Discussing \'Torture Porn\'
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To look at torture porn both as a horror sub-genre and as a cinematic reflection on social and political milieu, and make an attempt interpreting Hostel (2005) positioned as torture porn for revealing the underlying issues of political commentary inspired by Abu Ghraib abuse and torture in Iraq.
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This document provides a summary and analysis of the 1997 film Life Is Beautiful directed by Roberto Benigni. It discusses the film's commercial and critical success but notes many academic critics consider it disrespectful to Holocaust victims for its comedic tone and mild representation of a concentration camp. The document analyzes how the film establishes characters' identities before they become Holocaust victims, allowing for audience identification. It argues this approach honors victims' memories in a way that purely factual or horrific representations cannot, as the Holocaust's truth is ultimately unrepresentable. While some critics argue the film trivializes or distorts history, the document contends its focus on emotional connection enables deeper remembrance of victims and their experiences.
Italy
This document provides an analysis of the 1997 film Life Is Beautiful directed by Roberto Benigni. It summarizes the critical reception of the film, which was often harshly criticized for not accurately portraying the horrors of the Holocaust and for taking an unconventional comedic tone in its representation of a concentration camp. The document argues that such criticism is misguided as it fails to recognize that the film aims to honor Holocaust victims by establishing the characters' identities and lives before they became subjects of the Holocaust, rather than merely using them to demonstrate horrors. It references theorists like Theodor Adorno to discuss the wariness around representing the Holocaust in art and survivors who found the film moving and an important contribution.
Thesis
This document discusses how horror films reflect societal anxieties and taboos. It argues that slasher films in particular depict the punishment of youth, sexuality, and vice to satisfy audiences' desires and alleviate guilt. While B-movies focus more on gore and spectacle, psychological horror films like Black Swan depict more personal anxieties like mental illness in a way that audiences can relate to on a deeper level. The relationship between horror audiences and what they watch is complex, with audiences deriving satisfaction from witnessing the punishment of characters who indulge in taboos.
Film essay research
The document discusses how horror films reflect and are shaped by societal fears and culture over time. It explores how different countries portray horror differently and how the themes in horror films have changed from reflecting fears of "the other" to more personal fears closer to home. Some key points made include:
- Early horror films featured threats from vampires and monsters but now focus more on real-life threats like serial killers.
- Films from different decades mirrored the societal fears of that time period, like nuclear threat films in the 1950s.
- Tropes like home invasions may reflect a country's fear of immigrants or foreigners.
- Horror films have also been used to discuss issues like racism, trauma,
Film essay research
The document discusses how horror films can act as a reflection of societal fears and issues. It addresses several topics including how the threats portrayed in horror films have evolved over time to better represent the fears of the era. For example, films after World War 2 featured more werewolf movies likely reflecting the violence of Nazis. The document also examines how horror films have addressed topics like racism, treatment of women, immigration fears and more. Many examples of specific films are provided that illustrate how the films incorporated themes relating to the societal issues of their time period and location.
How do horror films reflect the fears of society
The document discusses how horror films have reflected the fears of society over time. It provides examples of how early 20th century horror films represented fears of war, monsters, and segregation. In the 1950s, films reflected a fear of nuclear weapons. The 1970s saw an increase in serial killer-focused films like Halloween that tapped into real crimes. More modern films like Get Out explicitly address contemporary social issues like racism to try and influence viewers. Overall, the document argues that horror films both draw from and impact societal fears and attitudes.
Django unchained analysis
This document discusses the film Django Unchained and how it can be analyzed through postmodern and critical theory lenses. It examines how the film challenges genres like the western by adding elements of slavery and black empowerment. It also explores how the film applies concepts from theorists like Baudrillard and Foucault around hyperreality and panopticism. The intended audience is described as those interested in blaxploitation films, and the impact Quentin Tarantino aims to have is depicting the brutal realities of slavery through stylized violence.
ASIAN HORROR CINEMA
This document discusses the dichotomy of female victimization and empowerment in Asian horror cinema. It explores how Asian films often depict women as both brutal antagonists and brutalized victims, reflecting complex sociopolitical traditions. The roots of violent, sexually-charged Japanese horror films date back to the 1960s as an outlet for a culture subdued after World War II. While some films deploy beautiful female characters who become psychotic killers, it is fair to examine Asia's embrace of extreme horror through a cultural lens influenced by the patriarchal and oppressive traditions of Confucianism.
