Horror Film Research Articles

How the Digital Medium Changes the Perception of Filmmaking. New Subconscious `Readings` of a Moving Image

This article focuses on the way the spectator’s perception and analysis of moving images has changed in the past two decades, following the growing technological advancements in the digital field. Both small digital cameras, meant for home use, and the digitalization of everyday life through different online platforms have had a significant impact on the way our brains subconsciously understand visual stimuli. What changes is not only the spectator’s viewing experience but also his interpretation of the semiotics of the image. In the first part of the article, I will use as example two of the works of the great Iranian auteur Jafar Panahi, whose ban to never make movies again has forced him to find alternate ways of expression. In the second part of the article, I will focus on a lesser-known horror film, crafted in the form of a Zoom meeting, which I believe to be a revolutionary milestone in the breaking of the barriers of visual perception: Host (2020), directed by Rob Savage. In understanding these recent changes in our cognitive behavior, the next step would be updating the pedagogical approach to this unavoidable digital medium, in order to prepare the next generation of filmmakers for the medium in which they will be working.

Skinamarink and the algorithmic uncanny interface between children's and horror film TikTok cultures

Skinamarink, the surprise micro-budget horror film sensation of 2023, gained unexpected international exposure by going viral on TikTok after the film was accidentally leaked online. The film's virality was propelled by an algorithmically driven cross-pollination between forces at seemingly oppositional ends of the taste-cultural spectrum – horror film and children's cultures. Extending theorisations of the digital and algorithmic uncanny, the article outlines how the TikTok algorithm and young platform users collaborated to position a film regarded as one of the most terrifying of the year as a participatory ‘challenge’ that adopts TikTok dynamics popular with children such as ‘intensified play’.

Decoding pain: prediction under different emotional contexts through physiological signals

AbstractPain recognition is a challenging yet crucial problem. Common methods used to measure pain are based on self-reported tools; however, not every person can communicate it. Therefore, automatic pain detection methods have emerged. Since pain is related to the emotional state of an individual, this variable must be considered. Thus, this work proposes pain prediction under different emotional contexts. For this purpose, data were collected during a protocol designed for pain induction with previous emotional elicitation. Emotions were elicited through videos composed of excerpts of documentaries, horror and comedy films, while the pain was induced through a Cold Pressor Test. Physiological signals, such as electrocardiogram, electrodermal activity and surface electromyogram, were collected during the protocol. Furthermore, several questionnaires were answered and pain reports were also registered. Two problems were addressed: pain classification and estimation of the Pain Tolerance score. The algorithm with the best performance for each problem was found using only data from the neutral session and nested cross-validation strategy. Using only physiological data from the neutral session, a F1-score of 99.32% was obtained for pain recognition and a mean absolute error (MAE) of 0.29 was obtained for Pain Tolerance estimation. When considering all the emotional sessions, the physiological data were merged with scores of the Visual Analogue Scale questionnaire, achieving a F1-score of 98.60% and a MAE of 0.41, for the first and second problems, respectively. These results are promising and stress out the key role that the emotional context of the individuals plays in pain prediction.

Patchwork Gothic in Polish Vampire Films

The article explores the emergence of Gothic elements in Polish cinema, specifically in the realm of vampire films. Despite the Polish literary market being saturated with horror, Polish cinema has conspicuously shied away from the genre for decades. However, the popularity of Hollywood Gothic cinema has influenced the once-hermetic Polish film industry, leading to the inclusion of classic Gothic themes, characters, and visuals in Polish vampire films. The article delves into the history of Polish horror cinema, and its relation to Hollywood Gothic cinema, whilst focusing on the vampire aspect of horror. In addition, it highlights the concept of “patchwork Gothic”, which involves blending elements of western and Slavic cultures, aesthetics and characters. By analysing two Polish vampire films, I Like Bats (1985) and The Lullaby (2010), in reference to the notion of patchwork Gothic, the author argues that the combination of disparate cultural influences creates a unique and dynamic interpretation of the Gothic genre in Polish cinema.

