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157-499: The Requin (released as From Below in the UK) is a 2022 American horror thriller film written and directed by Le-Van Kiet. Stranded at sea after a massive tropical storm, a woman and her injured husband fight for survival as great white sharks circle below. Starring Alicia Silverstone and James Tupper , the film was released to video on demand on January 28, 2022. The title, pronounced / ˈ r ɛ k w ɪ n / REK -win ,

314-463: A street culture outside the purview of adults. This is also ideal where it needs to be collected; as Iona and Peter Opie demonstrated in their pioneering book Children's Games in Street and Playground . Here the social group of children is studied on its own terms, not as a derivative of adult social groups. It is shown that the culture of children is quite distinctive; it is generally unnoticed by

471-801: A British erotic horror film series is Hellraiser . Alien features heavy erotic imagery, with the design of the Xenomorph by H. R. Giger featuring both phallic and vaginal imagery, intended to symbolize patriarchal guilt as well as sex, rape, and pregnancy. Folk horror uses elements of folklore or other religious and cultural beliefs to instil fear in audiences. Folk horror films have featured rural settings and themes of isolation, religion and nature. Frequently cited examples are Witchfinder General (1968), The Blood on Satan's Claw (1971), The Wicker Man (1973), The Witch (2015), and Midsommar (2019). Local folklore and beliefs have been noted as being prevalent in horror films from

628-432: A binary: one individual or group who actively transmits information in some form to another individual or group. Each of these is a defined role in the folklore process. The tradition-bearer is the individual who actively passes along the knowledge of an artifact; this can be either a mother singing a lullaby to her baby, or an Irish dance troupe performing at a local festival. They are named individuals, usually well known in

785-408: A child's birthday party, including verbal lore ( Happy Birthday song ), material lore (presents and a birthday cake), special games ( Musical chairs ) and individual customs (making a wish as you blow out the candles). Each of these is a folklore artifact in its own right, potentially worthy of investigation and cultural analysis. Together they combine to build the custom of a birthday party celebration,

942-443: A co-production with Australia and Death Warmed Up (1984) a single production. Early features such as Melanie Read 's Trial Run (1984) where a mother is sent to remote cottage to photograph penguins and finds it habitat to haunted spirits, and Gaylene Preston's Mr. Wrong (1984) purchases a car that is haunted by its previous owner. Other films imitate American slasher and splatter films with Bridge to Nowhere (1986), and

1099-489: A community. Many objects of material folklore are challenging to classify, difficult to archive, and unwieldy to store. The assigned task of museums is to preserve and make use of these bulky artifacts of material culture. To this end, the concept of the living museum has developed, beginning in Scandinavia at the end of the 19th century. These open-air museums not only display the artifacts, but also teach visitors how

1256-423: A crime from the past committed (an accidental drowning, infidelity, a scorned lover) and a ready made group of victims (camp counselors, students, wedding parties). The genre was derided by several contemporary film critics of the era such as Ebert, and often were highly profitable in the box office. The release of Scream (1996), led to a brief revival of the slasher films for the 1990s. Other countries imitated

1413-434: A dislike for dissonance. Skin conductance responses (SCRs), heart rate (HR), and electromyographic (EMG) responses vary in response to emotional stimuli, showing higher for negative emotions in what is known as the "negative bias." When applied to dissonant music, HR decreases (as a bodily form of adaptation to harsh stimulation), SCR increases, and EMG responses in the face are higher. The typical reactions go through

1570-409: A floating piece of wooden flooring. As they drift, Kyle apologizes to his wife for leaving her alone to deal with her trauma, and they reconcile. Soon afterwards, a great white shark attacks their raft and bites off Kyle's legs, he begins to bleed to death. That night, the raft finally hits a beach; Jaelyn drags Kyle's body onto the sand and then collapses from exhaustion. As she wakes the next morning,

1727-428: A good film." Shelley called these films derivative of "American films and presenting generic American material". These films included the horror film productions of Antony I. Ginnane . While Australia would have success with international films between the mid-1980s and the 2000s, less than five horror films were produced in the country between 1993 and 2000. It was only after the success of Wolf Creek (2005) that

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1884-506: A jump scare in a mirror can further build tension. Tight framing and close-ups are also commonly used; these can build tension and induce anxiety by not allowing the viewer to see beyond what is around the protagonist . The interaction between horror films and their audiences is another significant aspect discussed by Rhodes. He notes that horror films often serve as a safe space for viewers to confront and process their fears. This cathartic experience can provide psychological relief and

