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Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/30415

Titill: 
  • Titill er á ensku Extreme Horror and the Extremely Horrifying: Demystifying Horror Films, Audiences and Intentions
Námsstig: 
  • Meistara
Leiðbeinandi: 
Útdráttur: 
  • Útdráttur er á ensku

    The focus of my research is on the stability and durability of the horror film genre to sustain the performance of excess and transgression common to extreme horror film. I aim to analyze a series of notorious examples of extreme cinemaMy approach is to address the instability of the development of narrative in early Hollywood, to expand context of the horror film genre, as well as the application and result of an active audience, as demonstrated by the the paracinematic cult film audience. My first round of analysis will focus on three inherently different horror films that have commonly presented an extreme cinematic experience for viewers. Because of their reference to extremity, the films are vulnerable to being levelled into a single category despite their differences and range. I suggest that cult film culture is an alternative explanation to this phenomenon of accepting different values of taste on the same level. Finally, I will perform a comparative horror analysis of two dominating extreme cinema titles Pier Paolo Pasolini’s Salò or 120 Days of Sodom (1975) and Srdjan Spasojevic’s A Serbian Film (2010). I will also address their techniques in containing and presenting their transgressive needs, as well the effects the implications of these techniques have on the meaning of the film, and moreover, its intention towards audiences. These films are often presented together for their themes of sexual violence, but they are not critically analyzed together as a levelled subgenre.

Samþykkt: 
  • 15.5.2018
URI: 
  • http://hdl.handle.net/1946/30415


Skrár
Skráarnafn Stærð AðgangurLýsingSkráartegund 
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