“I’m Nervous That Horror Films Are Immoral”

2021 ◽  
pp. 71-86
Author(s):  
Mathias Clasen
Keyword(s):  
Moral Psychology ◽  
Real World ◽  
Horror Films ◽  
Moral Panics ◽  
Horror Genre ◽  
Cautionary Tales ◽  
The Relationship

The horror genre has historically been the focus of several moral panics, most recently revolving around films in the “torture porn” subgenre, and before that around “video nasties,” rape-revenge films, and splatter movies. However, there is no research to support a concern that horror fans are immoral or that horror films make people unempathetic or sadistic. Horror films are more morally complex than many critics have assumed, and the relationship between horror films and moral psychology is also more complex than critics have assumed. Studies have also shown that horror films may actually be associated with a decrease in real-world violence. Moreover, horror films (with their roots in cautionary tales) are often moralizing, but their effects on viewers’ moral compasses may be limited.

Repeat to Remake: Diablo Cody and Karyn Kusama’s Jennifer’s Body

2018 ◽  
pp. 60-99
Author(s):  
Katarzyna Paszkiewicz
Keyword(s):  
Horror Films ◽  
Media Culture ◽  
Women Filmmakers ◽  
Horror Genre ◽  
Film Distribution ◽  
Productive Potential ◽  
The Relationship

If, as Jane Gaines (2012) suggests, instead of ‘transgressing’ the formal dictates of the industrial genre (that is, instead of ‘going against genre’), some women filmmakers ‘go with genre’, this might be particularly so in the case of horror cinema. The analysis of the much-maligned Jennifer’s Body (2009), written by Diablo Cody and directed by Karyn Kusama, demonstrates precisely this point. The chapter begins by discussing the marketing of Jennifer’s Body, in order to show how those in charge of film distribution and publicity used the director’s and writer’s gender as a promotional tool, and how the filmmakers themselves might have determined certain feminist and postfeminist readings of their film. These readings are contextualised within Diablo Cody’s broader self-promotional activities and her “commercial auteurism” (Corrigan 1991) and raise several questions about what is at stake when women practitioners make horror films and the implications should a filmmaker self-identify as a feminist filmmaker. The chapter then offers a close examination of Jennifer’s Body by rethinking the theories of Barbara Creed (1993) and Carol J. Clover (1992) and by inscribing the film within the wider context of teen movies and postfeminist media culture, making room for reflection on female spectatorial pleasures. It concludes that rather than undoing the horror genre, Jennifer’s Body explores its productive potential, participating in its continuous re-inscription of the relationship between women and violence.

scholarly journals “Demons to some. Angels to others”: BDSM and how Vanilla Sex Regulates Sexuality in Hellraiser and Strangeland

2021 ◽  
Author(s):  
Alexandrea Fiorante
Keyword(s):  
Popular Culture ◽  
Social Order ◽  
Horror Films ◽  
Psychological Disorder ◽  
Statistical Manual ◽  
Horror Genre ◽  
Diagnostic And Statistical Manual ◽  
Identity Disclosure ◽  
Mainstream Culture ◽  
The Relationship

[Introduction] Setting the Mood Sex is typically seen as special, thrilling and transcendent — or, alternatively, as a menacing force with the power to upset social order and diminish us to beasts. In the horror genre, representations of sex are often expressed through the imagery of BDSM (Bondage, Domination, Sadomasochism), and are aligned with monsters, torture and scary settings. The reality of the BDSM subculture is disfigured by mainstream horror films, which demonize BDSM and use it as a portable method of garnering screams. Horror as a genre allows audiences to flirt with danger, while reinforcing boundaries between pathological non-normal sexuality and protected and privileged normal sexuality. BDSM has gained considerable scholarly attention in the last two decades within and beyond sociology, particularly in the areas of sexual deviance, identity disclosure and development, stigma management (Bezreh, Pitagora, Simula), and more recently, BDSM’s diffusion into the mainstream culture (Weiss, Scott). Further, research has examined how popular culture perpetuates misconceptions about BDSM, and frames practitioners as victims of trauma, abuse, and rape (Brock, Bezreh, Rubin). This pathologization of BDSM, in part, stems from the assumption that BDSM is a mental illness, a consequence of the Diagnostic and Statistical Manual of Mental Disorders’s (DSM) historical conflation of psychological disorder and sadomasochism. Additionally, Western horror cinema has had a pivotal influence on popular discourses about BDSM. Less scholarship, however, has examined the relationship between horror and BDSM. This paper contributes to the scholarship on BDSM portrayals in popular culture by examining BDSM representations in two Hollywood horror films: Strangeland (1998) and Hellraiser (1987).

