Proposal for the analysis of a video game, a film, and their relationship : Silent Hill as a subject of the horror genre

Aquest treball de recerca fa un estudi comparatiu del videojoc de terror amb el seu homòleg cinematogràfic. L’objectiu és arribar a saber si els dos mitjans de comunicació usen les mateixes tècniques per transmetre les seves històries i per crear suspens. Aquesta investigació és només una part d'un estudi més ampli amb el que es pretén tenir un coneixement més aprofundit de les emocions de la gent i les reaccions que els provoca un videojoc de terror en comparació amb la visualització de l'adaptació cinematogràfica del corresponent videojoc.

Elementi postmoderni nell'horror americano contemporaneo. Forme testuali e culturali della mutazione 1968-1998

This research argues for an analysis of textual and cultural forms in the American horror film (1968- 1998), by defining the so-called postmodern characters. The “postmodern” term will not mean a period of the history of cinema, but a series of forms and strategies recognizable in many American films. From a bipolar re-mediation and cognitive point of view, the postmodern phenomenon is been considered as a formal and epistemological re-configuration of the cultural “modern” system. The first section of the work examines theoretical problems about the “postmodern phenomenon” by defining its cultural and formal constants in different areas (epistemology, economy, mass-media): the character of convergence, fragmentation, manipulation and immersion represent the first ones, while the “excess” is the morphology of the change, by realizing the “fluctuation” of the previous consolidated system. The second section classifies the textual and cultural forms of American postmodern film, generally non-horror. The “classic narrative” structure – coherent and consequent chain of causal cues toward a conclusion – is scattered by the postmodern constant of “fragmentation”. New textual models arise, fragmenting the narrative ones into the aggregations of data without causal-temporal logics. Considering the process of “transcoding”1 and “remediation”2 between media, and the principle of “convergence” in the phenomenon, the essay aims to define these structures in postmodern film as “database forms” and “navigable space forms.” The third section applies this classification to American horror film (1968-1998). The formal constant of “excess” in the horror genre works on the paradigm of “vision”: if postmodern film shows a crisis of the “truth” in the vision, in horror movies the excess of vision becomes “hyper-vision” – that is “multiplication” of the death/blood/torture visions – and “intra-vision”, that shows the impossibility of recognizing the “real” vision from the virtual/imaginary. In this perspective, the textual and cultural forms and strategies of postmodern horror film are predominantly: the “database-accumulation” forms, where the events result from a very simple “remote cause” serving as a pretext (like in Night of the Living Dead); the “database-catalogue” forms, where the events follow one another displaying a “central” character or theme. In the first case, the catalogue syntagms are connected by “consecutive” elements, building stories linked by the actions of a single character (usually the killer), or connected by non-consecutive episodes about a general theme: examples of the first kind are built on the model of The Wizard of Gore; the second ones, on the films such as Mario Bava’s I tre volti della paura. The “navigable space” forms are defined: hyperlink a, where one universe is fluctuating between reality and dream, as in Rosemary’s Baby; hyperlink b (where two non-hierarchical universes are convergent, the first one real and the other one fictional, as in the Nightmare series); hyperlink c (where more worlds are separated but contiguous in the last sequence, as in Targets); the last form, navigable-loop, includes a textual line which suddenly stops and starts again, reflecting the pattern of a “loop” (as in Lost Highway). This essay analyses in detail the organization of “visual space” into the postmodern horror film by tracing representative patterns. It concludes by examining the “convergence”3 of technologies and cognitive structures of cinema and new media.

The creation and use of an international reference glossary specific for horror role-playing games

This thesis focuses on the technical approach to the translation of the Italian horror role-playing game Sine Requie into English. It aims to prove that both the role-playing and horror aspects of the genre are important to convey an enjoyable experience to the players, and that it is possible to create and international reference glossary to better translate the horror genre itself. Following a brief introduction of the history of role-playing games (RPGs), we will look at the RPG technical vocabulary in Sine Requie, and analyze which of these elements can be translated following the great models of the history of role-playing games. A brief introduction will follow regsrding the horror genre and its core characteristics based on the work of worldwide famous horror writer H.P. Lovecraft. Lastly, a description on how the international reference glossary for the horror genre was created will be presented along with a few examples of its practical use.

