Search results

1

Deadly Wilderness: Norwegian Horror Cinema in the New Millennium

100%

Bakke Andresen C.

Panoptikum

|

2017

|

issue 17(24)

54-75

EN

Nordic horror is a relatively rare and uneven occurrence. Norway had only one horror movie prior to 2000, but since then things have changed. Of all the Nordic countries it is in Norway that the horror genre has become a cinematic staple. Why this happened at this time and not before is discussed in the article, and the subgenres of horror most prominent in Norwegian horror are put in the context of their transnational origins and development. Most importantly, do Norwegian horror movies offer something genuinely unique to the genre?

2

Poza granice akceptacji – polski horror filmowy w PRL-u

80%

Olszewska M.

Panoptikum

|

2009

|

issue 8(15)

173-189

EN

The article deals with the issue of the horror genre in the Polish People’s Republic’s filmmaking. An indication of the trends that defined the acceptability limits for developing the supranational potential of horror cinema during communist times is accompanied by a discussion of the phenomena inherent to the few of horror movies that were produced at that time.

3

Nature’s Horror and Grand Style in Lars von Trier’s Antichrist

80%

Zir A.

Panoptikum

|

2013

|

issue 12(19)

269-277

EN

This essay brings forward and analyzes some constitutive elements of Lars von Trier’s Antichrist that enable an understanding of its alleged morbidity and misogyny in terms of the sovereignty of aesthetic experience and its relation to the problem of cultural nihilism. These elements are the followings: the juxtaposition of horror and lyricism, and a corresponding archaic understanding of nature; the disengagement of visual and audio elements from their narrative function, and a corresponding deconstruction of the representational character of the movie itself.

4

Między horrorem a kryminałem. Katarzyna Puzyńska i Wojciech Chmielarz

71%

Walc K.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2023

|

vol. 66

|

issue 1

403-424

EN

We can see many changes in so-called formula stories in last decades. One of them is the change of typical monsters from horror stories. They not only became “less dangerous” and “more human” (especially in texts for younger readers). The characters cease to be associated with the horror at all. They can be placed in detective novel, for example. The author of te essay concentrates on novels by two contemporary Polish writers: Wampir (Vampire), Wilkołak (Werewolf) and Zombie by Wojciech Chmielarz as well as Czarne narcyzy (Black daffodils), Martwiec (untranslantable – it is one of the Slavic words for vampire), Rodzanice and Utopce (local names, meaning also “ghosts or deities of fate” and “kelpies”) by Katarzyna Puzyńska. In all novels malefactors are real people. In the books by Wojciech Chmielarz monsters’ names are metaphors for human evil. Katarzyna Puzyńska, on the other hand, chooses small, partially depopulated villages as the place of action. In such places some people still believe in ghosts, vampires, werewolves, haunted houses and so on. But the killers are human too. The author shows what even policemen are afraid of as well as the truth, that people are sometimes much worse than the monsters from literary fiction.