scholarly journals Children and Horror after PG-13: The Case of The Gate

2014 ◽  
Vol 6 (4) ◽  
Author(s):  
Filipa Antunes
Keyword(s):  
Fairy Tale ◽  
Social Values ◽  
Horror Film ◽  
Moral Panics ◽  
Horror Genre ◽  
Text Production ◽  
Definition Of ◽  
The Relationship ◽  
Cultural Shifts ◽  
Motion Picture Association

The paper analyses the tensions in the text, production and reception of the children’s horror film The Gate (Tibor Takács, 1987) relating to the sustained ambiguity around the Motion Picture Association of America's PG-13 classification. I suggest that the late 1980s was a moment of transition toward new attitudes about the horror genre and children. To develop this argument, the paper explores the main issues raised in critical opinion about the film at the time of its release: notions on what the horror genre is or should be; the changing assumptions about its audiences (namely the shift away from an adults-only perspective); and moral panics triggered by transitioning social values. These struggles are suggested also in the creative clashes between the writer and director of The Gate: where one wanted to make a traditional R-rated horror, the other was adamant about it being a positive fairy-tale for pre-teens. The paper analyses the way this conflict is reflected in the film’s representations of children and suggests that its resolution in a vision of child empowerment (narratively and critically) indicates a move away from traditional assumptions about the horror genre, as well as childhood. Through this analysis, the paper also seeks to understand how PG-13 was perceived in the late 1980s, particularly in terms of its implied audience and its relationship with the genre of horror. Through this focus on the relationship between ratings, creative choices and conflicting attitudes, the paper proposes the idea of two intertwined cultural shifts: toward a more segmented view of childhood, in the emergence of the pre-teen as a demographic, and a more open definition of horror and its audiences.

scholarly journals “Demons to some. Angels to others”: BDSM and how Vanilla Sex Regulates Sexuality in Hellraiser and Strangeland

2021 ◽  
Author(s):  
Alexandrea Fiorante
Keyword(s):  
Popular Culture ◽  
Social Order ◽  
Horror Films ◽  
Psychological Disorder ◽  
Statistical Manual ◽  
Horror Genre ◽  
Diagnostic And Statistical Manual ◽  
Identity Disclosure ◽  
Mainstream Culture ◽  
The Relationship

[Introduction] Setting the Mood Sex is typically seen as special, thrilling and transcendent — or, alternatively, as a menacing force with the power to upset social order and diminish us to beasts. In the horror genre, representations of sex are often expressed through the imagery of BDSM (Bondage, Domination, Sadomasochism), and are aligned with monsters, torture and scary settings. The reality of the BDSM subculture is disfigured by mainstream horror films, which demonize BDSM and use it as a portable method of garnering screams. Horror as a genre allows audiences to flirt with danger, while reinforcing boundaries between pathological non-normal sexuality and protected and privileged normal sexuality. BDSM has gained considerable scholarly attention in the last two decades within and beyond sociology, particularly in the areas of sexual deviance, identity disclosure and development, stigma management (Bezreh, Pitagora, Simula), and more recently, BDSM’s diffusion into the mainstream culture (Weiss, Scott). Further, research has examined how popular culture perpetuates misconceptions about BDSM, and frames practitioners as victims of trauma, abuse, and rape (Brock, Bezreh, Rubin). This pathologization of BDSM, in part, stems from the assumption that BDSM is a mental illness, a consequence of the Diagnostic and Statistical Manual of Mental Disorders’s (DSM) historical conflation of psychological disorder and sadomasochism. Additionally, Western horror cinema has had a pivotal influence on popular discourses about BDSM. Less scholarship, however, has examined the relationship between horror and BDSM. This paper contributes to the scholarship on BDSM portrayals in popular culture by examining BDSM representations in two Hollywood horror films: Strangeland (1998) and Hellraiser (1987).