Beyond the panel: cinematism and affective responses in Itō Junji’s Tomie

ABSTRACT Itō Junji has been a renowned horror author since his work Tomie was released in the late 1980s. Tomie tells the story of an eponymous vengeful entity who, after being killed by her classmates on a school trip, leads men she encounters to madness and to her assassination which leads to her multiplying and being reborn again. Previous studies have focused on gender-based readings of the violence and body-horror elements in Tomie, yet little attention has been given to how this latter works in tandem with other elements as affective devices. By drawing upon several concepts related to affect, this paper analyzes the use of horror manga to evoke affective and somatic responses in readers. It shows that the manga’s use of panelling and composition techniques associated with cinema plays an essential role in the creation of dread and anticipation. Additionally, the exploration of abjection and body horror reveals how these contribute to the reader’s responses which oscillate between sympathy and somatic empathy. Ultimately, this study highlights how horror manga, as a visual medium with cinematic traits, can elicit responses in readers similar to horror cinema and offers a potential theoretical framework for the broader study of horror manga.

Exploring the motives for watching horror movies: A replication and extension.

Exploring the motives for watching horror movies: A replication and extension.

Analisis Semiotika Pesan Dakwah dalam Film Horor “Hidayah”

The aim of this research is to enhance spiritual awareness, strengthen faith, and encourage people to behave positively. In the horror film "Hidayah," using Roland Barthes' semiotic approach, this research employs a qualitative descriptive method. The horror film "Hidayah" tells the story of Bahri, a young cleric, who tries to bury his past while working in the city. However, after returning to Mekarwangi village, where he was raised, he experiences supernatural events. According to the results of this research, the film "Hidayah" contains messages of Sharia, morality, and faith as part of its religious teachings.

Analisis Persepsi Penonton Tentang Fenomena Mistis Dalam Film Badarawuhi di Desa Penari

In this research, the researcher investigates how the audience understands and interprets aspects of mystical phenomena contained in the movie "Badarawuhi di Desa Penari". These mystical phenomena can include various elements, such as local beliefs, myths, or spiritual practices presented in the context of the story. The research will focus on how the representations of local traditions and social norms presented in the movie influence the audience's perception of the culture. In knowing the perception, the researcher uses Alex Sobur's cognitive theory to explore the meaning that exists in the audience. The research method used is a qualitative descriptive method that allows a more detailed explanation of the principles found. The data was collected through in-depth interviews in person and online via WhatsApp with the informants. This research reveals that continuous exposure to horror films can influence viewers' perception and increase their susceptibility to believing in the supernatural elements portrayed in these movies. However, it is crucial to acknowledge that individual beliefs vary and should be respected. Horror films can serve as a window into the cultural beliefs and practices surrounding supernatural phenomena in different societies. Therefore, it is paramount to always respect and value the local beliefs of the community, regardless of one's location.

Representation of Shamanism in the Film "The Medium" (Semiotic Analysis of Chaerles Sanders Pierce)

The Medium is a supernatural horror film, produced by Showbox from South Korea and GDH 559 from Thailand, directed by Banjong Pisanthanakun, who also serves as a producer alongside Na Hong-Jin, the director of the film The Wailing. This research aims to understand the presence of shamanism or witchcraft in Indonesia and Thailand, as well as the depiction of shamanism in Indonesia through the semiotics of Charles Sander Pierce, by connecting signs, objects, and meanings in accordance with what is portrayed in the film The Medium. This research uses a descriptive qualitative method with data collection techniques such as observation, analysis, and literature review, based on the semiotic analysis of Charles Sanders Pierce. The research findings show that shamanism in the Isan community in Thailand is portrayed as a bridge between humans and the supernatural world, with the shaman acting as a mediator. During the ritual process, the shaman uses various tools such as white thread, candles, incense, and statues. Mantras are used as a form of communication, the worship space serves as a place of worship, dance accompanied by music is a form of worship, ritual scars are a form of shamanic impact, the use of blood and cow heads is a way to ward off evil spirits, and traditional Thai clothing represents the local culture and traditions.

