Image Of Horror Research Articles

Destined to Hope or Remorse: T.S. Eliot, Francis Bacon, and Their Furies

This article traces the relationship between the Furies as depicted in T.S. Eliot’s The Family Reunion (1939) and the work of painter Francis Bacon. Bacon’s Three Studies for Figures at the Base of a Crucifixion (1944) – a triptych depicting three grotesque amorphous creatures, which he identified with the Furies – was directly inspired by The Family Reunion , which in turn draws on Aeschylus’ The Eumenides . Eliot’s play not only generated a creative response by Bacon that inaugurated his characteristic style; crucially, it also led him to the Oresteia as a source of inspiration that would be pivotal for his later career. In the play, Eliot’s goddesses of retribution pursue Harry, who is said to have perpetuated a family curse by murdering his wife. The integration of the Furies into a modern play with a Christian background and their visual representation on stage are central challenges of The Family Reunion , as Eliot acknowledged. Bacon represented the Furies as monsters in Three Studies , a triptych that evokes Christian iconography linked to mythology. There are, however, essential differences between Eliot’s and Bacon’s approaches. In The Family Reunion , the Furies become salvific “bright angels” offering Harry an escape from his private hell, whereas in Bacon’s representations, they remain monsters or birds of ill omen that never bring hope. Eliot eventually came to consider his Furies a dramatic failure, recommending they be invisible on stage and subsequently adhering to realism in his drama; for Bacon, the Furies became recurrent images of horror and guilt, haunting but inspirational.

Angels of Destruction (Mal’akhei Ḥabalah): Two Millennia of Jewish Horror

Abstract This article traces the meanings and uses of the Hebrew concept mal’akhei ḥabalah [angels of destruction], a common designation for monsters that has been mentioned in Jewish texts for over two millennia. Thus far, scholars have considered mal’akhei ḥabalah only in isolated contexts. In contrast, we examine these monsters’ long history, which provided Jews with familiar horror images and figures to visualize and embody experienced and anticipated fears and threats. We argue that Jewish references to them were intended to horrify in order to deter people from sin and to express God’s might and authority, thus maintaining religious and communal order in Jewish societies. At the same time, mal’akhei ḥabalah were used to articulate the crises that threatened and challenged the existing social and political order. Although mal’akhei ḥabalah developed within religious interpretations, by the modern era they expanded their applications and relevance for various avenues of Jewish life.

The Horror Writing of Strange Tales from Liaozhai

Strange Tales from Liaozhai is a representative work of the Zhiguai Chuanqi of Chinese classical literature, and the writing of horror stories is one of its most essential parts, which contains adequate meaning, showing its rich details and vivid writing characteristics, which also reflects a certain extent of the author, Pu Songling's unique aesthetic and value orientation. This paper analyzes the setting of the time and space environment of the original text, the use of the third-person limited angle of view in the narrative, and the selection of horror images, respectively, from the scene of the incident, the subject of experience and the object of experience in the horror story. This paper analyzes the original texts of Strange Tales from Liaozhai by summarizing writing techniques of horror stories in work to explore the process of creating the sense of horror in Strange Tales from Liaozhai and how the author uses the original source of human fear to create a horror story. It reveals the alienation and abnormality of time and space, the immersive sense of subjective, limited perspective, and the deadly threat behind horrific imagery. While appreciating the artistic beauty and realizing the diversity of stories types of this work, its implicit humanistic concern is not ignored.

Хоррор-мотивы в творчестве А. Старобинец (на материале сборника «Икарова железа»)

The paper is devoted to analysing the collection “The Icarus Gland” (2010) by Anna Starobinets. The research was undertaken in order to identify the elements of horror in the prose writer’s short stories. First, the author of the paper summarises the opinions of researchers about the genre features of the phenomenon under consideration, then analyses the specifics of the existence of horror motifs and horror images in the texts of the Russian writer, comparing her plot collisions with literary and cinematic plots of Western predecessors. The research is novel in that it is the first to consider the plots of the short stories by A. Starobinets through the lens of foreign horror culture. As a result, it has been proved that the writer, taking into account the peculiarities of the canonical pieces of horror literature (the works of I. Levin, S. King, C. Barker), rethinks the nature of the emotion that the genre in question causes: Starobinets is not focused on fear of death, but on fear of reality, the phenomena of which are often inevitable (poverty, loneliness, loss of self etc.). The prose writer, using horror images and horror motifs popular in mass culture, hyperbolises everyday situations and brings them to the point of absurdity.