Hell house or something more? Horror, abjection and mental illness

2019 ◽  
Vol 17 (1) ◽  
pp. 43-56
Author(s):  
Zachary Sheldon
Keyword(s):  
Mental Illness ◽  
Social Relations ◽  
Horror Films ◽  
Horror Genre ◽  
The Core ◽  
Relationship Of ◽  
The Relationship ◽  
Discursive Resources

Abstract Many theorists argue that abjection is at the core of the experience and fascination of the horror genre. Abjection relates to the simultaneous attraction and revulsion that audiences feel around the horrific, gory or disturbing subjects that comprise the focus of horror films. Some recent horror media have centred on the gendered components of abject theory, notably the relationship of a mother to her children, as well as the stigma surrounding mental illness. These films transform motherhood into an abjection tied intimately to depression and ultimately suggest ways for audiences to make sense of both depression and conceptions of abject motherhood. This article examines Netflix's The Haunting of Hill House (2018) for its contribution to this ongoing discussion, arguing that the series takes advantage of the camera's ability to surveil its subjects in order to suggest ways that a mother's abjection and mental illness suffuse the network of familial and social relations that she is caught up in. In this, the series' horrific surveillance of its characters provides varying discursive resources with which the audience may evaluate and act regarding their own experiences of depression and abject motherhood.

Dehumanization and Mentalizing Animals

2017 ◽  
Author(s):  
T.J. Kasperbauer
Keyword(s):  
Moral Psychology ◽  
Mental State ◽  
Moral Status ◽  
Mental States ◽  
Psychological Research ◽  
Human Beings ◽  
Mental State Attribution ◽  
The Relationship ◽  
Phenomenal States

This chapter applies the psychological account from chapter 3 on how we rank human beings above other animals, to the particular case of using mental states to assign animals moral status. Experiments on the psychology of mental state attribution are discussed, focusing on their implications for human moral psychology. The chapter argues that attributions of phenomenal states, like emotions, drive our assignments of moral status. It also describes how this is significantly impacted by the process of dehumanization. Psychological research on anthropocentrism and using animals as food and as companions is discussed in order to illuminate the relationship between dehumanization and mental state attribution.

A Fitting Solution

2018 ◽  
Author(s):  
Kaori Kashimura ◽  
Takafumi Kawasaki Jr. ◽  
Nozomi Ikeya ◽  
Dave Randall
Keyword(s):  
Organizational Change ◽  
Power Plant ◽  
Augmented Reality ◽  
Real World ◽  
Work Practices ◽  
Plant Construction ◽  
Tightly Coupled ◽  
Complex Scenario ◽  
The Relationship ◽  
The Way

This chapter provides an ethnography of a complex scenario involving the construction of a power plant and, in so doing, tries to show the importance of a practice-based approach to the problem of technical and organizational change. The chapter reports on fieldwork conducted in a highly complex and tightly coupled environment: power plant construction. The ethnography describes work practices on three different sites and describes and analyses their interlocking dependencies, showing the difficulties encountered at each location and the way in which the delays that result cascade through the different sites. It goes on to describe some technological solutions that are associated with augmented reality and that are being designed in response to the insights gained from the fieldwork. The chapter also reflects more generally on the relationship between fieldwork and design in real-world contexts.