The influence of horror/thriller films on emotions
The document discusses how horror films can influence audiences' emotions and perceptions of fear. It provides examples of how different genres of horror films, from traditional to psychological to slasher, portray emotions or lack thereof. Certain films like The Exorcist had big impacts on societies by influencing viewers' emotions and fears. While fear is innate, horror films can socially construct what we are afraid of through their creative storytelling and portrayal of emotions.
Five media theoretical ideas
This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
The Move to Internalized Othering of Arabs in American Cinema
It is a challenging yet remarkably humanizing film that depicts life in the dehumanizing setting of Guantanamo Bay in a balanced way. While it shows the inhumanity and criticism-worthy reasons for failing to close Gitmo, it avoids taking explicit political stances. Through the unlikely friendship between a sympathetic American guard and a detainee, it explores their shared humanity and the possibility of understanding across vast differences, reflecting the filmmaker's goal of telling an honest emotional story without propaganda from either perspective. However, some argue it still perpetuates stereotypes through its implicit characterization of the detainees, and questions remain about whether depoliticization is truly possible in such a politically charged topic.
Horror films
Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
Film genres
This document discusses film genres and how they have evolved over time. It provides examples of common film genres like western, sci-fi, drama, and lists some hybrid genres such as sci-fi comedy and musical horror. The document also examines the concept of genre through different theorists' perspectives. It argues that genres change due to evolving audience tastes, providing horror films from the 1950s, 1980s, and 2000s as an example of the genre becoming more graphic and intense over time to scare modern audiences.
Research catalogue 12 slides
The document discusses several films and their depictions of dystopian societies, including A Clockwork Orange, V for Vendetta, and Battle Royale. In A Clockwork Orange, a violent young man undergoes an experiment to curb his violence but is then threatened by his former victims. V for Vendetta tells the story of a woman who discovers a masked vigilante fighting against an oppressive totalitarian government in Britain. Battle Royale depicts Japanese students forced to kill each other by the government. The document also examines several analyses and interpretations of these films and their portrayals of dystopian themes like state oppression, lack of individual freedoms, and corrupt governments.
Screams of Revolution: Political Statements in American Horror Films
1) The document discusses how American horror films from the 1950s-1970s used monsters and killers to comment on political issues and critique American government policies, especially around war and foreign relations.
2) Two iconic 1950s films, The Thing from Another World and Invasion of the Body Snatchers, used aliens and body snatchers as metaphors to express fears around communism and McCarthyism.
3) George Romero's 1968 film Night of the Living Dead depicted a chaotic world where the government fails to help citizens during a zombie attack, reflecting disillusionment with the government over the Vietnam War.
BOYZ OUT THE HOOD GEOGRAPHICAL, LINGUISTIC AND SOCIALMOBILI.docx
BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC AND SOCIAL
MOBILITY IN JOHN SINGLETON’S BOYZ N THE HOOD1
ANDRÉS BARTOLOMÉ LEAL
University of Zaragoza
ABSTRACT. In contrast with many of the films said to belong to the ‘hood
films’ cycle of the nineties, John Singleton’s Boyz N the Hood (1991) sober
and realistically portrays the hardships of blacks’ existence in the Los
Angeles’ neighbourhood of South Central. For the film, as this paper aims to
demonstrate, the inability of the ‘hood residents to escape the geographical
and social constrains of their environment is a direct outcome of the long-
distance control that the mainly white dominant elites exert over their
existence. Through the confronting lifestyles that the characters embody, the
film exemplifies the different possible attitudes towards the place/race-biased
identities that the life in the ‘hood motivates. In order to contest the social
determinism that seems to dominate the life of the residents of the ‘hood,
Tre’s character stands out as epitome of the film’s ideology in favour of
education and respect, and not violence, as the way to survive this social-
political scheme.
Keywords: Identity, film, mobility, race, representation, Socio-Pragmatics.
JOURNAL OF ENGLISH STUDIES - VOLUME 11 (2013), 27-39
1 Special thanks to Profs. Beatriz Penas Ibáñez and Celestino Deleyto Alcalá for their guidance
and support on the present research.