Cultural Diversity and the Alternate History in Kim Newman’s Novel ‎Anno Dracula

The paper offers a new insight into the global perception of vampirism as cultural diversity tradition lens in the British writer Kim Newman’s novel Anno Dracula, published in 1992. The historical allusions throughout the novel presents the discourse of intercultural concepts that does not only speak to the Western Dracula tradition and the 19th Century English historical setting but also to our own 21st Century with its multicultural emerging societal relations. In a politically charged destruction of a fictional setting, the writer shows a kind of prevailing evil that defies the existence of mankind. The paper presents different points of view to interpret the role of both historical and fictional characters drawn by the novelist to create an image of horror. The paper also traces the cultural encounters with the Dracula tradition and how far this has contributed to build a political rebellion in a police state that might exist anywhere in the world.

The Tim Seibles BOOKBIOBOARDGAME: Tracing a poetic lineage

The Tim Seibles BOOKBIOBOARDGAMETracing a poetic lineage Terrance Hayes (bio) Click for larger view View full resolution [End Page 134] dear lucky recipient congratulations, tim seibles fan! You are receiving this very limited edition of our BOOKBIOBOARDGAME for an extended reading of Voodoo Libretto: New and Selected Poems, by Tim Seibles, released in early 2022. Rereadings may be done alone or in pairs at your preferred light source and hour. A few members of our expert reading laboratory have reported enjoying the game best with Derridean deconstructions of the erotic in Tim Seibles. Our principles for enjoying the game are interchangeable with those of the Frank O'Hara Meditations in an Emergency Room and Board Game and the Bob Kaufman Golden Sardine Eating Board Game. But with Seibles we wanted to examine a classic midcentury Black baby boomer ironman work-a-day poet. Seibles is a poet who straddles our poetic past and future like Janus, the god of entrances and exits. ________ You are also receiving our Encyclopedic Century Poet Magic Reversible card deck. One side bears images of our extensive and ever-expanding collection of quintessential poets* and one side is a slanting mystical tarot deck of poetry trivia, scholia, tidbits, and footnotes. [End Page 135] CONTENTS INTRODUCTION YOUR TIM SEIBLES CHARM PLAY PLAYING STRATEGIES PERSONA POETS GAME VERSION STRATEGY WINNING THE GAME SAMPLE BOARD GAME RECAP BOOKS READING EQUIPMENT • Game board, constructed out of Ouija board and virtual pen and ink • Encyclopedic Century Poet Magic Reversible card deck • Tim Seibles charm (player piece) • Dice Click for larger view View full resolution [End Page 136] INTRODUCTION tim seibles was born poised at the middle of the century between Brown v. Board of Education and the founding of Motown. Seibles was born in the year Emmett Till was murdered, one of the national shocks that set the Civil Rights era in motion. Tim Seibles was born at the birth of the civil and right. The proliferation of television meant a proliferation of images of horror at home and abroad. Tim Seibles was born at the birth of popular culture. His work is one measure of Time. He came of age as political change slowly evolved into social change for Black people. ________ "The Word 1964–1981" from Body Moves, his 1988 debut, begins, "In Philadelphia / I went back to the school / we integrated. The bunch of us / had no idea how big a deal it was." The scene returns twenty-four years later in "Allison Wolff," from 2012's Fast Animal, a National Book Award finalist: "Was she Jewish? I was seventeen, // an 'Afro-American' senior transferred to a suburban school / that held just a few of us." The poem speaks in the register of memoir and the timbre of personal letters. The references to "the bunch of us" and "few of us" across the poems underscore the communal and cultural confidence encircling the racial interaction. In "Allison Wolff" "the monsters that murdered / Emmett Till—were they everywhere? / I didn't know. I didn't know enough." In the poem, Black nationalism tangles with integration. Freedom tangles with cultural solidarity. The poems are full of brothers, Black men and Black boys, Black fathers and sons in earshot of Till's murder. ________ We encourage you to look closely at the measure of time in the body of work and in the body of Tim Seibles in America, and the spirit of his poems on earth. [End Page 137] Click for larger view View full resolution [End Page 139] YOUR TIM SEIBLES CHARM make sure all poems have been experienced before assembly. Remove the Janus-head and insert a watch battery (not included) beneath the hat. Assemble the parts of his grasp and reach first. The fingers are delicate. To prevent typos and bruises, do not use excessive force. Seibles belongs to a diminishing breed of troubadour poet, a tribe of bards and guitarists with agile oversized hands, angular Thelonious Monk goatees, and smiles full of affectionate vocabularies. In Body Moves, the poem "The Snail" opens, "Sisters, / I am weak of your kisses / the wanting of them," announcing the images of mouths and kisses that will populate the poems...

