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2020, In Media Res
In the age of behavioral surplus, data mining as a subset of surveillance capitalism has become the standard for programming and media distribution. According to Shoshana Zuboff, the rise of computer-mediated transactions has deeply impacted the modern economy in terms of data extraction and analysis, new contractual forms due to better monitoring, personalization and customization, and (the especially ominous proclamation) continuous experiments. How does this apply to 1980s horror?
Crossing Boundaries and Fear, Horror, and Interface
Horror films a necessary evil paper2007 •
Abstract: The gruesome reality of horror films and the cruel reality of everyday life reside in the image; a parallel universe, which may be retained from the torrent of images of the spectacle in a hyperreal global society. The catharsis one hopes to experience when attending horror films suggests that there be an emotional and intellectual clarification of one’s everyday existence. How this is done however, appears to be contrary to the world slipping into a consumerist, technocratic global world. The purpose proposed in this paper is a notion that horror films offer a re-examination, through a catharsis, which offsets the pragmatic and materialistic ideologies of a technocratic, global world, and hence, presses for reflection of the carnage framed in not only of aspects of the objective, descriptive world, but also of aspects of one’s inner world: how to understand and value through an art form, what is happening in real life, and to believe in the intrinsically good of oneself and the greater community.
Quarterly Review of Film & Video
Plugging In and Bugging Out: The Torturous Logic of Contemporary American Horror2014 •
This essay rethinks previous approaches to the notorious subgenre of American horror known as “torture porn” by drawing attention to the new media technologies that regularly deliver and disseminate its abuses. Films such as James Wan’s Saw (2004), Eli Roth’s Hostel (2005), and Roland Joffé’s Captivity (2007) are frequently read as allegories for American foreign policy under George W. Bush. Central to these accounts are the sites and sights of torture that the films make visible. Though hardly wrong, these accounts overlook the relationships to bodies in pain that television, digital video, and the Internet organize for characters and spectators alike. Ultimately, I argue, torture porn has more to say about the entangled encounters these media make possible than about the various images of brutality they deliver into individual homes.
Journal of Film and Video
Recreational Terror: Postmodern Elements of the Contemporary Horror Film1996 •
Film & History
Robin Wood on the Horror Film: Collected Essays and Reviews ed. by Barry Keith Grant [book review]2019 •
Fear 2000 Horror Now Conference (Sheffield Hallam University, 6-7 April 2018) Lots of interesting contributions have been written on found-footage horror movies and on the ways in which technology and its narrative presence can become a vehicle for the representation and diffusion of fear. Assuming a Foucauldian perspective, the most intriguing element in movies such as The Blair Witch Project, Paranormal Activity etc. is the fact that the grammar of fear is constructed using the same apparata that constitute our contemporary mediasphere. In this sense, this kind of horror offer a peculiar point of view on the politic of the gaze that is inscribed within the technology that we use every day. Given that nowadays we are living in an historical moment where technology changes rapidly, we can expect to identify new trends in horror or specific films that deal with the innovations that concern the ways in which we see, produce and work with images. This is the case of screencasting horror, a new and yet unexplored subgenre that the paper will address to underline the new ways in which (new) technologies are used to create fear. Screencasting horror appears to be the natural prosecution of the aesthetic that was typical of found footage horror, and yet the proper visual problem connected with it appears to be different: in this specific case we share the point of view of a machine (as in Unfriended), that is both a visual and killing apparatus. In this sense this kind of movies seem to resonate with some intriguing theoretical positions on the semantic consistency of the expression “to shoot” and on the role of operational images in contemporary visual culture (see Theweleit or Farocki). Therefore, the paper will address the aesthetical problems connected with the genre and will offer a first attempt to theoretically analyze a subgenre that has yet to receive this kind of attention.
Edinburgh University Press
The Birth of the American Horror Film [Uncorrected Proofs]2018 •
This is a low-resolution, uncorrected proof of my monograph THE BIRTH OF THE AMERICAN HORROR FILM, published by Edinburgh University Press in 2018. It contains a small number of typos that were corrected for publication. While I am sharing this online, it is crucial for any readers to understand that this is an uncorrected proof. Anyone wishing to cite this work should refer to a published copy.
2015 •
Re-Imagining the Victim in Post-1970s Horror Media
Re-Imagining the Victim in Post-1970s Horror Media (Madelon Hoedt, Marko Lukić eds.)2024 •
Despite its necessary centrality within the genre, the concept of the victim has not received much direct attention within the field of horror studies. Arguably, their presence is so ubiquitous as to become invisible— the threat of horror implies the need for a victim, whose function never alters, often becoming a blank slate for audiences to project their desires and fears onto. This volume seeks to make explicit the concept of the victim within horror media and to examine their position in more detail, demonstrating that the necessity of their appearance within the genre does not equate to a simplicity of definition. The chapters within this volume cover a number of topics and approaches, examining sources from literature, film, TV, and games (both analogue and digital) to show the pervasiveness of horror's victims, as well as the variety of their guises.
Palgrave Communications
Beyond Hammer: the first run market and the prestige horror film in the early 1960s2017 •
Νεραντζής Ιωάννης - ΑΓΡΙΩΝΙΟΝ ΑΡΧΕΙΟΝ.
ΘΕΩΡΙΑ ΛΟΓΟΤΕΧΝΙΑΣ ΣΤΗ ΔΙΔΑΚΤΙΚΗ ΠΡΑΞΗ,, (βιβλίο), Νεραντζής Ιωάννης. Γ., (2024).2024 •
The Journal of Oman Studies
Special Surface Finds from Old Wibil, an Iron Age Site in Ar Rustaq, Sultanate of Oman2023 •
Fernando Forero Pineda
"La experiencia por-venir. Hegel y el saber absoluto" de Luis E. Gama2021 •
2021 •
IFIP Advances in Information and Communication Technology
A Conceptual Model for Privacy Policies with Consent and Revocation Requirements2011 •
2021 •
INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND ANALYSIS
Evaluating the Role of Green Logistics Practices on Financial Sustainability in Fast-Moving Customer Goods Firm in Lagos State, Nigeria2024 •
Accident Analysis & Prevention
Belt use by high-risk drivers before and after New York's seat belt use law∗1988 •
Kunstchronik. Monatsschrift für Kunstwissenschaft 77/7
Materials Matter2024 •
2015 13th International Conference on Document Analysis and Recognition (ICDAR)
CNN based common approach to handwritten character recognition of multiple scripts2015 •
American Journal of Physical Medicine & Rehabilitation
Gait Performance with Compensatory Adaptations in Stroke Patients with Different Degrees of Motor Recovery2003 •