Journal of English Studies,
vol. 11 (2013) 27-39
27
¿CHICOS FUERA DEL BARRIO? MOVILIDAD GEOGRÁFICA, LINGÜÍS-
TICA Y SOCIAL EN LOS CHICOS DEL BARRIO DE JOHN SINGLETON
RESUMEN. A diferencia de muchas de las películas norteamericanas
pertenecientes a lo que hoy es conocido como el ciclo de “películas de barrio”
de los noventa, Los Chicos del Barrio (1991) de John Singleton representa de
una manera sobria y realista las dificultades y conflictos resultantes de la
convivencia diaria de la comunidad negra en el barrio angelino de South
Central. Para dicha película, como intenta demostrar este trabajo, la
incapacidad de los habitantes negros del barrio a la hora de escapar de las
limitaciones geográficas y sociales de su entorno, no es sino un resultado
directo del control ejercido sobre su existencia por las distantes, y
mayoritariamente blancas, élites en el poder. A través de los antagónicos
estilos de vida que los diferentes personajes representan, la película ejemplifica
las diferentes posibles actitudes hacia las identidades predefinidas en
términos de raza y residencia, y mayoritariamente abocadas al desastre, que
la vida en el barrio favorece. Con el objetivo de combatir el determinismo
social que parece dominar la vida de los residentes en el barrio, el personaje
de Tre se erige como epítome de la ideología de la película, a favor de la
educación, el respeto mutuo y el rechazo a la violencia como vehículos para
trascender, y sobrevivir, este esquema social.
Palabras clave: Identidad, cine, movilidad, raza, representación, Socio-
Pragmática.
R ...
The Influence of Emotions on Horror/Thriller Films by Jonah Worcester
The document discusses how horror films portray and influence emotions. It provides examples of different horror genres including traditional horror using primal fears, gore/splatter films focusing on graphic violence, and psychological horror relying on character fears and instability. In particular, it analyzes how the 1956 film Invasion of the Body Snatchers portrayed the universalist vs social constructivist debate around emotions. It also discusses how various horror films have influenced societal fears and perceptions of emotions in different eras.
MAFMP - Ellen A. Saputra 22051422 - Practice of Cross-Genre in 'Modern' Holly...
This document discusses the practice of cross-genre filmmaking in modern Hollywood. It provides context on the evolution from classicism to modernism to postmodernism. Postmodernism is characterized by hybridity, with films mixing genres. Examples discussed include Alien (1977) as science fiction and horror, and Who Framed Roger Rabbit (1988) mixing live-action and animation. Famous postmodern directors like George Lucas, Robert Zemeckis, and James Cameron are noted for their hybrid films like Star Wars, Who Framed Roger Rabbit, and Titanic respectively.
Horror Movies and Surveillance FINAL
The document discusses how modern horror films often reflect contemporary societal fears and anxieties related to surveillance and privacy. In the late 1970s and 1980s, zombie and body snatcher films captured the fear of communist infiltration during the Cold War. Following 9/11, films featured "spectatorial voyeurism" where the villain watches victims through technology. This reflected fears over government surveillance programs. Ultimately, people may fear most that surveillance could reveal private desires or lead to misinterpretation of activities and intentions. Horror films serve as an outlet to process collective anxieties over issues like privacy, control, and the potential for abuse of power through invasive watching.
Queer cinema notes for Intro to LGBTQ+ Studies
This document provides an overview of key concepts in queer film and television representation. It discusses how the Hays Code from the 1930s restricted LGBTQ representation in films. It also summarizes depictions of queer characters in films before and after the Code, as well as important court cases and genres like underground films, New Queer Cinema, and examples of influential films that furthered LGBTQ representation like Paris Is Burning and Disclosure. The document also defines concepts like homonormativity, bi-erasure, and cis-washing that relate to issues of diversity and inclusion in LGBTQ media representation.
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Discussing \'Torture Porn\'
- 1. New Breed of Horror: A Preliminary Study on “Torture Porn” Hostel Wei-Yueh Chen Graduate School of Applied Media Arts, NTUA 2008/06/14
- 12. Comparison (1) A hood-covered victim is ready to be tortured by a masked man in Hostel A powerless and terrified Iraqi stands on a box in Abu Ghraib
- 13. Comparison (2) Paxton who is tied on the chair confronts the German torturer in Hostel US soldiers take a photo with a pyramid built by Iraqis
- 17. Thank You