2041-433: A little faster." Horror film Horror is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes. Horror films often explore dark subject matter and may deal with transgressive topics or themes . Broad elements include monsters , apocalyptic events , and religious or folk beliefs. Horror films have existed for more than a century . Early inspirations from before

2198-422: A lower phonation frequency range). Another study by Baliatsas et al. observed that there is a correlation between exposure to infrasound and low-frequency noises and sleep-related problems. Though most horror films keep the audio around 20–30 Hz, the noise can still be unsettling in long durations. Another technique used in horror films to provoke a response from the audience is cognitive dissonance , which

2355-410: A modern setting and made other horror material which pushed the erotic content of their vampire films that was initiated by Black Sunday . In the 1980s, the older horror characters of Dracula and Frankenstein's monster rarely appeared, with vampire themed films continued often in the tradition of authors like Anne Rice where vampirism becomes a lifestyle choice rather than plague or curse. Following

2512-520: A new generation of filmmakers would continuously make horror genre films in Australia that continued into the 2010s. By 2005, New Zealand has produced around 190 feature films, with about 88% of them being made after 1976. New Zealand horror film history was described by Philip Matthews of Stuff as making "po-faced gothic and now we do horror for laughs." Among the earliest known New Zealand horror films productions are Strange Behavior (1981),

2669-475: A new genre nature taking revenge on humanity with The Birds (1963) that was expanded into a trend into the 1970s. Following the success of Willard (1971), a film about killer rats, 1972 had similar films with Stanley (1972) and an official sequel Ben (1972). Other films followed in suit such as Night of the Lepus (1972), Frogs (1972), Bug (1975), Squirm (1976) and what Muir described as

2826-483: A person relates to that specific cultural from then on in their life. The history of horror films was described by author Siegbert Solomon Prawer as difficult to read as a linear historical path, with the genre changing throughout the decades, based on the state of cinema , audience tastes and contemporary world events . Films prior to the 1930s , such as early German expressionist cinema and trick films , have been retrospectively described as horror films as

2983-516: A problem to be solved, but as a tremendous opportunity. In the diversity of American folklife, we find a marketplace teeming with the exchange of traditional forms and cultural ideas, a rich resource for Americans". This diversity is celebrated annually at the Smithsonian Folklife Festival and many other folklife fests around the country. There are numerous other definitions. According to William Bascom major article on

3140-605: A scripted combination of multiple artifacts which have meaning within their social group. Folklorists divide customs into several different categories. A custom can be a seasonal celebration , such as Thanksgiving or New Year's . It can be a life cycle celebration for an individual, such as baptism, birthday or wedding. A custom can also mark a community festival or event; examples of this are Carnival in Cologne or Mardi Gras in New Orleans . This category also includes

3297-522: A sense of empowerment as viewers face and overcome their anxieties in a controlled environment. The communal experience of watching horror films in theaters or discussing them in fan communities also plays a crucial role in the genre's impact and popularity.[6] Music is a key component of horror films. In Music in the Horror Film (2010), Lerner writes "music in horror film frequently makes us feel threatened and uncomfortable" and intends to intensify

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3454-509: A shift in purpose and meaning. There are many reasons for continuing to handmake objects for use, for example these skills may be needed to repair manufactured items, or a unique design might be required which is not (or cannot be) found in the stores. Many crafts are considered as simple home maintenance, such as cooking, sewing and carpentry. For many people, handicrafts have also become an enjoyable and satisfying hobby. Handmade objects are often regarded as prestigious, where extra time and thought

3611-426: A small sampling of objects and skills that are included in studies of material culture. Customary culture is remembered enactment, i.e. re-enactment. It is the patterns of expected behavior within a group, the "traditional and expected way of doing things" A custom can be a single gesture , such as thumbs down or a handshake . It can also be a complex interaction of multiple folk customs and artifacts as seen in

3768-450: A social event during the winter months, or the gifting of a quilt to signify the importance of the event. Each of these—the traditional pattern chosen, the social event, and the gifting—occur within the broader context of the community. Even so, when considering context, the structure and characteristics of performance can be recognized, including an audience, a framing event, and the use of decorative figures and symbols, all of which go beyond

