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1

BETWEEN A VANGUARD EXPERIMENT AND A CHEAP HORROR. THE SCREENINGS OF EDGAR ALLAN POE'S WORK BEFORE 1939 (Miedzy awangardowym eksperymentem a tanim horrorem. Ekranizacje twórczosci Edgara Allana Poe przed 1939 rokiem)

100%
Swidzinski W.
Kwartalnik Filmowy
|
2009
|
issue 67-68
230-240
EN
Before 1939 filmmakers were fascinated with the work and person of Edgar Allan Poe. This had a significant influence on how his work was received by the audience. Before the Second World War Poe, alongside Shakespeare, Conan Doyle and Dumas, was a favourite among American and European filmmakers, and his work was commonly adapted for the cinema screen. As an author who had roots in the American South, he attracted attention of D. W. Griffith and other Hollywood pioneers. As the experimental 'The Fall of the House of Ushers' (1928) by Watson and Webber proves, Poe was also popular among the New York vanguard. In Europe the cult of Poe was initiated by Baudelaire and continued by people such as Paul Valéry, Claude Debussy, Hanns Heinz Ewers, Karol Irzykowski. Filmmakers were not far behind, as shown by two masterpieces of the silent cinema: 'Student from Prague' (1913) inspired by William Wilson, and the 'Fall of the House of Ushers' (1928) by Jean Epstein. In the 1930s the Hollywood filmmakers took lead. It was then that a series of low budget thrillers that were feeding of Poe's work were made. This taking possession of Poe's work is one of the most interesting moments in how Poe's writing was received in the twentieth century cinema.
2
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Wzorzec czeskiej baśni filmowej i jego horrorowe odkształcenie w dwóch filmach Juraja Herza

80%
Pająk P.
Bohemistyka
|
2014
|
vol. 14
|
issue 4
362 - 377
EN
The fairy tale film is a second only to the comedy of manners flagship genre of Czech cinema. Its popularity in Bohemia is associated with a rich tradition of literary fairy tale, as well as with socio-political conditions, favoring the production of such films. There is prevailed a specific pattern of fairy tale - good-natured and comical. Two Juraj Herz's fairy tales from 1978 - Virgin and the beast and The ninth heart - stand on this background. Herz introduces the elements of horror to the fairy tale world and consequently gives both films a meaning which is gently objecting to the pattern of Czech fairy tale film.
3

Something beyond comprehension is happening on this street, in this house

80%
Nadgrodkiewicz G.
Kwartalnik Filmowy
|
2008
|
issue 61
70-77
EN
The article deals with the 'Exorcist' (1973) directed by William Friedkin, and the most popular interpretations of this film, which most commonly referred to the demon possession of Regan MacNeil, as a metaphor for socio-political unrest and the crisis of values in the USA in the late 60s and early 70s of the twentieth century. The author contrasts these typical readings of the classic horror with more recent interpretations expressing the fears of the last decade (such as the fear of the consequences of the American military presence in Iraq, or of sexual child abuse). The author suggests that the common factor present in all those interpretations is the tendency to interpret it in religious categories, or as universal struggle of good against evil. Such was the original intention of both Friedkin, and William Peter Blatty, the author of the text that the film was based on.
4

Body and Fear. Physiology of Death in Zombie Horror and the Audiovisual Culture

80%
Konefal S. J.
Kwartalnik Filmowy
|
2008
|
issue 61
20-39
EN
The living dead are appearing in films for almost eighty years now. During that period, their revolting image was contextualized and related to fears typical for Western societies. From the most obvious fears such as fear of disease and death, associated with films made in the first half of the twentieth century, to the films made in the sixties and seventies, where the zombies were part of a metaphor attacking the conventional language of mainstream cinema, and the shortcomings of the 20th century consumption society. During the second half of the seventies, films about the living dead reached the peak of their popularity. Also during this period zombie horrors became visibly formulaic. Films made in the eighties and nineties dealing with the biotechnological resurrection were an attempt at reviving and refreshing the genre. These films were also characterized by the distance, irony and even a vulgar humor with which they dealt with the subject in question. Even contemporary cinema and audiovisual media, such as music video clips or adverts, deriving their iconography from science-fiction and horror, sometimes continue the process of deconstruction of the conventional image of the living dead. However it is more common to meet zombies in modern remakes of old, independently produced horror classics and film adaptations of computer games, treating the living dead as an easily identified element of the commercialized mass culture.
5

Creative strategies in Lucio Fulci's horror films: virus in the cinema lab

80%
Sawicki P.
Kwartalnik Filmowy
|
2008
|
issue 61
40-69
EN
In the first part of the article the author describes various means used by filmmakers within the gore genre, in order to create a feeling of disgust and disorientation in the viewer. Then in the second part, Sawicki concentrates on the work of the Italian horror director Lucio Fulci. His work can be seen a metaphor that takes the shape of a laboratory test-tube, in which one can observe the destructive workings of the elements of gore on traditional cinema conventions and traditional cinema aesthetics.
6

INSIDE A DEADLY CIRCLE. KOJI SUZUKI'S 'RING' AS A VARIANT OF GOTHIC NOVEL (W smiercionosnym kregu. 'Ring' Kojiego Suzukiego jako wariant powiesci grozy)