ZÉ DO CAIXÃO: PERSONAGEM DE HORROR

Esse trabalho busca entender a personagem Zé do Caixão em dois aspectos correlacionados: 1) enquanto uma personagem passível de ser classificada como pertencente ao gênero horror e; 2) no enfoque comparativo entre essa personagem e a personagem Drácula, referência central no gênero horror. Para subsidiar essas discussões, em primeiro lugar, esboçamos as linhas principais de um quadro teórico conceitual do gênero horror; e a seguir, nos detivemos na construção da personagem Drácula. Por fim, nos detemos na personagem Zé do Caixão buscando entender sua especificidade dentro do gênero.(AU)

La représentation du métro dans le jeu vidéo d'horreur : désorientation, angoisse et terreur

Ce mémoire s‘intéresse à la spatialité du jeu vidéo et à l‘adaptation vidéoludique de lieux réels. Il se concentre sur un lieu précis, le métro, et sur sa représentation dans le genre de l‘horreur. Cette recherche comprend trois niveaux d‘adaptation du lieu et de création spatiale, soit l‘adaptation systémique, l‘adaptation sociohistorique et finalement l‘adaptation technologique. À partir d‘exemples de jeux comparés aux réalités concrètes du métro, ces trois niveaux d‘adaptation sont analysés afin d‘explorer à la fois les impacts du lieu virtuel sur l‘expérience de jeu et les influences externes qui guident la conception vidéoludique.

La humanització del monstre: Albert Sánchez Piñol vs. H. P. Lovecraft

Aquest article pretén bastir una comparativa entre la figura teratològica mostrada a l’obra A les muntanyes de la follia de Howard Phillips Lovecraft i La pell freda d’Albert Sánchez Piñol. Una comparativa que té per finalitat mostrar com Howard Phillips Lovecraft inicia una evolució en el gènere de por (basada en la introducció de la versemblança en les narracions d’aquest gènere a través d’un racionalisme que connecta amb exactitud tots els elements de la narració, tot introduint una realitat que contrasta amb allò sobrenatural i crea la por als ulls del lector) que és assumida per Sánchez Piñol en alguns aspectes i transgredida en altres. Així, aquest darrer autor traspassa la frontera infranquejable entre humans i monstres que planteja Lovecraft en humanitzar el monstre, tot atribuint-li qualitats físiques i psicològiques humanes. Una acció que ocasiona un sentiment d’empatia dels personatges humans envers els monstres que derivarà, en última instància, en un intent d’aproximació d’aquests al monstre. O, dit d’una altra manera, en una aproximació de l’ésser humà a l’obscuritat, espai que, lluny de ser perniciós per aquest, l’ajudarà a assolir un coneixement aprofundit de si mateix. Una característica del text de Sánchez Piñol que atorga a La pell freda (i a la major part de l’obra de l’autor) un important valor antropològic i sociològic que pot salvaguardar la narrativa de por de la tendència a desaparèixer que experimenta en una societat cada cop més marcada per l’escepticisme.

Androiden und (Anti)feminismus in The Stepford Wives

Since the early days of cinema the creation of artificial life with its various implications has been a popular topic on screen. Amongst the large number of films that deal with the theme of androids Bryan Forbes’ "The Stepford Wives" (1975) is noticeable for its focus on questions of gender and the relationship between the sexes. The film is set in a contemporary small suburban town where frustrated husbands have found a special way of dealing with their emancipated wives by replacing them with docile life-like robots. Mixing elements of the thriller and horror genres with farce and comedy "The Stepford Wives" was the first American mainstream film to deal explicitly with Women’s Lib. Unlike Ira Levin in his much more ambivalent novel that the film was based on, Forbes and his actors deliberately set out to make a feminist satire, and according to some critics succeeded in producing an important document of second wave feminism which soon acquired cult status. However, it also provoked a number of negative reactions from feminists who were very uncomfortable with a film in which men get away with murdering the female population of an entire town. A closer inspection reveals that the satirical element of the film is indeed not prominent and frequently counteracted, at times facilitating a misogynist rather than a feminist interpretation. This is mainly due to the ending of the film which implies the murderous elimination of the female protagonist. Unlike all other cinematic and literary works that feature androids "The Stepford Wives" shows the successful creation of artificial life which does not backfire. In addition, the film which clearly categorises itself as a thriller and horror movie, and specifically alludes to the tradition of threatened yet strong female characters in these genres, at the same time defies this convention in favour of a seemingly misogynist ending. Thus the way in which "The Stepford Wives" refuses to comply with the traditions of both the android theme and the horror genre, involuntarily serves to undermine its intention as a feminist social satire.