3925-400: A swell in popular interest in folk traditions, these community celebrations are becoming more numerous throughout the western world. While ostensibly parading the diversity of their community, economic groups have discovered that these folk parades and festivals are good for business. All shades of people are out on the streets, eating, drinking and spending. This attracts support not only from

4082-499: A two-step process of first orienting to the problem (the slowing of HR), then a defensive process (a stronger increase in SCR and an increase in HR). This initial response can sometimes result in a fight-or-flight response , which is the characteristic of dissonance that horror films rely on to frighten and unsettle viewers. Folklore Each one of these, either singly or in combination,

4239-814: A whole was a style like film noir and not bound to certain cinematic elements like the Western or science fiction film . The term "gothic" is frequently used to describe a stylized approach to showcasing location, desire, and action in film. Contemporary views of the genre associate it with imagery of castles at hilltops and labyrinth like ancestral mansions that are in various states of disrepair. Narratives in these films often focus on an audience's fear and attraction to social change and rebellion. The genre can be applied to films as early as The Haunted Castle (1896), Frankenstein (1910) as well as to more complex iterations such as Park Chan-wook 's Stoker (2013) and Jordan Peele 's Get Out (2017). The gothic style

4396-572: A whole, even as it continues to be a point of discussion within the field itself. The term folkloristics , along with the alternative name folklore studies , became widely used in the 1950s to distinguish the academic study of traditional culture from the folklore artifacts themselves. When the American Folklife Preservation Act (Public Law 94-201) was passed by the U.S. Congress in January 1976, to coincide with

4553-523: A young audience featuring teenage monsters grew popular in the 1950s with several productions from American International Pictures (AIP) and productions of Herman Cohen with I Was a Teenage Werewolf (1957) and I Was a Teenage Frankenstein (1957). This led to later productions like Daughter of Dr. Jekyll (1957) and Frankenstein's Daughter (1958). Teen horror cycle in the 1980s often showcased explicit gore and nudity, with John Kenneth Muir described as cautionary conservative tales where most of

4710-492: Is "not idle speculation… Decades of fieldwork have demonstrated conclusively that these groups do have their own folklore." In this modern understanding, folklore is a function of shared identity within any social group. This folklore can include jokes, sayings, and expected behavior in multiple variants, always transmitted in an informal manner. For the most part, it will be learned by observation, imitation, repetition, or correction by other group members. This informal knowledge

4867-497: Is a "widespread and engrained acceptance of supernatural forces" in many Asian cultures, and suggests this is related to animist , pantheist and karmic religious traditions, as in Buddhism and Shintoism . Although Chinese , Japanese , Thai and Korean horror has arguably received the most international attention, horror also makes up a considerable proportion of Cambodian and Malaysian cinema. Ian Olney described

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5024-457: Is a distinct branch of folklore that deals with activities passed on by children to other children, away from the influence or supervision of an adult. Children's folklore contains artifacts from all the standard folklore genres of verbal, material, and customary lore; it is however the child-to-child conduit that distinguishes these artifacts. For childhood is a social group where children teach, learn and share their own traditions, flourishing in

5181-521: Is a film subgenre that emerged in the 1970s with films such as Whoever Slew Auntie Roo? (1971) and Silent Night, Bloody Night (1972), which were soon followed by the influential Black Christmas (1974). Defining the Christmas horror genre has been described as challenging, as it has generally been regarded as a sub-genre of the slasher film . Adam Rockoff, in Rue Morgue , noted that

5338-536: Is a flexible concept which can refer to a nation as in American folklore or to a single family. " This expanded social definition of folk supports a broader view of the material, i.e., the lore, considered to be folklore artifacts . These now include all "things people make with words (verbal lore), things they make with their hands (material lore), and things they make with their actions (customary lore)". Folklore are no longer considered to be limited to that which

5495-499: Is a horror film trope , where an abrupt change in image accompanied with a loud sound intends to surprise the viewer. This can also be subverted to create tension, where an audience may feel more unease and discomfort by anticipating a jump scare. Mirrors are often used in horror films to create visual depth and build tension. Shelton argues mirrors have been used so frequently in horror films that audiences have been conditioned to fear them, and subverting audience expectations of

5652-483: Is a subgenre of horror fiction that blends sensual and sexual imagery with horrific themes for the sake of sexual arousal . Erotic horror has had influences on French and American horror cinema. The works of Jean Rollin , such as Le Viol du Vampire and Fascination , are considered quintessential erotic horror films, blending deeply sexual imagery with gore. American cinema has also featured notable erotic horror film franchises, such as Candyman . An example of

