Medial Effectiveness From Portrayal Of Violence In Horror Films

Seminar paper from the year 2012 in the subject Communications - Movies and Television, grade: 2,3, University of Applied Sciences Köln RFH, language: English, abstract: 1. Introduction 2. Definition 2.1 Horror films 2.1.1 Splatter films 3. Medial effectiveness from portrayal of violence in horror films 3.1 Review 3.2 Portrayal violence in “The Texas Chainsaw Massacre” 3.2.1 Film Review 3.2.2 Real documented violence in a splatter film 3.3 Portrayal violence in “The Blair Witch Project” 3.2.1 Film Review 3.2.2 Fictional violence in a horror film 4. Conclusion

Why do so many of us enjoy being told frightening stories? What are some of the consequences that result from such exposure? In light of the considerable popularity of horror films over the last three decades, these questions have become the focus of growing attention for many scholars. However, research on audience preferences for, and reactions to, horror films has been performed eclectically by investigators from varied theoretical and methodological backgrounds. As a result, the information has not been effectively integrated. This volume was written to address this problem and to position the study of audience responses to frightening fiction as a significant research topic.

The Myth of Media Violence: A Critical Introduction assesses the current and historical debates over violence in film, television, and video games; extends the conversation beyond simple condemnation or support; and addresses a diverse range of issues and influences. Looks at the chronology of contemporary media violence, and explores reservations over communications medias throughout history. Examines the forces behind the encouraged anxieties about media violence. Uses examples drawn from a range of media, including disaster and horror movies, science fiction, film tie-in toys, crime shows, MTV, news, sports, and children’s television programming, books and video games. Includes a closing chapter about why media violence exists as it does in our culture, and what we can do about it.

This book examines horror films through a critical criminological lens. Each chapter considers how the genre impacts audiences and their understanding of topics like place, crime, and identity.

Seminar paper from the year 2022 in the subject English Language and Literature Studies, grade: 2,0, University of Hannover (Englisches Seminar), course: Films and Remakes, language: English, abstract: Analysis of the depiction of violence in the original Halloween movie by John Carpenter as well as its 2007 remake by Rob Zombie. Analysis of the "Remake logic". John Carpenter’s Halloween from 1978 is the 17th scariest horror movie of all time. At least according to the ‘Science of scares’ study conducted by the website Broadbandchoices.co.uk in 2021. The results are based on the average heart rate viewers exhibited during the screening of different horror movies. Whether this indicator serves as a reliable source for actually determining the fear factor of movies is questionable, to say the least. Likewise, scientists and scholars, psychologists and philosophers have been arguing for a long time about what induces fear in the viewer while watching horror movies (and why one should even want to consume these films at all then). Theories range from ones that claim we simply feel empathy and sympathy towards the characters in the movie (e.g., Plantinga 2009) to ones that propose that the viewing experience itself is the scary feature (Hanich 2014). Yet others, mainly psychological approaches, contend that there is a certain level of enjoyment to be had from experiencing fear while knowing there is no actual threat present (Nummenmaa 2021). Whatever the actual explanation might be (perhaps all of them are true to an extent), the discussion surrounding the topic itself serves to illustrate one of the key functions of the horror movie. To make its viewers feel afraid. While there are a multitude of ways to achieve this, one only needs to consider the vast array of different genres of horror, from gory slasher flicks to supernatural and paranormal horror, the ultimate goal can be seen as the evocation of fear.

Media and Violence pays equal attention to the production, content and reception involved in any representation of violence. This book offers a framework for understanding how violence is represented and consumed. It examines the relationship of media, gender, and real-world violence; representations of violence in screen entertainment; the effects of violent media on consumers; the ethics and gender politics of the production processes of screen violence; and the discussions are illustrated with topical and well-known examples, enabling the reader to critically engage with the debates.

How the modern horror film has represented the social conflicts left in the wake of national trauma.

The chapters contained in this handbook address key issues concerning the aesthetics, ethics, and politics of violence in film and media. In addition to providing analyses of representations of violence, they also critically discuss the phenomenology of the spectator, images of atrocity in international cinema, affect and documentary, violent video games, digital infrastructures, cruelty in art cinema, and media and state violence, among many other relevant topics. The Palgrave Handbook of Violence in Film and Media updates existing studies dealing with media and violence while vastly expanding the scope of the field. Representations of violence in film and media are ubiquitous but remain relatively understudied. Too often they are relegated to questions of morality, taste, or aesthetics while judgments about violence can themselves be subjected to moral judgment. Some may question whether objectionable images are worthy of serious scholarly attention at all. While investigating key examples, the chapters in this handbook consider both popular and academic discourses to understand how representations of violence are interpreted and discussed. They propose new approaches and raise novel questions for how we might critically think about this urgent issue within contemporary culture.

This edited collection focuses on gender and contemporary horror in film, examining how and if representations of gender in horror have changed.