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The Dictionary of Film Studies defines the horror film as representing “disturbing and dark subject matter, seeking to elicit responses of fear, terror, disgust, shock, suspense, and, of course, horror from their viewers.” [2] In the chapter The American Nightmare: Horror in the 70s from Hollywood from Vietnam to Reagan (2002), film critic Robin Wood declared that the commonality between ...
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Horror conventions are gatherings of the community of fans of various forms of horror including horror cinema, goth lifestyle, and occasionally science fiction and fantasy. Historically the focus has been on the cinematic form rather than literature and art, but this has broadened to include all forms in recent years.
The sociology of film deals with the sociological analysis of film. [1] According to a university class in it, the field includes "Contemporary cinema as a culture clue to social change; an introduction to the social forces involved in film-making in the United States and other cultures; the influence of films on mass and select audiences."
This is a list of genres of literature and entertainment (film, television, music, and video games), excluding genres in the visual arts.. Genre is the term for any category of creative work, which includes literature and other forms of art or entertainment (e.g. music)—whether written or spoken, audio or visual—based on some set of stylistic criteria.
First direct-to-video horror film [13] 1988 Fright Night Part 2: Tommy Lee Wallace: Charley Brewster, now a college student, encounters a group of vampires on his campus. [14] 1989 After Midnight: Jim Wheat and Ken Wheat: A horror anthology film framed through college students taking a course on the "psychology of fear." [15] 1995 The Addiction ...
The "social conventions" method of identifying the genre of a film is based on the accepted cultural consensus within society. [32] Martin Loop contends that Hollywood films are not pure genres because most Hollywood movies blend the love-oriented plot of the romance genre with other genres. [32]
Also, according to Cynthia A. Freeland in "Feminist Frameworks for Horror Films," feminist studies of horror films have focused on psychodynamics where the chief interest is "on viewers' motives and interests in watching horror films". [8] Beginning in the early 1980s, feminist film theory began to look at film through a more intersectional lens.