5809-463: Is a subgenre of horror film whose common themes are based on religion and focus heavily on supernatural beings, often with demons as the main antagonists that bring a sense of threat. Such films commonly use religious elements, including the crucifix or cross, holy water, the Bible, the rosary, the sign of the cross, the church, and prayer, which are forms of religious symbols and rituals used to depict

5966-400: Is also transmitted within a group, remains a practical hygiene and health issue and does not rise to the level of a group-defining tradition. Tradition is initially remembered behavior; once it loses its practical purpose, there is no reason for further transmission unless it has been imbued with meaning beyond the initial practicality of the action. This meaning is at the core of folkloristics,

6123-460: Is an archaic name for the great white shark or requiem shark , derived from French requin ("shark"). Jaelyn and her husband, Kyle, are spending a holiday at a beach tourist retreat in Vietnam , housed in an overwater bungalow. Jaelyn is partially withdrawn and traumatized since she suffered a stillbirth during a homebirth, keeping contact with her family and friends mostly through social media;

6280-428: Is applied to several films throughout the history of the horror film. This includes Universal Pictures' horror films of the 1930s, the revival of gothic horror in the 1950s and 1960s with films from Hammer, Roger Corman 's Poe-cycle, and several Italian productions. By the 1970s American and British productions often had vampire films set in a contemporary setting, such as Hammer Films had their Dracula stories set in

6437-485: Is as close as folklorists can come to observing the transmission and social function of this folk knowledge before the spread of literacy during the 19th century. As we have seen with the other genres, the original collections of children's lore and games in the 19th century was driven by a fear that the culture of childhood would die out. Early folklorists, among them Alice Gomme in Britain and William Wells Newell in

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6594-515: Is called folklore studies or folkloristics, and it can be explored at the undergraduate, graduate, and Ph.D. levels. The word folklore , a compound of folk and lore , was coined in 1846 by the Englishman William Thoms , who contrived the term as a replacement for the contemporary terminology of "popular antiquities" or "popular literature". The second half of the word, lore , comes from Old English lār 'instruction'. It

6751-511: Is considered a folklore artifact or traditional cultural expression . Just as essential as the form, folklore also encompasses the transmission of these artifacts from one region to another or from one generation to the next. Folklore is not something one can typically gain from a formal school curriculum or study in the fine arts . Instead, these traditions are passed along informally from one individual to another, either through verbal instruction or demonstration. The academic study of folklore

6908-403: Is easier to view films as cycles opposed to genres, suggesting the slasher film viewed as a cycle would place it in terms of how the film industry was economically and production wise, the personnel involved in their respective eras, and how the films were marketed exhibited and distributed. Mark Jancovich in an essay, declared that "there is no simple 'collective belief' as to what constitutes

7065-404: Is enmeshed in a multitude of differing identities and their concomitant social groups. The first group that each of us is born into is the family, and each family has its own unique family folklore . As a child grows into an individual, its identities also increase to include age, language, ethnicity, occupation, etc. Each of these cohorts has its own folklore, and as one folklorist points out, this

7222-492: Is fatally attacked by the shark. As the shark then assaults the coracle, Jaelyn first drives it off by shredding its head with a handheld outboard engine. Enraged, the shark returns and upends the coracle. As Jaelyn frantically wraps the coracle's anchor rope around herself to stop herself from sinking, the shark comes in for another attack, but its jaws accidentally close around the boat's raised anchor, driving one of its flukes directly through its brain and killing it. Climbing onto

7379-541: Is found in an issue of the Journal of American Folklore , published in 1975, which is dedicated exclusively to articles on women's folklore, with approaches that had not come from a man's perspective. Other groups that were highlighted as part of this broadened understanding of the folk group were non-traditional families , occupational groups, and families that pursued the production of folk items over multiple generations. Folklorist Richard Dorson explained in 1976 that

7536-451: Is found in hex signs on Pennsylvania Dutch barns, tin man sculptures made by metalworkers, front yard Christmas displays, decorated school lockers, carved gun stocks, and tattoos. "Words such as naive, self-taught, and individualistic are used to describe these objects, and the exceptional rather than the representative creation is featured." This is in contrast to the understanding of folklore artifacts that are nurtured and passed along within