The cemetery of lost souls: how an image of horror retells history and rediscovers Brazil

Resumo Neste texto discutimos uma passagem do filme O cemitério das almas perdidas (2020), de Rodrigo Aragão, como uma imagem de horror que pode desmontar a história (DIDI-HUBERMAN, 2015) e redescobrir a ideia de nação com base cinema de horror brasileiro contemporâneo. Para isto, partimos da noção de imagem dialética benjaminiana proposta por Didi-Huberman (2015) contrapondo o trecho do filme de Aragão com outras imagens que retratam o mesmo momento histórico em diferentes períodos, como: A primeira missa no Brasil (1859-1861), de Victor Meirelles, O descobrimento do Brasil (1937), de Humberto Mauro, e Terra em transe (1967), de Glauber Rocha. Notamos reincidências e rupturas nos modos estéticos de tratar o mesmo tema, priorizando ora o naturalismo, ora a alegoria. Nesta perspectiva, o filme de Aragão se estabelece como uma nova chave de leitura para este momento histórico, privilegiando o horror e o conflito para pensar a história do país e o contexto atual.

Orientierung durch Katastrophen

Abstract Catastrophes that threaten life and health have characterized the history of humankind from the very beginning, as has the search for meaning. The descriptions of end-time catastrophes in apocalyptic literature are also concerned with their meaning for the present. In the New Testament, the book of Revelation belongs to this kind of literature. It does not provide a roadmap for the end of the world; the horror images of a subversive narrative aim at understanding the current reality. Using the example of the so-called »damage cycles« (Rev 6:1-17; 8:2-11:19; 15:1-16:21), it will be argued that these texts aim at a theological interpretation that consoles and admonishes its readers by creating narrative spaces for the transience of the seemingly unchangeable Roman rule.

Литературная кинематографичность в романе «Пищеблок» Алексея Иванова

The research aims to identify peculiarities of using cinematic techniques in the novel “Food Unit” by A. V. Ivanov. The article studies involvement of horror images and motifs developed in cinema and reinterpreted by Ivanov; describes film techniques: editing, change of narrative perspectives, colour imagery. Scientific novelty of the work lies in defining the genre nature of “Food Unit” as a film novel, i.e. a literary work oriented towards intermedial perception. As a result, it is proved that Ivanov taps into cinema as a medium for horror motifs, which allows him to create his own model of the vampire world against the background of the cinematic tradition.

THE IMAGE OF HORROR AS VIEWED IN EDGAR ALLAN POE'S THREE SHORT STORIES (LIGEA, THE BLACK CAT, THE FALL OF USERS)

Edgar Allan Poe is the father of horror stories. In his three short stories, Ligiea, the Fall of the house of Usher, The Black Cat, he portrays the image of horror in the form of being buried alive or premature burial, Mental Disorder or Madness or Mentally Ill, and Supernatural. Being buried alive can be seen in The Black Cat as well as in the Fall of the house of Usher. Mentally Ill can be found in the Black Cat and in the Fall of the house of Usher. Meanwhile Supernatural image of horror is reflected in Ligiea and in The Black Cat. Being buried alive is illustrated in the way when The Narrator of the Fall of the House help Roderick Usher entombed his twin sister, while in the Black Cat the Narrator buried his wife in the wall to conceal from the police investigation. Mental Illnesses can be seen in the Black Cat when the Narrator suffers from alcoholic addicted. Roderick Usher the character of The Fall of the house of Usher suffers from not only does he live in fear, but also to have lost all interest in every kind of social contact. Supernatural is portrayed in Ligeia, when the narrator’s wife, Ligiea, dead, she transforms into Lady Rowena, the new wife of the Narrator.

