scholarly journals A NEW ACADEMIC STUDY ON THE HORROR GENRE: SUSPENSE BUILDING IN TWO NOVELS BY STEPHEN KING AND THEIR FILM ADAPTATIONS

2020 ◽  
pp. 143-145
Author(s):  
Boyka ILIEVA
Keyword(s):  
Film Adaptations ◽  
Stephen King ◽  
Horror Genre ◽  
Academic Study

“I’m Nervous That Watching Horror Makes Me Look Stupid”

2021 ◽  
pp. 87-99
Author(s):  
Mathias Clasen
Keyword(s):  
Twentieth Century ◽  
Cultural Capital ◽  
Horror Films ◽  
Horror Genre ◽  
Academic Study

The horror genre has traditionally struggled with an image problem, with horror films being seen as unintelligent, aesthetically uninteresting, and perhaps even morally problematic. This genre stigma has historically been extended to horror fans, who may worry about a lack of cultural capital. Horror movies rarely receive prestigious critical accolades, and the academic study of horror only emerged toward the end of the twentieth century. In recent years, an emergence of ambitious and genre convention-challenging horror movies has prompted some critics to talk about a horror renaissance or even the birth of “post-horror” or “elevated horror.” However, horror films have always had the capacity for engaging with serious themes in an artistic way, and there is often a discrepancy between critics’ evaluations of horror films and audiences’ evaluations. The genre stigma seems to be abating, but some horror fans may still worry about looking stupid—especially if they startle easily.

scholarly journals Portrayal of Horror in Stephen King's Revival

2020 ◽  
Vol 8 (4S4) ◽  
pp. 1-2
Keyword(s):  
Speculative Fiction ◽  
Stephen King ◽  
American Writer ◽  
Horror Genre ◽  
Horror Fiction

Horror genre is defined as speculative fiction which is intended to frighten, scare, disgust, or startle its readers by including feelings of horror and terror. Stephen King is considered as one of the foremost writers of Horror fiction. H.P. Lovecraft is an American writer wrote many horror stories. He invented an pseudo-mythology known as the Cthulhu Mythos which focuses on a pantheon of Monstrous deities which inhabits worlds which are not our own. After Lovecraft, many writers tried to imitate his style. But only few got success. One such writer is Stephen King. He closely followed the style of Lovecraft and produced some of the best fictions in the genre of Horror.

scholarly journals LANGUAGE REPRESENTATION OF THE EMOTION «FEAR» IN THE WORKS OF S. KING (ANALYSIS OF THE THEMATIC GROUP)

2021 ◽  
Vol 18 (1) ◽  
pp. 146-151
Author(s):  
O.V. Egorova ◽  
◽  
V.V. Vasyuk ◽  
Keyword(s):  
English Language ◽  
Contextual Analysis ◽  
Main Task ◽  
Main Theme ◽  
World Model ◽  
Work Of Art ◽  
Stephen King ◽  
Horror Genre ◽  
Language Representation ◽  
The World

Emotions, representing a special reality, are a reflection of the ethno-cultural specifics of the world model. The emotion of fear is one of the basic and inherent in every culture. The ability of language elements to enter into relations with each other allows us to talk about the vocabulary of a language as a system. The presence of these relations determines the existence of various groupings within the language system. One of the ways to combine them is a thematic group. The relevance of this study is determined by the analyzed material, which represents the emotion of fear, not only as a thematic group, but also as a multidimensional manifestation of human emotions. This study allows us to trace how the thematic group "Fear" is represented in the English language at the present stage of its development. The purpose of this work is to identify the means of linguistic representation of the manifestation of the emotion of fear in modern English on the material of the works "Pet Cemetery" and "It" by the American writer Stephen King. In the course of the study, the following methods were used: the method of contextual analysis and the method of quantitative analysis. The study of the vocabulary that represents emotions in the text of a work of art allows us to interpret the world of emotions of characters, as well as to reveal the main theme of the work of art. Therefore, in the context of the literature of the horror genre, it is advisable to talk about the use of various means of representing the thematic group "Fear", since the main task of the author is to create an atmosphere of fear and horror in the work.