7693-559: Is intended to organize and categorize the folklore artifacts; they provide common vocabulary and consistent labeling for folklorists to communicate with each other. That said, each artifact is unique; in fact, one of the characteristics of all folklore artifacts is their variation within genres and types. This is in direct contrast to manufactured goods, where the goal in production is to create identical products, and any variations are considered mistakes. It is, however, just this required variation that makes identification and classification of

7850-525: Is not just any conversation, but words and phrases conforming to a traditional configuration recognized by both the speaker and the audience. For narrative types , by definition, they have a consistent structure and follow an existing model in their narrative form. As just one simple example, in English, the phrase "An elephant walks into a bar…" instantaneously flags the following text as a joke . It might be one you have already heard, but it might be one that

8007-411: Is old or obsolete. These folk artifacts continue to be passed along informally, as a rule anonymously, and always in multiple variants. The folk group is not individualistic; it is community-based and nurtures its lore in community. "As new groups emerge, new folklore is created… surfers, motorcyclists, computer programmers ". In direct contrast to high culture , where any single work of a named artist

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8164-562: Is particularly prominent in the cinema of Japan , Korea , and Thailand , among other countries. Despite being the subject of social and legal controversy due to their subject matter, some horror films and franchises have seen major commercial success , influenced society and spawned several popular culture icons . 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." In

8321-434: Is protected by copyright law , folklore is a function of shared identity within a common social group. Having identified folk artifacts, the professional folklorist strives to understand the significance of these beliefs, customs, and objects for the group, since these cultural units would not be passed along unless they had some continued relevance within the group. That meaning can, however, shift and morph; for example,

8478-578: Is spent in their creation and their uniqueness is valued. For the folklorist, these hand-crafted objects embody multifaceted relationships in the lives of the craftspeople and the users, a concept that has been lost with mass-produced items that have no connection to an individual craftsperson. Many traditional crafts, such as ironworking and glass-making, have been elevated to the fine or applied arts and taught in art schools; or they have been repurposed as folk art , characterized as objects whose decorative form supersedes their utilitarian needs. Folk art

8635-403: Is still transmitted orally and, indeed, continues to be generated in new forms and variants at an alarming rate. Below is listed a small sampling of types and examples of verbal lore. The genre of material culture includes all artifacts that can be touched, held, lived in, or eaten. They are tangible objects with a physical or mental presence, either intended for permanent use or to be used at

8792-669: Is the complex balance of continuity over change in both their design and their decoration. In Europe, prior to the Industrial Revolution , everything was made by hand. While some folklorists of the 19th century wanted to secure the oral traditions of the rural folk before the populace became literate, other folklorists sought to identify hand-crafted objects before their production processes were lost to industrial manufacturing. Just as verbal lore continues to be actively created and transmitted in today's culture, so these handicrafts can still be found all around us, with possibly

8949-430: Is the knowledge and traditions of a particular group frequently passed along by word of mouth. The concept of folk has varied over time. When Thoms first created this term, folk applied only to rural, frequently poor, and illiterate peasants. A more modern definition of folk is a social group that includes two or more people with common traits who express their shared identity through distinctive traditions. "Folk

9106-540: Is used in discussions of material lore. Both formulations offer different perspectives on the same folkloric understanding, specifically that folklore artifacts need to remain embedded in their cultural environment if we are to gain insight into their meaning for the community. The concept of cultural (folklore) performance is shared with ethnography and anthropology among other social sciences. The cultural anthropologist Victor Turner identified four universal characteristics of cultural performance: playfulness, framing ,

9263-428: Is used to confirm and reinforce the identity of the group. It can be used both internally within the group to express their common identity, for example in an initiation ceremony for new members. It can also be used externally to differentiate the group from outsiders, like a folk dance demonstration at a community festival. Significant to folklorists here is that there are two opposing but equally valid ways to use this in

9420-466: Is when someone experiences tension in themselves and is urged to relieve that tension. Dissonance is the clashing of unpleasant or harsh sounds. A study by Prete et al. identified that the ability to recognize dissonance relied on the left hemisphere of the brain, while consonance relied on the right half. There is a stronger preference for consonance; this difference is noticeable even in early stages of life. Previous musical experience also can influence