70%
Olkusz K.
Przegląd Orientalistyczny
|
2010
|
issue 1-2 (232-233)
76-86
EN
The article discusses the relation of Koji Suzuki's novel 'Ring' to the western model of gothic fiction. Genologically, the work certainly belongs to gothic fiction, as it contains all the necessary components typical for this genre. Its structure contains, among other things, such elements as the duality of the presented world and topoi characteristic for gothic fiction: the infectiousness of evil, the figure of 'the Other' as a manifestation of numinousness, the motif of a curse or a ghost seeking revenge. The concept of evil presented in the novel reflects stereotypical fears of civilisation and is closely connected with the feeling of isolation of an individual in a crowd and the belief in the destructive influence of technology. The tape with the virus is a manifestation of evil, but at the same time it is also a symbol of impotence of man against dark powers and his or her own weaknesses.
7
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FILMOVÝ HOROR A JEHO VÝVOJ

70%
Prohászková V.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 3
359 - 378
EN
Horror is a genre which is gaining more and more popularity and spreads into all media and art fields. The oldest, literary horror is the most popular in the United States of America and Japan, where this tradition has the strongest roots and the longest history. In our country, the film production is preferred. The paper focuses on horror in film production. It defines the genre in general, its dominants and typology variations. It describes the historical development of the genre in this particular field and presents the profiles of the most significant representatives of the horror film. In conclusion, it characterizes the recipients and their reasons for seeking the genre.
8

ŠVANTNER, HOROR, FANTASTIKA: ŽÁNROVÉ PARAMETRE

70%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2012
|
vol. 59
|
issue 2
122 – 138
EN
The analysis of the texts in the study seeks to prove the hypothesis that most of František Švantner´s short stories from the collection Malka (1942) belong to the genre of fantasy as it is defined by Tzvetan Todorov: the endings of the most stories leave the reader oscillating between the natural and supernatural interpretations of the plot. The epistemological status of numerous events in the story is ambivalent. Švantner´s texts generate the fantasy effect by means of motif focalisation: each hypothetically supernatural motif is focalised through a literary character´s perspective. The suyzhet must be reconstructed by a model reader in the text – this suyzhet is set in the crossing point of the different characters´ (contradictory) dialogue perspectives. Another method of generating the fantasy effect is a blank space in the text, a missing story syntagm (a data concealing approach) and the inversion of time coordinates, when e.g. the emergence of a character who was already dead at that time (which the reader does not learn until the end) allows the „psychic“ interpretation, too. Emphasising the genre dimensions of Švantner´s texts may also fulfil an important role in the literary life when translating these texts into a foreign literature: hypothetically, they could be introduced into a new literary context as a sample of a particular genre rather than as a sample of Slovak literature.
9
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GENRE IN RELATION TO SACRUM. CRISIS OF FAITH, HORROR AND POP CULTURE (Gatunek wobec sacrum. Kryzys wiary, film grozy i kultura popularna)

70%
Nowak S., Anna T.
Studia Humanistyczne AGH
|
2010
|
vol. 9
97-107
EN
In the text 'Genre in relation to sacrum. Crisis of faith, horror and pop culture' Samuel Nowak and Anna Taszycka ponder over the phenomenon of modern horror raising the subject of sacrum, especially in relation to the motive of possession and exorcism. The authors attempt to prove that the phenomenon is symptomatic for the transition from religiousness, understood in institutional and collective terms, to individual and contemplative spirituality. After analysing selected films from the perspective of 'spirituality' (in the meaning given to it by Zbigniew Pasek) the authors conclude that today the pop cultural narrations which depict the new function of sacrum and shift the load from institution to an individual may become successful and accepted by viewers. According to the authors the traditional narration - which associates sacrum with a religious experience - is supplanted today by stories which treat sacrum rather in terms of a spiritual experience. This transformation leads to many possible alternative interpretations of selected films which in this text were described in categories of pensiveness or meta-interpretation.
10
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PRVNÍ SLOVENSKÝ HOROR? PROCES ZŽÁNROVĚNÍ V NÁRODNÍ KINEMATOGRAFII

70%
Slovák M.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 2
173 – 190
EN
This study deals with the genrification process on the example of the Slovak feature horror films of the last two decades. The text is based on the semantic-syntactic- -pragmatic approach of the genre theorist Rick Altman. The article thus differs from the previous studies about Slovak genre creations because these focused on the pre-revolutionary period and the creators associated with it (Juraj Herz, Jan Švankmajer), neglected aesthetic analysis in favour of a pragmatic one, and paid attention only to academically recognized genres (social and historical drama). This study analyses the non-textual level (promotion, reception) and the texts (semantic genre elements, syntax) of six selected works – Nič nekrváca večne (Nothing Bleeds Forever), Socialistický Zombi Mord (Socialist Zombie Massacre), Spiknutie (The Conspiracy), Zlo (Evil), Attonitas, Trhlina (The Rift). The analyses show that, through a phase of peculiar adjectives, and despite its hybridization, horror has become a well-established category, recognized by various groups of people. Despite its solid position, however, it remains a marginal genre due to its production, distribution, and aesthetic exclusivity.
11
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Tam, gdzie czai się zło. Przestrzeń w horrorze jako mechanizm budzenia strachu

61%
Kubicka H.
Literatura i Kultura Popularna
|
2010
|
vol. 16
71-89
EN
The paper is an attempt to describe the space presented in horror genre as one of the major mechanism of fear. Although space appears in many different forms there (e.g. a haunted house, a cemetery, a mental hospital, woods, a village), we may notice some common features in these spatial motives, which allow us to select and create a universal model of the terror space. Among the most common themes there are, inter alia, unusual look of an evil place, strange vegetation or animals around the place or isolation from the outside world. It is also important to note the everrecurring metaphorical images, like a figure of a labyrinth, or some kind of animization of the space. An analysis of the common spatial themes is based on the examples from literature and film.
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