PL

Celem artykułu jest ukazanie, jak, mimo ustalonych dawno temu postulatów, nakazujących „oczyszczenie” powieści kryminalnej z elementów fantastycznych i nadprzyrodzonych, motywy te funkcjonują we współczesnych utworach z tego gatunku. Jako kontekst należy wskazać zjawiska dające się zauważyć w najnowszej literaturze i kulturze popularnej. Jednym nich jest zmiana postrzegania typowych monstrów z horroru, które stają się zarówno „mniej groźne”, jak i „bardziej ludzkie”. Kolejnym – zakwestionowanie związku postaci (a także zespołu motywów) z fabułą. To na przykład, co było dotąd typowe dla horroru, może pojawić się w powieści kryminalnej. Przeprowadzono analizę wybranych utworów dwojga współczesnych pisarzy: Katarzyny Puzyńskiej (Czarne narcyzy, Martwiec, Rodzanice i Utopce) oraz Wojciecha Chmielarza (Wampir, Zombie i Wilkołak) pod kątem występowania w nich motywów rodem z powieści grozy. We wszystkich omawianych tekstach to ludzie, a nie potwory są zabójcami. W utworach Chmielarza nazwy rodem z horroru to metafory ludzkiego zła lub szaleństwa (autor odwołuje się do zakorzenionych w kulturze znaczeń słów użytych jako tytuły). Katarzyna Puzyńska z kolei za miejsce zdarzeń wybiera małe, często prawie wyludnione miejscowości, gdzie wciąż żywa jest wiara w duchy, wampiry, nawiedzone domy (autorka odwołuje się między innymi do wierzeń słowiańskich). Ukazuje przy tym siłę ludzkich lęków (dotyczy to, w odpowiednich okolicznościach, nawet policjantów), jak również fakt, że istoty ludzkie potrafią być gorsze od potworów z fikcji literackiej. Motywy rodem z horroru funkcjonują w omawianych tekstach na kilka sposobów: 1) jako odwołania do doświadczenia odbiorcy, który odczytuje np. zaprezentowane w powieści nazwy w oparciu o własną wiedzę; 2) jako element lokalnej lub rodzinnej tradycji (żywy najczęściej w miejscach oddalonych od „centrów”); wreszcie 3) ucieleśnienie ukrytych w ludzkiej psychice obsesji i lęków, które niespodziewanie mogą się ujawnić.

5

Geneza horroru jako gatunku

71%

Trofymenko A.

Tematy i Konteksty

|

2022

|

vol. 17

|

issue 12

228-239

EN

This article examines the origin of horror as a genre within the clusterof all horror literature genres. The structure of genological-typological evolution of these genres has been analysed. It has been proven that horror, due to its specificity, should be referred to this group of genres which are realized in literature on the basis of genre memory.

PL

W artykule zbadano genezę gatunku horror w klasterze gatunków literatury grozy. Poddano analizie strukturę genetyczno-typologicznej ewolucji gatunku literatury grozy w literaturoznawstwie. Udowodniono, że horror – ze względu na jego specyfikę – odnieść należy do grupy tych gatunków, które realizowane są w literaturze na podstawie pamięci gatunku.

6

Z horroru w horror. Alegoryczność literackich narracji zom-biecentrycznych w perspektywie politycznej, społecznej i ekonomicznej

71%

Olkusz K.

Prace Filologiczne. Literaturoznawstwo

|

2016

|

issue 6(9)

171-186

EN

The current vogue for zombie is spreading. The zombie pandemic has affected various dimensions of human life manifesting itself in the sphere of entertainment as well as in economic and social discourse. The epidemic character of this term can be noticed in the language usage, in which it has become a catch-all which signifies a person whose appearance, lack of physical coordination and emotional numbness constitute an opportunity to be compared to a walking dead. Anthropophagy, which has become a part of the zombie topos, seems to have many different meanings that refer not only to a cultural taboo, but also to some external aspects which can be defined as a prefiguration of corporations craving for profits, banks devouring borrowers or immigrants rushing at the gates of alleged European paradise. The theme of zombie may also appear in a psychological and sociological perspective. It can be related to such phobias of civilization as economic collapse, disintegration of human relationships and state structures, or global development of corporation-based system. All these elements make up an allegoric meaning of zombie characters and provoke reflection on how the artistic potential of this theme can be exploited.

7

Apokalipsa zombie we współczesnej literaturze dziecięcej

71%

Slany K., Olkusz K.