Macbeth

2017 ◽  
Author(s):  
Rebekah Owens
Keyword(s):  
Film Adaptations ◽  
Horror Film ◽  
Horror Genre ◽  
Trace Back ◽  
Folk Tradition

Why write about Roman Polanski's Macbeth (1971) as part of a series of books dedicated to the classics of the horror movie genre? Because, this book argues, just as Banquo in Polanski's film holds up a series of mirrors that reflect images of his successors that trace back to his own son Fleance, so subsequent milestones in the genre show their lineage to this work, their originator. Polanski had previously made Repulsion (1965) and Rosemary's Baby (1968), so he was fully aware of the conventions of the horror genre and this film provides clues to his own horror lexicon. This book demonstrates how Macbeth can be read as part of the British Folk tradition, strengthening the reading of the film as a horror movie in its own right through its links to The Wicker Man (1973), Blood on Satan's Claw (1971) and Witchfinder General (1968) then argues the case for its recognition as a horror movie even further, by connecting it to the later American horror classics, such as Halloween (1978). It also explores the popular associations made between the film and Polanski's own life, arguing that they endorse the view of the film as a horror. The book represents the first serious attempt to regard Polanski's Macbeth as a horror film in its own right, and not exclusively as one of a multitude of ongoing Shakespeare film adaptations.

Timing Problems: When Care and Violence Converge in Stephen King's Horror Novel Christine

Hypatia ◽  
2017 ◽  
Vol 32 (2) ◽  
pp. 397-414 ◽  
Author(s):  
Stacy Clifford Simplican
Keyword(s):  
Feminist Theory ◽  
Mass Culture ◽  
Judith Butler ◽  
Physical Injury ◽  
Social Worlds ◽  
Human Identity ◽  
Stephen King ◽  
Care Theory ◽  
Horror Genre ◽  
Starting Point

Judith Butler, Joan Tronto, and Stephen King all hinge human experience on shared ontological vulnerability, but whereas Butler and Tronto use vulnerability to build ethical commitments, King exploits aging, disability, and death to frighten us. King's horror genre is provocative for the imaginative landscape of feminist theory precisely because he uses vulnerability to magnify the anxieties of mass culture. In Christine, the characters' shared susceptibility to psychic and physical injury blurs the boundary between care and violence. Like Butler, King depicts our social worlds encrusted with normative violence: the mundane ways that norms police gender, race, class, and disability identities. And like Butler, King makes undecidability a key feature of human identity: the idea that needs and identities are uncertain. Normative violence and undecidability trouble the starting point of Tronto's care theory—attentiveness to needs—because both concepts invest interdependency with ambiguity and conflict. But like Tronto, King recognizes that care‐actors must act, even amid ambiguity and even when their actions make care and aggression converge. Christine's supernatural plot details the psychic possession of an American teenager, but the novel's more terrifying story is about interdependency and how normative violence is not the antithesis of care, but its dark underbelly.

scholarly journals The unlearning: Horror and transformative theory

2008 ◽  
Vol 1 ◽  
Author(s):  
Michael A. Arnzen
Keyword(s):  
Transformative Learning ◽  
Perspective Transformation ◽  
Transformative Learning Theory ◽  
Stephen King ◽  
Horror Genre ◽  
Writing Class ◽  
Class Period ◽  
Genre Writing ◽  
Writing Exercises ◽  
Transformative Writing

Building on the foundational concepts of transformative learning theory, I argue that horror fiction strongly encourages perspective transformation by challenging student assumptions about both genre writing and educational experience. I informally describe a specific creative writing class period focusing on the motif of the scream in diverse horror texts, and I illustrate how students learn to transform what they already bring to the classroom by employing a variety of particular in-class writing exercises and literary discussions. Among these, transformative writing exercises—such as the revision of an existing text by Stephen King—are highlighted as instructional techniques. As cautionary literature, horror especially dramatizes strategies of fight versus flight. I reveal how students can learn by transforming their knowledge through disorientation that is particular to reading and writing in the horror genre.

scholarly journals SPECIFICITY OF TRANSLATION OF LINGUOSTYLISTIC MEANS OF CREATING NARRATIVE SUSPENSE IN ENGLISH HORROR LITERATURE

