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Bram Stoker and the Creation of the ‘Dracula’ Novel (1897)

Bram Stoker and the Creation of the ‘Dracula’ Novel (1897)

There are various noticeable connotations which come to people’s minds after hearing the word Gothic. Some associate the term with today’s pulp literature for youngsters, whereas others often think of old, black and white movies about all those ridiculously looking monsters who constantly attack poor and frightened damsels-in-distress.

From the Entertainment Springs of Cinematic Horror Thrills

From the Entertainment Springs of Cinematic Horror Thrills

In his discussion of genre, Altman observes: “we cannot help but notice that generic terminology sometimes involves nouns, sometimes adjectives… Indeed, the very same word sometimes appears as both part of speech: musical comedies or just plain musicals, Western romances or simply Westerns, documentary films or film documentaries.” (Altman 1999, 50)

A Life of Crime and the Thriller as Horror Film

A Life of Crime and the Thriller as Horror Film

In his early writing on the genre, Neale suggests genres “differ from one another… in the precise weight given to the discourses they share in common” so that while narrative disequilibrium “is inaugurated by violence” in the western, the gangster film, the detective film and the horror film, the “specificity” of the horror film is not defined by “violence as such” but by its special emphasis on “discourses carrying the human/nature opposition in its discursive regime”, an emphasis that can even end up “relativising or even displacing entirely the Law/disorder dichotomy in term of which violence operates in the western, the detective and gangster films.” (Neale 1980, 21)

Horror Cinema and the Mad Science of Nature

Horror Cinema and the Mad Science of Nature

From as far back as ‘King Kong’ (1933), horror films have capitalized on human fears of the natural order turning on us, whether it be plants, monkeys, ants, leeches, sharks, birds, dogs, bats, rats, bees, fish, earthworms, alligators, spiders, snakes, cockroaches, dinosaurs, or even swamp bacteria.

The Occult in Hammer Film Productions, and Ancient Traditions

The Occult in Hammer Film Productions, and Ancient Traditions

The occult loomed large in several British horror films of the latter part of the twentieth-century. ‘Night of the Demon’ (Jacques Tourneur, 1957) is a typical case, where ancient folklore, arcane writings, séances, and a malevolent magician are subject to the sceptical inquiries of a team of international paranormal investigators.

Social Aspects of the Monsters We Fear in the Movies

Social Aspects of the Monsters We Fear in the Movies

Horror films offer the pleasure of the intended affects among which we can identify a sense of suspense, a sense of mystery, and a sense of horror. Those factors cause many responses from the audience. The audience could feel anxious, afraid, excited, curious, and those feelings make horror emerges as one of the favourite film genres.

Lost in Kubrick’s Maze and ‘The Shining’s ‘Room 237’

Lost in Kubrick’s Maze and ‘The Shining’s Room 237

In one of the most memorable scenes from ‘The Shining’ (Stanley Kubrick 1980), we observe the main character, Jack Torrance ( Jack Nicholson), as he stares at a scale model of the hedge maze outside the Overlook Hotel, where he works as a winter caretaker and lives with his wife Wendy (Shelley Duvall) and his child Danny (Danny Lloyd) in almost complete isolation from the outside world.

Apocalyptic and the Gothic Aftermath Through Victorian Times

Apocalyptic and the Gothic Aftermath Through Victorian Times

Javier Aguirresarobe, cinematographer for director John Hillcoat’s 2009 film adaptation of Cormac McCarthy’s apocalyptic novel ‘The Road’, wisely resisted the lure, the spectacular allure, of computer-generated imagery (CGI), choosing instead to compose his grim and ashen vision of the ruined world with clippings from the redolent imagery of our own.

The Cognitive and Philosophical Approaches to Horror Films

The Cognitive and Philosophical Approaches to Horror Films

Philosophical work on horror has been predominantly focused on the horror film, though little of what has been written on horror is medium specific. It is just that the overwhelming majority of examples in the literature are movies (Schneider and Shaw, 2003).

Introduction to Australian Research in Horror Cinema Studies

Introduction to Australian Research in Horror Cinema Studies

Until quite recently, with the exception of aficionados, most Australian cinema-goers would have been hard-pressed to name a handful of Australian horror films. While ‘Razorback’ (1984), ‘Body Melt’ (1993) or ‘Patrick’ (1978), may have come to mind, horror films are rarely associated with Australian cinema.

Introduction to Tim Burton’s Advancement of Dark Gothic Art

Introduction to Tim Burton’s Advancement of Dark Gothic Art

Tim Burton, a director and animator, produces a continuous stream of films. While it appears the German Expressionist influences his works, they have instead advanced the traditions of Dark Gothic Art by continuing into mainstream film productions.

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Bloody Serial Killers of History’s Worst Murder Sprees

Bloody Serial Killers of History’s Worst Murder Sprees

This article discusses how serial killers do not resemble those we see in cinema or literary works. In truth, the percentage of female serial killers has been...

The Vile Atrocities of Blood Countess Erzsébet Báthory

The Vile Atrocities of Blood Countess Erzsébet Báthory

Countess Erzsébet Báthory continues to draw the interest of historians, critics, artists, and in the process, one could argue, the victimising of...

‘Gothicka: Vampire Heroes, Human Gods, and the New Supernatural’

‘Gothicka: Vampire Heroes, Human Gods, and the New Supernatural’

‘Gothicka: Vampire Heroes, Human Gods, and the New Supernatural’ is an attempt to explain, as accurately and in the simplest terms as one can...