時間: 2025-3-28 17:17 作者: 不持續(xù)就爆 時間: 2025-3-28 19:49
From Haaa! to OOO: The New Cycle of Killer Objects: The New Cycle of Killer Objectsto the independency and autonomy of the object’ (Ferrando 163). In our increasingly posthuman world, OOO takes inanimate matter into consideration and recognizes that ‘a(chǎn)ll objects maintain a being, an ontology that always escape unconcealment’ (Weaver 192). The mysterious nature of objects, so passi作者: 暫停,間歇 時間: 2025-3-28 23:38 作者: 膽大 時間: 2025-3-29 06:35
Haunted Churches, Wicked Schools, Addressing Postcolonial History Through Philippine Horrore directed by Mikhael Red. Both films intersect with discourses on religious iconography and sacred spatiality, while simultaneously questioning religious providence. The first film follows a group of deacons who engage in a ritual of seclusion during the last seven days of priesthood in order to hi作者: 蜈蚣 時間: 2025-3-29 08:13
A Ghost Story and Micro-Cosmic Horror: Virginia Woolf’s Indifferent Fears a more rigorous understanding of the affective, and aesthetic repercussions of?indifference—itself?a nod to modernist impersonality—as it appears in both texts. Drawing on Affect Theory and Modernist Studies, this paper contributes to contemporary conceptions of horror?and early modernism, bringin作者: 女歌星 時間: 2025-3-29 11:47
Shifting Subjectivities: Adopting the Perspective of the Other in Mother and Get Outn Peele’s . (2017) to examine the production of the internal or familial threat and how it speaks to broader social and political anxieties. What unites both these films is the shift in subjectivity commonly offered in horror films. Both films use conventional Others of horror films as their protago作者: palliative-care 時間: 2025-3-29 15:41 作者: Eclampsia 時間: 2025-3-29 20:47
Good for Her; Ready or Not’s Final Girl and the Rich, Patriarchal Family as Monsterely self-aware of her recurring role (though the interpretation is a little different, with the figure often treated as a feminist hero). Various theorists such as Kinitra D. Brooks, Lucia Palmer, and Kelly Wilz, have continued to engage academically with the Final Girl, investigating the subconscio作者: IST 時間: 2025-3-30 00:13 作者: DUST 時間: 2025-3-30 07:56 作者: PATHY 時間: 2025-3-30 09:00
Paranormal Activity: The Marked Ones: A Failed Movie or a Movie Failed?the ‘Hispanic’ in the film reviews is quite disturbing. Rather than espousing the Hispanic/Latino culture in the horror film genre, the film and its reviews make it the Other. The most recent US Census (March 2015) reports that the Hispanic/Latino population in the US is approximately 55 million peo作者: fluffy 時間: 2025-3-30 14:24 作者: 不可救藥 時間: 2025-3-30 19:49
fe, be it political, biological, social?or environmental. A vital contribution to studies of the horror genre in contemporary culture, and the effect it has on social anxieties in a threatening and seemingly ap978-981-99-4967-0978-981-99-4965-6作者: SLING 時間: 2025-3-30 20:44 作者: heart-murmur 時間: 2025-3-31 03:00
Understanding Origins: An Introductionas havoc and horror are unleashed and many are wiped out just from getting wet. But in this case the virus becomes an important character or figure in the horror of what ecologic shock, perhaps akin to climate change projections, and how it might affect every aspect of society. Aligned with this is