Literatura Ludowa

|

2019

|

vol. 63

|

issue 2

EN

The article Zombie Apocalypse in Contemporary Children’s Literature tackles a subject which has scarcely been mentioned in Polish research on children’s literature: that of catastrophic zombie-centric narratives, elements of which – especially the motif of the zombie apocalypse – are increasingly common in works targeted at children of pre- school and early school age. Three popular English-language picturebooks are interpreted: A Brain Is for Eating (2001) by Dan and Amelia Jacobs with ilustrations by Scott Brundage, Joe McGee and Charles Santoso’s Peanut Butter & Jelly Brains (2015), and Zombie Cat. The Tale of a Decomposing Kitty (2012) by Isabel Atherton and Bethany Straker. The dominant features of these books are respectively: dark carnivalisation and a drastic representation of bloodthirsty monsters; mild carnivalisation and a zombie-child as a humanised phantom; dark carnivalisation with an animal zombie leitmotif. The texts present a multidimensional, grotesque-macabre depiction inspired by children’s folklore and apocalyptic gore cinema, as well as its significance in the context of discourses focused on post-humanism and social issues of importance in the present day. The article also seeks to answer the question of why these subjects are less popular among Polish authors, and what makes them so important in Anglo-Saxon children’s literature.

PL

Artykuł „Apokalipsa zombie we współczesnej literaturze dziecięcej” porusza mało rozpoznany w polskich badaniach nad literaturą dla dzieci temat katastroficznych narracji zombiecentrycznych, których elementy, szczególnie motyw zombie apokalipsy, pojawiają się coraz częściej w utworach skierowanych do dzieci w wieku przedszkolnym i młodszym wieku szkolnym. Interpretacji podlegają trzy popularne anglosaskie książki obrazkowe: „A Brain is for Eating” (2001) Dana i Amelii Jacobsów z ilustracjami Scotta Brundagea,„Peanut Butter & Jelly Brains”(2015) Joe’go McGee i Charles’a Santoso oraz „Zombie Cat. The Tale of a Decomposing Kittu” (2012) Isabel Atherton i Bethany Straker, w których dominuje kolejno: mroczna karnawalizacja i drastyczne ujęcie zombie-dzieci jako krwiożerczych monstrów; łagodna karnawalizacja oraz zombie-dziecko jako fantom uczłowieczony; mroczna karnawalizacja z przewodnim motywem zwierzęcia zombie. Omówione teksty prezentują wielowymiarowe, zaczerpnięte z folkloru dziecięcego i apokaliptycznego kina gore, groteskowo-makabryczne obrazowanie, jak też jego znaczenie w kontekście dyskursów zogniskowanych wokół posthumanizmu i tematów społecznych istotnych dla współczesności. W artykule pojawia się również próba odpowiedzi na pytanie: dlaczego polscy twórcy niechętnie sięgają po omawianą tematykę i z jakiego powodu jest on tak ważny w anglosaskiej literaturze dziecięcej.

8

Mistrzowie drugiego planu. Motyw zombie w perspektywie literackiego sztafażu – od survival horroru przez dystopię do romansu paranormalnego

70%

Olkusz K.

Przegląd Humanistyczny

|

2015

|

vol. 59(3 (450))

77-87

PL

Contemporary pop culture dynamics encourages artists to reconfigure, for instance, a plethora of character patterns. A fine example of such tendency is the trope of zombie associated by the mass imagination with a spiritless horde chasing after living survivors – and the genre meant to support such a narrative is, par excellence, a horror. The presence of zombies in horror does not, however, limit the creativity of authors who, while reinterpreting this trope, are wont to assign zombies a pivotal or tangential role in dystopian, pastiche, or paranormal narratives. The article gathers and sums up all similar tendencies in literature, placing a special emphasis on narrative experiments and recalling a multitude of examples.

9

READING LIKE THE JAPANESE: THE GOTHIC AESTHETICS OF HORROR IN SHAKESPEARE’S TITUS ANDRONICUS

70%

Raducanu A.