9577-608: The A Nightmare on Elm Street series, while others disassociate themselves from characters and series and focusing on genre auteur directors like Dario Argento , while others fans would deem Argento's films as too mainstream, having preferences more underground films . Andrew Tudor wrote in Monsters and Mad Scientists: A Cultural History of the Horror Movie suggested that "Genre is what we collectively believe it to be" In addition to these perspectives, Rhodes emphasizes

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9734-500: The Australian Film Commission to change its focus to being a more commercial operation. This closed in 1980 as its funding was abused by investors using them as tax avoiding measures. A new development known as the 10BA tax shelter scheme was developed ushering a slew of productions, leading to what Peter Shelley, author of Australian Horror Films , suggested meant "making a profit was more important than making

9891-842: The Bicentennial Celebration , folkloristics in the United States came of age. "…[Folklife] means the traditional expressive culture shared within the various groups in the United States: familial, ethnic, occupational, religious, regional; expressive culture includes a wide range of creative and symbolic forms such as custom, belief, technical skill, language, literature, art, architecture, music, play, dance, drama, ritual, pageantry, handicraft; these expressions are mainly learned orally, by imitation, or in performance, and are generally maintained without benefit of formal instruction or institutional direction." Added to

10048-619: The Halloween celebration of the 21st century is not the All Hallows' Eve of the Middle Ages and even gives rise to its own set of urban legends independent of the historical celebration; the cleansing rituals of Orthodox Judaism were originally good public health in a land with little water, but now these customs signify for some people identification as an Orthodox Jew. By comparison, a common action such as tooth brushing , which

10205-616: The Historic–Geographic Method , a methodology that dominated folkloristics in the first half of the 20th century. When William Thoms first published his appeal to document the verbal lore of the rural populations, it was believed these folk artifacts would die out as the population became literate. Over the past two centuries, this belief has proven to be wrong; folklorists continue to collect verbal lore in both written and spoken form from all social groups. Some variants might have been captured in published collections, but much of it

10362-566: The Smithsonian Folklife Festival celebrated each summer on the Mall in Washington, DC. A fourth category includes customs related to folk beliefs . Walking under a ladder is just one of many symbols considered unlucky . Occupational groups tend to have a rich history of customs related to their life and work, so the traditions of sailors or lumberjacks . The area of ecclesiastical folklore , which includes modes of worship not sanctioned by

10519-503: The Southeast Asia region, including Thailand and Indonesia . The found footage horror film "technique" gives the audience a first person view of the events on screen, and presents the footage as being discovered after. Horror films which are framed as being made up of "found-footage" merge the experiences of the audience and characters, which may induce suspense, shock, and bafflement. Alexandra Heller-Nicholas noted that

10676-511: The novel , play and the film's story relying on the supernatural . Newman discussed the genre in British Film Institute 's Companion to Horror where he noted that Horror films in the 1930s were easy to identify, but following that decade, "the more blurred distinctions become, and horror becomes less like a discrete genre than an effect which can be deployed within any number of narrative settings or narrative patterns". In

10833-462: The "Fear of the Demonic" features graphic accounts of satanic rites , witchcraft , exorcisms outside traditional forms of worship, as seen in films like The Exorcist (1973) or The Omen (1976). Some critics have suggested horror films can be a vessel for exploring contemporary cultural, political and social trends. Jeanne Hall, a film theorist, agrees with the use of horror films in easing

10990-413: The "turning point" in the genre with Jaws (1975), which became the highest-grossing film at that point and moved the animal attacks genres "towards a less-fantastic route" with less giant animals and more real-life creatures such as Grizzly (1976) and Night Creature (1977), Orca (1977), and Jaws 2 (1978). The film is linked with the environmental movements that became more mainstream in

11147-527: The 1940s, the horror film was viewed in different terms. Critic Siegfried Kracauer included The Lost Weekend among films described as "terror films" along with Shadow of a Doubt , The Dark Corner (1946), Gaslight (1944), Shock (1946), The Spiral Staircase (1946), The Stranger (1946) Spellbound (1945) while two years earlier, the New York Times described a new cycle of "horror" productions included Gaslight , The Woman in

11304-626: The 1960s and 1970s for horror films from Italy, France, Germany, the United Kingdom and Spain, as well as co-productions between these countries. Several productions, such as those in Italy, were co-productions due to the lack of international stars within the country. European horror films began developing strong cult following since the late 1990s. It is unknown when Australia's cinema first horror title may have been, with thoughts ranging from The Strangler's Grip (1912) to The Face at