OP48 Nursing Requirements In Long-Term Care: A Health Technology Assessment

2019 ◽  
Vol 35 (S1) ◽  
pp. 11-12
Author(s):  
Paula Corabian ◽  
Charles Yan ◽  
Susan Armijo-Olivo ◽  
Bing Guo
Keyword(s):  
Nursing Care ◽  
Nursing Staff ◽  
Real World ◽  
Research Evidence ◽  
Long Term Care ◽  
Staff Time ◽  
Term Care ◽  
Policy Makers ◽  
The Relationship

IntroductionThe objectives of this study were to systematically review published research on the relationship between nursing staff coverage, care hours, and quality of care (QoC) in long-term care (LTC) facilities; and to conduct a real world evidence (RWE) analysis using Alberta real world data (RWD) to inform policy makers on whether any amendments could be made to current regulations.MethodsA systematic review (SR) of research evidence published between January 2000 and May 2018 on the relationship between nursing staff coverage, care hours, and QoC in LTC facilities was conducted. Panel data regressions using available RWD from Alberta, Canada, were performed to assess associations between nursing care hours and LTC outcomes. Outcomes of interest included quality indicators related to resident outcomes, hospital admissions, emergency room visits and family satisfaction. Nursing care hours considered in SR and RWE analysis included those provided by registered nurses (RNs) and licensed practical nurses (LPNs).ResultsThe SR found inconsistent and poor quality evidence relevant to the questions of interest, indicating a great uncertainty about the association between nursing staff time and type of coverage and QoC. Although some positive indications were suggested, major weaknesses of reviewed studies limited interpretation of SR results. RWE analysis found that impact of care hours on LTC outcomes was heterogeneous, dependent on outcome measurements. There was evidence that total staff, RN, and LPN hours had positive effects on some resident outcomes and magnitude of effect differed for different nursing staff.ConclusionsNo definitive conclusion could be drawn on whether changing nursing staff time or nursing staff coverage models would affect residents’ outcomes based on the research evidence gathered in the SR. RWE analysis helped to fill a gap in the available published literature and allowed policy makers to better understand the impact of revising current regulations based on actual outcomes.

Waltzing on Rooftops and Cobblestones

2021 ◽  
Vol 2 (3) ◽  
pp. 34-55
Author(s):  
Ailbhe Warde-Brown
Keyword(s):  
Video Games ◽  
Video Game ◽  
Real World ◽  
World History ◽  
Interaction Model ◽  
Virtual Space ◽  
Open World ◽  
Integrated Approaches ◽  
The Relationship

The relationship between music, sound, space, and time plays a crucial role in attempts to define the concept of “immersion” in video games. Isabella van Elferen’s ALI (affect-literacy-interaction) model for video game musical immersion offers one of the most integrated approaches to reading connections between sonic cues and the “magic circle” of gameplay. There are challenges, however, in systematically applying this primarily event-focused model to particular aspects of the “open-world” genre. Most notable is the dampening of narrative and ludic restrictions afforded by more intricately layered textual elements, alongside open-ended in-game environments that allow for instances of more nonlinear, exploratory gameplay. This article addresses these challenges through synthesizing the ALI model with more spatially focused elements of Gordon Calleja’s player involvement model, exploring sonic immersion in greater depth via the notion of spatiotemporal involvement. This presents a theoretical framework that broadens analysis beyond a simple focus on the immediate narrative or ludic sequence. Ubisoft’s open-world action-adventure franchise Assassin’s Creed is a particularly useful case study for the application of this concept. This is primarily because of its characteristic focus on blending elements of the historical game and the open-world game through its use of real-world history and geography. Together, the series’s various diegetic and nondiegetic sonic elements invite variable degrees of participation in “historical experiences of virtual space.” The outcome of this research intends to put such intermingled expressions of space, place, and time at the forefront of a ludomusicological approach to immersion in the open-world genre.

Impacts of online and offline Islamophobia

Islamophobia ◽  
2016 ◽  
Author(s):  
Irene Zempi ◽  
Imran Awan
Keyword(s):  
Real World ◽  
Emotional Responses ◽  
Depression And Anxiety ◽  
The Real ◽  
The Relationship

This chapter examines the implications of online/offline Islamophobia for victims including increased feelings of vulnerability, fear and insecurity. Participants also suffered a range of psychological and emotional responses such as low confidence, depression and anxiety. Additionally, participants highlighted the relationship between online and offline Islamophobia, and described living in fear because of the possibility of online threats materialising in the ‘real world’. Many participants reported taking steps to become less ‘visible’ for example by taking the headscarf or face veil off for women and shaving their beards for men.

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