Gender Studies

|

2013

|

vol. 12

|

issue 1

144-163

EN

Shakespeare’s plays have been universally praised for centuries. However, Titus Andronicus was not included in this positive evaluation until the second half of the 20th century, when mainly feminist criticism contributed to an academically kinder re-assessment of this generally gory play. This paper, focusing on the issues of aesthetic value and the deletion of empathy, proposes a defamiliarized, a different reading of this Shakespearean play, from the perspective of the Japanese people, ‘famous’ for aesthetically enjoying the cathartic showing of gratuitous violence.

10

Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera

70%

Cybulski M.

Acta Polono-Ruthenica

|

2019

|

vol. Tom 3 Nr XXIV

85-100

EN

This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.

11

Medium: Wizualizacja pierwszej warstwy narracyjnej: Odkrywanie

70%

Koprowicz J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2012

|

vol. 11

|

issue 20

101-132

EN

A director’s analysis of the narrative layers in the film Medium allows one see, among other things, the construction of individual elements of the film. Through an analysis of the construction of particular scenes and the relations between them within the story, the text describes the visual narrative structure of the first layer, i.e. “discovery” (the next layers are: confirmation, confrontation and fulfillment). Within the horror genre, this layer is an essential element in building a dramaturgical structure and in influencing the viewers’ reactions (including the visual pleasure of “discovering”).

PL

The Film Medium. Visualization of the First Layer of the Narrative Level: Discovery A director’s analysis of the narrative layers in the film Medium allows one see, among other things, the construction of individual elements of the film. Through an analysis of the construction of particular scenes and the relations between them within the story, the text describes the visual narrative structure of the first layer, i.e. “discovery” (the next layers are: confirmation, confrontation and fulfillment). Within the horror genre, this layer is an essential element in building a dramaturgical structure and in influencing the viewers’ reactions (including the visual pleasure of “discovering”).

12

Niedorośli wobec grozy – dziecięcy bohaterowie horrorów dla młodych odbiorców

70%

Urbańczyk-Tulik L.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

|

2017

|

issue 7 "Pomiędzy dziećmi i dorosłymi. Przekraczanie granic w literaturze dla dzieci i młodzieży"

81-96

EN

Popularity of horror story for adult readers contributed to the fact that in the years 2000-2015 increased a number of children’s books referring to the horror novel and incredible story. The transfer of formula is connected with the repetition of motifs, parody, using the gallery of monsters. Children’s heroes of horror for immature audience are confronted with anxiety represented by monsters, experiencing numerous adventures, oscillating between horror and comic. New experiences lead to gain valuable skills and meeting with monsters leads to self -acceptance and self-development.

13

Fantástico y terror: teoría y práctica de dos categorías ficcionales en el ámbito hispánico

70%

Carrera Garrido M.

Studia Romanica Posnaniensia

|

2018

|

vol. 45

|

issue 2

5-20

EN

In the studies of non-mimetic fiction in the Hispanic world, reflections on expressions traditionally considered popular have been consolidating little by little. It is striking that, in this process of academic visibilization, such scarce attention is paid to horror. Often associated with the category of the fantastic, it urges to claim the specificity of this genre as an expression similar to the fantastic; not coincident with it, but, on the contrary, endowed with particular features. The purpose of the article is precisely to illustrate these characteristics. To this end, we resort to sources of various kinds, including those that assume the specific character of horror, and those that study it as part of the fantastic mode. All of them will contribute to the establishment of a solid theoretical basis; once it is fixed, we will proceed to exemplification by means of the analysis of two stories belonging to each of the categories and by the same author: Cádiz-born Félix J. Palma (Sanlúcar de Barrameda, 1968).

14

Una nueva mirada desde los límites de lo irreal: la fusión de categorías genéricas en la escritura de la imaginación de Juan Jacinto Muñoz Rengel

61%

Álvarez Méndez N.