Sight Unseen: Our Neoliberal Vision of Insecurity

Is security seen? Is security seen in images of peace and safety, or is it perceived in the troubled images of the horrors of violence and suffering? Vision has played a crucial role in shaping the modern Western preoccupation with, and prioritisation of security. Historically, security has been visually represented in a variety of ways, typically involving the depiction of its absence. In Medieval and Early Modern Europe especially, security and insecurity were presented as coterminous insofar as each represented separate conditions – their shared boundary envisioned in representations of the temporal threshold separating human mortality from divine salvation. This ocular demonstration of thresholds has been heightened by the ‘war on terror’ conducted by neo-liberal states since 2003. Neoliberalism operates as a discourse of constant global circulations (of money, goods and people) premised on a perpetual anticipation and pre-emption of insecurity. In the neoliberal scheme, security and insecurity are no longer coterminous, but mutually sustaining in perpetuity. In that sense, neoliberal security is ‘sight unseen’ - an uncanny presence that is not there. In the reiterated troubled images of horror amplified by the seemingly endless 'war on terror', neoliberal security operates as a terrifying visual reflex: we cannot see it but in new horrors.

Beware the living dead: The corpo-reality of comics

Abstract Half-buried skeletons, ripped-off body parts, rotting zombies, insects feasting on human flesh – these and other nightmarish scenarios, in which the healthy, living human body has been grotesquely deformed, forcefully violated or almost unrecognizably altered are well-known topoi in Gothic comics. Scenes like these depict Julia Kristeva’s understanding of the abject – something that (metaphorically, sometimes literally) threatens to chip and munch away the fragile border which we have erected to separate and defend ourselves from everything other, and which we desperately try to fend off. Yet, why do mere pictures as they are presented to us in comics have such a strong effect on us, given that they are not the ‘real thing’? W. J. T. Mitchell argues that ‘we are stuck with our magical, premodern attitudes towards [...] pictures’, and that we take them as ‘vital signs’, meaning ‘not merely signs for living things but signs as living things’ – or, in the case of some Gothic horror images, as deceased or undead things, which seem to be nevertheless quite ‘alive’ in their impact on the reader’s psyche. These deliberations, based on cultural observations, are supported by neuroscientific research on the processing of visual stimuli and are, for example, utilized by behavioural psychology. Even though comics are commonly defined as addressing only one physical sense, namely sight, I argue in this paper that particularly in the case of images of the uncanny and the abject, touch plays a decisive role as well. At the same time that we imagine to see the real thing, we also fear to touch the real thing. Thus, in comics, the fear of ‘death infecting life’ – to use Kristeva’s words – is heightened by the reader’s direct physical contact with the medium in which the abject is depicted. Uncannily, the border between the pictures and our own corporeality is transcended and thus the ability of comics as a medium to provoke abjection is enhanced.

Visão de corpos mutilados: entre o real e o performativo

A visão de corpos mutilados e mortos é cada vez mais frequente na cena teatral contemporânea, o que leva a questionar a pertinência de se confrontar o espectador com essas imagens do horror. Retomando teóricos como Didi-Huberman e Susan Sontag, o artigo propõe uma discussão sobre a associação da produção de imagens com a produção de imaginário. Duas encenações apresentadas em Paris logo após os atentados de novembro de 2015 são analisadas, observando-se aspectos documentais e biográficos que posicionam tais experiências entre o real e o performativo.

Arrival of the Fittest

Prometheus, the fifth film of the Alien franchise, maintains narrative connections to the original four films but the inclusion of new aliens—the Engineers—radically shifts the feminist politic of the series. There is a move away from centralising the monster and the repressed feminine, through images of horror and bodily abjection, toward a politic of carnival, seen in representations of multiple grotesque bodies and subversion of the affect of primal scenes. Carnival is a space where the authority and stability of current social powers and orders are challenged and subverted. This article contends that in Prometheus such a process occurs in the deliberate mixing of scientific knowledge and religious cosmologies, the ambivalent relationship of horror and SF genres to science and scientific knowledge, the gendered complexities of the specific bodies of astronauts and of scientists, and disruptions of the notion of gaze and viewer positioning in the opening scenes.

Horror Image Recognition Based on Context-Aware Multi-Instance Learning.

Horror content sharing on the Web is a growing phenomenon that can interfere with our daily life and affect the mental health of those involved. As an important form of expression, horror images have their own characteristics that can evoke extreme emotions. In this paper, we present a novel context-aware multi-instance learning (CMIL) algorithm for horror image recognition. The CMIL algorithm identifies horror images and picks out the regions that cause the sensation of horror in these horror images. It obtains contextual cues among adjacent regions in an image using a random walk on a contextual graph. Borrowing the strength of the fuzzy support vector machine (FSVM), we define a heuristic optimization procedure based on the FSVM to search for the optimal classifier for the CMIL. To improve the initialization of the CMIL, we propose a novel visual saliency model based on the tensor analysis. The average saliency value of each segmented region is set as its initial fuzzy membership in the CMIL. The advantage of the tensor-based visual saliency model is that it not only adaptively selects features, but also dynamically determines fusion weights for saliency value combination from different feature subspaces. The effectiveness of the proposed CMIL model is demonstrated by its use in horror image recognition on two large-scale image sets collected from the Internet.