Des typologies mécaniques à l'expérience esthétique : fonctions et mutations du genre dans le jeu vidéo

Cette thèse examine en profondeur la nature et l’application du concept de genre en jeu vidéo. Elle se divise en trois parties. La première fait l’inventaire des théories des genres en littérature et en études cinématographiques. Les propriétés essentielles du genre comme concept sont identifiées : il s’agit d’une catégorisation intuitive et irraisonnée, de nature discursive, qui découle d’un consensus culturel commun plutôt que de systèmes théoriques, et qui repose sur les notions de tradition, d’innovation et d’hybridité. Dans la deuxième partie, ces constats sont appliqués au cas du genre vidéoludique. Quelques typologies sont décortiquées pour montrer l’impossibilité d’une classification autoritaire. Un modèle du développement des genres est avancé, lequel s’appuie sur trois modalités : l’imitation, la réitération et l’innovation. Par l’examen de l’histoire du genre du first-person shooter, la conception traditionnelle du genre vidéoludique basée sur des mécanismes formels est remplacée par une nouvelle définition centrée sur l’expérience du joueur. La troisième partie développe l’expérience comme concept théorique et la place au centre d’une nouvelle conception du genre, la pragmatique des effets génériques. Dans cette optique, tout objet est une suite d’amorces génériques, d’effets en puissance qui peuvent se réaliser pourvu que le joueur dispose des compétences génériques nécessaires pour les reconnaître. Cette nouvelle approche est démontrée à travers une étude approfondie d’un genre vidéoludique : le survival horror. Cette étude de cas témoigne de l’applicabilité plus large de la pragmatique des effets génériques, et de la récursivité des questions de genre entre le jeu vidéo, la littérature et le cinéma.

The monstrous archive. Aesthetics of decay and horror in found footage films

Ce texte a été présenté à la table ronde « Contested Footage: Snuff, Disease, the Avant-Garde, and the Archive » lors du congrès annuel de la PCA/ACA (Popular Culture Association/American Culture Association) qui se tenait à la Nouvelle-Orléans, du 1er au 4 avril 2015. La participation à ce congrès s’inscrivait dans le cadre du projet de recherche « Archives et création : nouvelles perspectives sur l’archivistique » sous la direction d’Yvon Lemay. Ce projet est financée par le Conseil de recherches en sciences humaines du Canada (CRSH) dans le cadre du programme Savoir (2013-2016).

Streaming Italian horror cinema in the UK: Lovefilm Instant.

This article investigates the distribution of Italian horror cinema in the age of video streaming, analyzing its presence and categorization on the platform Lovefilm Instant UK, in order to investigate the importance of ‘niche’ in what is known as the long tail of online distribution and the online availability of exploitation films. I argue that looking at the streaming presence of Italian horror and comparing it to its prior distribution on home video formats (in particular VHS and DVD) we can grasp how distribution and access have shaped the understanding of the genre. In particular, I address the question of the categorization of the films made by the S-VOD services and the limits of streaming distribution, such as lack of persistency in availability and the need of enhanced curatorship.

Contradictions and institutional convergences: Genre as method

My purpose here is to put forward a conception of genre as a way to conduct Futures Studies. To demonstrate the method, I present some examples of contemporary political and corporate discourses and contextualise them in broader institutional and historical settings. I elaborate the method further by giving examples of ‘genre chaining’ and ‘genre hybridity’ (Fairclough 1992 2000) to show how past, present, and future change can be viewed through the lens of genre.