Studia Romanica Posnaniensia

|

2018

|

vol. 45

|

issue 2

107-120

EN

Juan Jacinto Muñoz Rengel (1974) is one of the greatest exponents of the hybridization of the fantastic with other non-mimetic modalities and with popular genre narratives. The mestizaje characterizes, through juxtaposition or fusion, much of his work, generating the ultimate significance of a broader scope. The fantastic is intertwined with adjacent categories, including science fiction, terror and magical realism. It is also commonly combined with the historical, detective, adventure or humorous narrative styles. He merges these diverse modes of invention by transgressing the rigid and normative molds with the aspiration of constructing new literary options. The dissolution of frontiers between the fantastic and other neighboring genres is also potentiated with frequent intertextual nods and suggestive tributes to the traditions of the unusual.

15

Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

61%

Izdebska A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2017

|

issue 30

325-338

EN

The article deals with phenomena of the Gothic the most often described as a set of often-linked elements rather than a fixed genre. The text presents a variety of cultural incarnations of the convention: from the eighteenth century novel by horror movies to subcultural style of Goths. This essay also examines the basic Gothic concepts, like the uncanny and the abject, which determine the worlds depicted in Gothic narratives, especially characters who remain in close connection with the space formed as a labyrinth. Finally, the article is an attempt to answer the question about the source of the expansion of the aesthetics of the Gothic in the contemporary culture.

16

Wandering Monsters. Serial Peregrinations and Transfictionality

61%

Olkusz K.

Facta Ficta. Journal of Theory, Narrative & Media

|

2018

|

vol. 2

|

issue 2

73-89

EN

The post-modern gothic simultaneously makes reference to already well-grounded experience, such as the repertoire of motifs and narrative prefigurations which have entered the artistic canon of the convention for good. A lot of figures and characters identified with horror become a part of the transfictional process of allocating them in new settings and re-designing their fictional biographies. Although in TV series reinterpretations of classical literary narratives quite often focus on instilling a positive image of erstwhile impersonation of numinosum, they do offer in return a construal of more contemporaneous fears, aligned with today’s socio-political-economic landscape. This article will include the following series based on literary prototypes representing the very canon of gothic fiction: Dracula, Penny Dreadful, Jekyll and Hyde, Second Chance and Sleepy Hollow as well as elements of productions connected with literary narrations of horror, such as Once Upon a Time.

17

Indigenous Burial Spaces in Media: Views of Mi'gmaq Cemeteries as Sites of Horror and the Sacred

61%

Stern J.

Review of International American Studies

|

2023

|

vol. 16

|

issue 1

223-258

EN

The term “ancient Indian burial ground” holds bifurcated meaning for Indigenous and mainstream populations. What one group may respect as sacred ground where their ancestors rest, another sees the mystical –and frequently evil– site of forces beyond their knowledge influenced by an ethnic Other. This paper explores this dual labeling of North American Indigenous burial sites through media by looking at representations of Mi’gmaq burial gravesites. In director Jeff Barnaby’s 2013 Rhymes for Young Ghouls, main character Aila (Devery Jacobs) confronts two burial sites that turn the mainstream stereotype on its head: that of her mother which situates Indigenous burials in a contemporary context and that of a mass grave of children at her residential school which places malintent on settler colonial practices. The film highlights Indigenous ways of coping with these practices including violence, substance abuse, and art. Dissimilarly, Pet Sematary’s (1989) plot involves no Mi’gmaq representation but follows non-Indigenous Louis (Dale Midkiff) as he interacts with a stereotypical Indian burial ground imbued with evil, unknown magic that leads to the inevitable downfall of his entire family. Both films interestingly include zombies, and they portray Indigenous burial spaces similarly as shot from above and filled with fog. However, their conclusive statements placing the blame behind the horror are vastly different.

18

Lovecraft i religia

61%

Joshi S. T., Wąsowicz M.

Creatio Fantastica

|

2016

|

issue 3-4(54-55)

7-17

EN

The article was originally published as a chapter in S.T. Joshi’s book Lovecraft and a World in Transition: Collected Essays on H. P. Lovecraft (New York: Hippocampus Press 2014, pp. 187-195). The presented version was kindly provided to „Creatio Fantastica” by the Author without any copyright fee and translated into Polish by Magdalena Wąsowicz.