Terrorism as spectacle: It’s all for the audience

Abstract This paper analyses terrorism from the framework of ‘spectacle’ (Debord, 1995). In this context, ‘spectacle’ is a historical event that looks like a political drama, theatre, or even a play. The September 11, 2001 terrorist attacks were played out as a script, mise en scène, and choreography. Terrorism can be a disaster or horror movie. This is made possible thanks to around-the-clock news and media images. Of particular importance is the ability of terrorism to command the audience’s gaze. As a spectacle, a terrorist act becomes a type of theatre; it is a performance to be seen. Electronic communications (television in particular) allow the immediate worldwide exposure of the terrorist spectacle. The purpose is to plant images – usually gory and frightening – in the audience’s collective memory. These images are seen, recorded, and usually unforgettable. The spectacle, then, becomes a ‘Culture of Terror’ (media images of horror and destruction).

영화<장화, 홍련>의 상징, 가상, 실재 이미지와 의미

2003년 개봉된 공포영화 <장화, 홍련>은 약 314만 관객을 동원하며 흥행에 성공했다. 당시 일부에서는 영화의 내용을 이해하기 어렵다는 의견도 있었으나, 이 영화는 2003년을 전후로 개봉된 공포영화 중 가장 큰 호평을 받았다. 영화 속 4명의 주인공은 한 가족이고, 아빠의 외도로 가족 간 갈등이 시작된다. 무현(아빠)의 외도는 아내의 자살로 이어지고, 아내이자 엄마의 자살은 수연(동생)의 죽음으로 또다시 이어지는데, 이때 수연의 죽음에 은주(새엄마)가 관련되어 있다. 수미(언니)는 수연이 죽은 후 은주가 수연의 죽음을 그대로 방치한 사실로 큰 상처를 받지만, 동시에 그런 은주의 행동에 자신도 연관되어 있다는 사실을 깨달으며 동생을 죽게 한 죄의식도 느낀다. 은주 역시 수미의 독설로 상처를 받았지만 그에 대한 복수로 수연을 죽게 한 사실에 죄의식을 느낀다. 김지운 감독은 개봉당시 인터뷰에서 "이 영화는 가족 간 상처와 죄의식에 관한 영화"라 밝혔는데, 영화 속에서 가족이 주고받은 상처와 죄의식은 가상과 실재 이미지가 뒤섞인 공포 이미지로 그려진다. 상처는 가상 이미지로, 죄의식은 실재 이미지로 표현된다. 이 글에서는 가상과 실재 이미지를 설명해주는 영화 속 스틸사진을 제시하면서 상처와 죄의식이 어떤 의미가 있는지 알아보았다. 또 주인공 간 갈등을 유발하는 매개체 3가지가 지닌 상징적 의미도 서술하였다. The horro movie which was released in 2003, <A Tale of Two Sisters> was a box office hit drawing audiences totaling 3,140,000 people. Then, there were partial opinions that it was difficult to understand the content of the movie. However, it was most favorably received in the horror movies which were released before and after 2003. The 4 main characters in the movie are a family. The family conflicts begin as the dad has an affair. Muhyeon(the dad)'s infidelity leads his wife to kill herself. The suicide of the wife and mom again leads Suyeon(the younger sister) to be dead. At this moment, Suyeon's death is related to Eunju(the step mom). Sumi(the older sister) is deeply hurt by the fact that Eunju left her younger sister's death after she was dead. But at the same time, she realizes that she is also related to Eunju's act. And she felt guilty about her younger sister's death. Eunju was also hurt by Sumi's biting remarks. However, she feels guilty about the fact that she made Suyeon be dead. Director Jiun Kim said in the interview when it was released, "this movie is about hurts and guilt among families." These hurts and guilt are expressed by horror images that imagination and reality are mixed. Hurts are expressed by virtual images and guilt is done by real images. This paper presented still pictures which explain the virtual and real images and examined what hurts and guilt mean. And it described the symbolic meanings of three media which cause conflicts among main characters.

