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Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect.
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.
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.
[2] According to another university course, it covers "social aspects causes and consequences of the production, distribution, content, form and reception of film." [ 3 ] The New York Times said, "One problem, though, is that if the audience is the measure all things, then art becomes a reflection of sociology and dissecting audience tastes ...
Horror noir (sometimes referred to as noir horror or hyphenated as horror-noir; lit. ' black horror ' ) is a film subgenre that blends elements of both horror and noir . It combines the dark, atmospheric qualities of noir with the suspense and fear typical of horror, creating a hybrid genre that integrates aspects of both.
[2] The history of the term and its permutations in cinema, literature, legal studies, psychology, sociology, and history is the subject of a 2015 multi-author volume edited by Blair Davis, Robert Anderson and Jan Walls, titled Rashomon Effects: Kurosawa, Rashomon and their legacies .