Biting Back at Society

The myth of the lesbian vampire spiked in popularity throughout the late 1960s and early 1970s, inspiring erotic horror films, like Roy Ward Baker’s The Vampire Lovers (1970). While the easing censorship regulations allowed the film to depict more overt scenes of sex and violence, it was the second wave of feminism that allowed the film to be as erotic as it was (Baker 556), as the traditional gender role of men was called into question. Protesting for bodily autonomy, the right to express their sexual identities and overall looking for equal opportunities to their male counterparts, the traditionally superior man was under threat by female bonding. Lesbian vampires like Mircalla were unchained to a male figure and were able to liberate other women through their mental strength, physical beauty and by providing deeper emotional connections than men could. The lesbian vampire presented a reality where women could receive everything from a female partner, rendering the male useless.

Natural clues to danger: attachment behavior in threatening situations

ABSTRACT A fundamental principle of attachment theory is that threatening situations give rise to individual differences in the extent to which people seek proximity to close others. The current research examines the way in which attachment styles predict individual differences in attachment-relevant behavior during threatening events. We tested alternative theoretical perspectives concerning the association between adult attachment (specifically, attachment avoidance) and attachment behavior in the presence of natural clues to danger by observing couples (N = 204) when they were watching horror vs. control film excerpts. Results suggest that highly avoidant people engaged in less attachment behavior across both threatening and non-threatening situations. These findings have implications for the understanding of attachment-related processes and how working models of the self and others facilitate (or inhibit) the expression of attachment behavior.

Labors of Fear: The Modern Horror Film Goes to Work, edited by Aviva Briefel and Jason Middleton

Labors of Fear: The Modern Horror Film Goes to Work, edited by Aviva Briefel and Jason Middleton

Analysis of Horror Film Content as Digital Media for Islamic Dakwah

Analysis of Horror Film Content as Digital Media for Islamic Dakwah

Mirror Mirror on the Wall: The Bible and Ethics in Jordan Peele’s 2019 film Us

Jordan Peele’s horror movie, Us, takes moral ambiguity to its logical extreme by creating a world, or, rather, two worlds, in which good and evil mirror each other on multiple planes—the narrative, the visual, the spatial, the racial, the ethical—and by its use of a biblical verse—Jer 11:11. The Wilsons, who inhabit “our” world, view the “Tethered”, who inhabit a nether world, as evil insofar as they have emerged from the shadows to terrorize and kill them. The Tethered, however, view the humans as evil, insofar as they take for granted the ability to enjoy and act in the world. Like the prophet Jeremiah, the film draws the audience’s attention to its own iniquity—and the consequences.

Viralization of Mystic Stories and Lore in Horror Films Produced by Indonesia

This research aims to investigate the influence of social media influencers and title-naming on the success of the horror genre. Influencers are vital in promoting a film through social media. Engaging influencers’ reviews can reach a broader and more diverse audience. This ability becomes a unique appeal to introduce a film title to their followers so that the title can create curiosity among the enthusiasts on the depiction of the atmosphere. This research is conducted using a qualitative approach. The main data of this research is the influencer, horror films, and films synopsis released in 2023. The data are collected by tracking the internet. This research covers 1) The phenomena of horror film influencers 2) The use of titles in horror films 3) The criteria of horror films in cinemas. This research recommends film activists give some space for influencers as a strategy to uplift the appeal of a film.

Revealing the Visual Structure of the 1981 and 2019 Versions of Ratu Ilmu Hitam Film Posters

The horror film Queen of Black Magic, which is a remake of the film with the same title, was released in 1981 and 2019. This film was released with the same title, but with different characters. The 1981 version features Suzzanna as the horror queen as the main character, while the 2019 version does not feature Suzzanna and the main character is not famous. This film with the title black magic has become an iconic film, because it emphasizes the word science for horror stories. The word black, which is synonymous with magic, is juxtaposed with the word science, thus forming a paradoxical word relationship. The queen is a figure and incarnation of a ghost, which directly places the ghost in a noble and respected position. The posters for the two films have different designs because of the strength of the ideas, social and cultural atmosphere that exist in the two posters with the large distance between the years of release. This research aims to determine the differences in design concepts between two film poster designs. This analysis is based on Levi Strauss’s version of structuralism theory which reveals that the 1981 version of the Queen of Black Magic poster emphasizes the importance of Suzzanna as a figure or queen of horror who attracts public attention, while the 2019 version of the Queen of Black Magic poster emphasizes the exploration of the formation of visual elements that lead to the meaning of black magic.