A Taste for the Transgressive: Pushing Body Limits in Contemporary Performance Art

A Taste for the Transgressive: Pushing Body Limits in Contemporary Performance Art

Crossing over Horror: Reincarnation and Transformation in Apichatpong Weerasethakul’s Primitive

Crossing over Horror: Reincarnation and Transformation in Apichatpong Weerasethakul’s Primitive Una Chung (bio) In Alfred Hitchcock’s The Birds (1963), the entrance of a stranger into the small coastal town of Bodega Bay, California, triggers the eruption of violent attacks from birds—seagulls, crows, unidentified others. In a posttrauma conversation among locals at a diner, one person points out that birds are prehistoric, unknowably alien, belonging to a geological time not contained within a human evolutionary narrative. Another person points out that there are also a lot more birds in the world than people are aware of—someone gives a number—and it seems clear that the significance of that number, in its day-to-day invisibility, is hard to fathom. Someone tries to make the number more dramatically graspable by speculating that if all birds were to rise up in a war against humans, they would be sure to win. The horror of the imagined scenario imbues the unfathomable birds with some sense of accountability, some sense-ability, even as this scenario of an interspecies war humanizes the attacks occurring in the town, which are far more enigmatic in nature. The birds follow a precise but inexplicable rhythm of attack and rest. They are propelled toward the humans in a massed onslaught of speed and force with unabated intensity until they reach a point of change in rhythm. During periods of rest, the birds seem content to perch and slowly gather into a visible mass. People move slowly and safely among the birds during periods of rest, whereas energetic motion attracts the birds’ attention and draws them toward people during periods of attack. Although there are deaths among birds and humans, there is no discernible narrative of murder or war, only a destructive force that obeys the rhythms of a score that we cannot hear. It is hard to see a concerted goal behind the force, much less any intentional character such as malice; there is only violence [End Page 211] and affective rhythm. It is not the life of one species over another that is at stake. Most of the bloodshed comes from bird bodies shattering against and through windows of buildings, phone booths, car windshields. There is rather an uncanny responsiveness between bodies of birds and humans that unfolds through the film. People are able to fall into step with the rhythm of attack and rest in order to make their own escape from the besieged town. The stranger from the city, Melanie, displays taut calm, a mixture of alertness and relaxation that is crucial to her survival. In the schoolyard, she notices with shock the sudden amassing of birds behind her, yet without panic she immediately intuits that it is not about being seen but about being sensed. She moves slowly and gracefully, her face remaining tense but calm, and enters the school to warn the children. Only when she loses complete touch with the rhythm of the birds and gives in to restless urges, instead of remaining still, does she finally fall victim to a violent attack, which leaves her catatonic. The birds thus seem to demonstrate certain qualities of the viral: invisible, too small, too many, overly mobile, movement signifying contagion, alien reminders of a world not ruled by humans. Hitchcock’s film gives us an image of the viral as an image of horror. Without horror, birds remain singly or in pairs in their cages, taught to mimic human words, or bred in chicken coops and given feed. The film does not indulge in arbitrary fantasies of birds escaping into the wild or gaining human cognitive ambitions such as waging modern war. Hitchcock’s birds do not present us with an image of anthropomorphic horror but of a human fear of the viral. These birds evoke horror through a play of numbers and visibility. In the scene where Melanie waits at the schoolyard, we see one bird, then three, then another three, land behind her. We look ahead with her at a single bird flying in the sky and track the arc of its descent behind her, when suddenly we see that the space is thick with birds perched on all available...

공포만화의 잔혹성에 관한 연구 : 이토준지의 &lt;토미에&gt;를 중심으로

There are the various genres such as current affairs, romance, academy, Wuxia, sports, psychology, learning, living and horror in cartoons. Among them, the horror comics are based on the story full of real or realistic subject or exaggerated imagination. The horror comic by Ito Junji have gone through the various printings for the classes of readers since it was introduced in this country. This study has begun from necessity of research on the effect of the horror comics genre on the readers by analysis. among Ito Junji`s horror comics makes its own cruel horror image by giving a very unrealistic situation to the usual structure of horror genre. The cruel horror comics rouse significance of the analysis of the genre as one genre of the comics. has the `catastrophe` effect for the readers who want to enjoy and deny it at the same time by stubbornly describing aspect of `cruelty` of the horror things. This study aims to research `cruelty of portrayal` of in terms of human psychology.