2021 ◽  
Author(s):  
Kateryna Lobodzinska
Keyword(s):  
English Language ◽  
Scientific Paper ◽  
Comprehensive Analysis ◽  
The Novel ◽  
Literary Language ◽  
Stephen King ◽  
Horror Genre ◽  
Linguistic Research ◽  
Wide Range ◽  
Horror Literature

The scientific paper is devoted to a comprehensive analysis of the specifics of the translation of linguo-stylistic features of creating narrative tension in the English-language horror literature. Features of creating narrative tension in the horror literature is one of the relevant topics for linguistic research, as horror literature is becoming increasingly popular. The aim of the article is to identify and analyze the specifics of the translation of linguo-stylistic features of creation of narrative tension in the English-language horror literature. Using the novel “It” by American writer of the genre “horror” Stephen King and its Ukrainian translation as the example, the specifics of translation of linguo-stylistic features of creating narrative tension at various levels of language in translating English horror literature into modern Ukrainian literary language were also analyzed and characterized. The study revealed a wide range of linguo-stylistic features at different language levels that help create narrative tension in the text of the horror genre, which contributes to the emergence of readers' interest in the narrative and the emergence of a range of emotions. The research considers examples of the use of linguo-stylistic features of creating narrative tension in the work of the horror genre and analyzes the specifics of their translation into Ukrainian. Keywords: narrative tension; specific of translation of the literature of horror; linguistic-stylistic features of creation of the tension; specificity of translation of linguistic-stylistic features; literature of horror; linguistic-stylistic features.  

‘Daddy, I’m scared. Can we go home?’ Fear and Allegory in Frank Darabont’s The Mist (2007)

2016 ◽  
Author(s):  
Terence McSweeney
Keyword(s):  
Science Fiction ◽  
War On Terror ◽  
September 11 ◽  
Master Narrative ◽  
Popular Film ◽  
Stephen King ◽  
Horror Genre ◽  
Religious Extremism ◽  
Women And Children ◽  
Genre Films

Chapter Eleven, ""Daddy, I'm scared. Can we go home?": Fear and Allegory in Frank Darabont’s The Mist (2007), Terence McSweeney addresses the potency of the horror genre to function as a cultural barometer by engaging with some of the defining anxieties of the era in a metaphorical fashion. Discussing Frank Darabont's The Mist, an adaptation of the Stephen King novella, McSweeney reads the film's narrative concerning a disparate group of small-towners stranded inside a local supermarket plagued by what might be supernatural beasts outside and, perhaps even more dangerously, religious extremism inside as an articulate treatise on prevailing new millennial fears. The Mist was one of many American genre films which seemed to dramatise Susan Faludi's assertion that, 'The intrusions of September 11 broke the dead bolt on our protective myth, the illusion that we are masters of our own security, that our might makes our homeland impregnable, that our families are safe in the bower of our communities and our women and children are safe in the arms of their men' (2007, 12). The Mist uses familiar genre tropes but localises them to the very specific coordinates of post-9/11 America in a comparable way to how the most resonant horror and science fiction films have done to their own cultures and eras throughout the decades. McSweeney argues that there is a transgressive potency in the horror genre to confront some of the myths which have been at the centre of American popular film since its inception and in particular the 'master narrative' of the 'War on Terror' which emerged after 9/11.

scholarly journals Horrible Heroes: Liberating Alternative Visions of Disability in Horror

2016 ◽  
Vol 36 (1) ◽  
Author(s):  
Melinda Hall
Keyword(s):  
Social Construction ◽  
Open Space ◽  
Julia Kristeva ◽  
Horror Films ◽  
Cultural Products ◽  
Persons With Disabilities ◽  
Stephen King ◽  
Major Locus ◽  
Horror Genre

<p>Understanding disability requires understanding its social construction, and social construction can be read in cultural products. In this essay, I look to one major locus for images of persons with disabilities—horror. Horror films and fiction use disability imagery to create and augment horror. I first situate my understanding of disability imagery in the horror genre using a case study read through the work of Julia Kristeva. But, I go on to argue that trademark moves in the horror genre, which typically support ableist assumptions, can be used to subvert ableism and open space for alternative social and political thinking about disability. I point to the work of Tim Burton and Stephen King to demonstrate these possibilities in horror.</p>

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