Powers of (Body) Horror

Abstract French film director and screenwriter Julia Ducournau's sophomore body horror film, Titane (2021), like its predecessors of the same genre, examines the malleability and fragility of human corporeality. The film can be categorized under the New French Extremity, a genre coined by art critic James Quandt, who disapprovingly expressed his concerns with the rampant depictions of blood and violence in film; however, this article contends that Ducournau's film offer much more than mere shock factor and spectacle of taboo objects. Featuring a protagonist who is a manifestation of Donna Haraway's radical cyborg, Titane can be situated alongside recent debates in posthuman concerns, but more importantly, in its intersection and close connection to feminist and queer discourse. Although many have utilized Julia Kristeva's abject/-ion to examine the horror film genre through a feminist lens, this article seeks to expand on such existing literature by pointing to its emancipatory powers and its potential for a more inclusive, posthuman queer mode of being and kinship beyond the symbolic order.

КОНСТРУИРОВАНИЕ ОБРАЗА ВЕДЬМЫ В СОВРЕМЕННОМ ХОРРОРЕ

The article examines the representation of the witch in two horror films: “The VVitch: A New-England Folktale” (2015) and “Hagazussa” (2017). The films are set during the historic period of the witch hunts. The article draws on the theoretical foundations of the “monstrous-feminine” theory by B. Creed and the concept of “disgust” by Yu. Kristeva as its methodological basis. B. Creed's theory seems to be very promising in the analysis of horror films, which are built around a female monster figure, such as a witch. Based on the theory of B. Creed, we can identify three main themes in the construction of monstrous images in these films: mother-child relationships, the concept of purity and dirt and images of disgust. The basis is the female body, which becomes the primary indicator of the monstrous. It is concluded that the images of the monstrous are based on religious prohibitions, and one of the functions of horror is to maintain boundaries and taboos in a post-secular society.

‘Where are we?’: The ghost as interrogative haunting in The Others

The ghost raises fundamental questions of reality, identity and epistemology. The ghost is the shadow image of otherness that threatens our notions of life, humanity and permanence by intimating that if death is permanent and the afterlife eternal, then perhaps it is our present tangible reality that is the simulacrum. The ghost interrogates the quotidian, not vice versa. The fetishization, aesthesizing and ritualizing of death in the Gothic aims consistently to defer the final definitive ending of death and the state of non-existence. As a memento mori, ghosts remind us that our ruminations of death are not morbid, but life-affirming. This article will explore the depiction of the afterlife in The Others () in which the living are simulations of the dead and vice versa. Unlike the typical horror movie, the predominant discourse of The Others is a postmodern interrogation of belief, truth and doctrine. The haunted house is an in-between land of purgatory, a death space of self-loss and separation that plays out in the conflict between religion and the supernatural. The questions with which the films ends – ‘What does all this mean? Where are we?’ – is not just a geographical question, but an ontological one. The interrogation of Biblical narratives causes the audience to evaluate the reliability of the discourse of established religion and its doctrine of the afterlife. By defying audience expectations of the generic conventions of the ghost story, the movie relies on the viewer’s faith that what we see on-screen is real, when this cinematic reality is as deceptive as seeing dead people artificially propped up to appear alive. Suspended between being and nothingness, both absent and present, the ghost is a metaphor for the simulacrum of film. The cinematic thus serves as the Other by which the real can be defined.

Through a glass darkly: How Goth reflected and reimagined the Sixties

When Goth emerged as a post-punk music genre and subcultural style in the late 1970s and early 1980s, its references to the past included nineteenth-century Gothic literature and classic Hollywood ‘monster movies’ such as 1931’s Dracula starring Bela Lugosi. Less discussed, however, is Goth’s inclusion of 1960s culture into its repertoire. While the 1960s are often synonymous with the Mod joys of ‘Swinging London’ and the cheerful flower power of San Francisco, it was also a period marked by the popular Hammer Horror films and the real-life terrors of the Moors and Manson Murders. As children of the 1960s, Goth’s originators could not help but reference the sights and sounds that shaped their childhoods. In this light, the music produced by bands such as Siouxsie and the Banshees, the Cure, Bauhaus, The Sisters of Mercy conjure a darker side of that decade. This article assesses how the original wave of Goth musicians drew upon the 1960s to invent a dark psychedelia for a new generation of youth.