19

Tales of dread

61%

Windsor M.

Estetika: The Central European Journal of Aesthetics

|

2019

|

vol. 56_(New_Series_12)

|

issue 1

EN

‘Tales of dread’ is a genre that has received scant attention in aesthetics. In this paper, I aim to elaborate an account of tales of dread which (1) effectively distinguishes these from horror stories, and (2) helps explain the close affinity between the two, accommodating borderline cases. I briefly consider two existing accounts of the genre – namely, those of Noël Carroll and of Cynthia Freeland – and show why they are inadequate for my purposes. I then develop my own account of tales of dread, drawing on two theoretical resources: Freud’s ‘The “Uncanny”’, and Tzvetan Todorov’s The Fantastic. In particular, I draw on Freud to help distinguish tales of dread from horror stories, and I draw on Todorov to help explain the fluidity between the genres. I argue that both horror stories and tales of dread feature apparent impossibilities which are threatening; but whereas in horror stories the existence of the monster (the apparent impossibility) is confirmed, tales of dread are sustained by the audience’s uncertainty pertaining to preternatural objects or events. Where horror monsters pose an immediate, concrete danger to the subject’s physical well-being, these preternatural objects or events pose a psychological threat to the subject’s grasp of reality.

20

Z Transylwanii do Hollywood i nieśmiertelności. Przypadek Beli Lugosiego

61%

Kocot-Wierska A.

Dydaktyka Polonistyczna

|

2020

|

issue 6 (15)

213-225

EN

The aim of the article is to present the film career of a famous actor Bela Lugosi (1882–1956) and its most important turning points. Born as Béla Ferenc Dezső Blaskó in Austria-Hungary Lugosi was one of the most important stars of „The Golden Age” of Hollywood horror film in the 1930s but soon after his huge success in a role of Dracula in Tod Browning’s film he had to cope with a career breakdown. Horror as a genre and its changes during the 1930s, the 1940s and the 1950s and the myth of Dracula-Lugosi are the main frames of the article. The author describes also his significant place in popular culture and asks about his hypothetical presence in the notable horror film movements that reached popularity just after Lugosi’s death.

Refine search results

Deadly Wilderness: Norwegian Horror Cinema in the New Millennium

Poza granice akceptacji – polski horror filmowy w PRL-u

Nature’s Horror and Grand Style in Lars von Trier’s Antichrist

Między horrorem a kryminałem. Katarzyna Puzyńska i Wojciech Chmielarz

Geneza horroru jako gatunku

Z horroru w horror. Alegoryczność literackich narracji zom-biecentrycznych w perspektywie politycznej, społecznej i ekonomicznej

Apokalipsa zombie we współczesnej literaturze dziecięcej

Mistrzowie drugiego planu. Motyw zombie w perspektywie literackiego sztafażu – od survival horroru przez dystopię do romansu paranormalnego

READING LIKE THE JAPANESE: THE GOTHIC AESTHETICS OF HORROR IN SHAKESPEARE’S TITUS ANDRONICUS

Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera

Medium: Wizualizacja pierwszej warstwy narracyjnej: Odkrywanie

Niedorośli wobec grozy – dziecięcy bohaterowie horrorów dla młodych odbiorców

Fantástico y terror: teoría y práctica de dos categorías ficcionales en el ámbito hispánico

Una nueva mirada desde los límites de lo irreal: la fusión de categorías genéricas en la escritura de la imaginación de Juan Jacinto Muñoz Rengel

Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

Wandering Monsters. Serial Peregrinations and Transfictionality

Indigenous Burial Spaces in Media: Views of Mi'gmaq Cemeteries as Sites of Horror and the Sacred

Lovecraft i religia

Tales of dread

Z Transylwanii do Hollywood i nieśmiertelności. Przypadek Beli Lugosiego