11461-484: The 1970s and early 1980s such vegetarianism , animal rights movements , and organizations such as Greenpeace . Following Jaws , sharks became the most popular animal of the genre, ranging from similar such as Mako: The Jaws of Death (1976) and Great White (1981) to the Sharknado film series. James Marriott found that the genre had "lost momentum" since the 1970s while the films would still be made towards

11618-479: The 1990s teen horror cycle, Alexandra West described the general trend of these films is often looked down upon by critics, journals, and fans as being too glossy, trendy, and sleek to be considered worthwhile horror films. Horror films in Asia have been noted as being inspired by national, cultural or religious folklore , particularly beliefs in ghosts or spirits. In Asian Horror , Andy Richards writes that there

11775-500: The American Folklore Society brought the behavioral approach into open debate among folklorists. In 1972 Richard Dorson called out the "young Turks" for their movement toward a behavioral approach to folklore. This approach "shifted the conceptualization of folklore as an extractable item or 'text' to an emphasis on folklore as a kind of human behavior and communication. Conceptualizing folklore as behavior redefined

11932-610: The American slasher film revival, such as South Korea's early 2000s cycle with Bloody Beach (2000), Nightmare (2000) and The Record (2000). Supernatural horror films integrate supernatural elements , such as the afterlife , spirit possession and religion into the horror genre. Teen horror is a horror subgenre that victimizes teenagers while usually promoting strong, anti-conformity teenage leads, appealing to young generations. This subgenre often depicts themes of sex, under-aged drinking, and gore. Horror films aimed

12089-561: The History and Folklore Section of the American Folklore Society and concerned with the connections of folklore with history, as well as the history of folklore studies. Lacking context, folklore artifacts would be uninspiring objects without any life of their own. It is only through performance that the artifacts come alive as an active and meaningful component of a social group; the intergroup communication arises in

12246-563: The Latin-American market employing Mexican actors, Mexican horror films were produced throughout the 1930s and 1940s, often reflecting on the overarching theme of science vs. religion conflict . Ushered by the release of El vampiro , the Mexploitation horror film era started in 1957, with films characterised by their low production values and camp appeal, often featuring vampires, wrestlers, and Aztec mummies. A key figure in

12403-501: The Living Dead led to an increase of violence and erotic scenes within the genre. The 1970s would expand on these themes with films that would delve into gorier pictures, as well as films that were near or straight pornographic hybrids. Genre cycles in this era include the natural horror film , and the rise of slasher films which would expand in the early 1980s . Towards the 1990s, postmodernism entered horror, while some of

12560-547: The Mexican horror scene (particularly in Germán Robles -starred vampire films) was producer Abel Salazar . The late 1960s saw the advent of the prominence of Carlos Enrique Taboada as an standout Mexican horror filmmaker, with films such as Hasta el viento tiene miedo (1967), El libro de piedra (1968), Más negro que la noche (1975) or Veneno para las hadas (1984). Mexican horror cinema has been noted for

12717-537: The Second World War, folklorists began to articulate a more holistic approach toward their subject matter. In tandem with the growing sophistication in the social sciences , attention was no longer limited to the isolated artifact, but extended to include the artifact embedded in an active cultural environment. One early proponent was Alan Dundes with his essay "Texture, Text and Context", first published 1964. A public presentation in 1967 by Dan Ben-Amos at

12874-603: The United States, felt a need to capture the unstructured and unsupervised street life and activities of children before it was lost. This fear proved to be unfounded. In a comparison of any modern school playground during recess and the painting of "Children's Games" by Pieter Breugel the Elder we can see that the activity level is similar, and many of the games from the 1560 painting are recognizable and comparable to modern variations still played today. These same artifacts of childlore, in innumerable variations, also continue to serve

13031-580: The Window (1919) while stories featuring ghosts would appear in Guyra Ghost Mystery (1921). By 1913, the more prolific era of Australian cinema ended with production not returning with heavy input of government finance in the 1970s. It took until the 1970s for Australia to develop sound film with television films that eventually received theatrical release with Dead Easy (1970) and Night of Fear (1973). The Cars That Ate Paris (1974)

13188-603: The Window (1944), Dark Waters (1944), Laura and Phantom Lady (1944). Mark Jancovich wrote in The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media (2008) that the term was virtually synonymous with mystery as a generic term, not being limited to films concerned with the strange, eerie and uncanny. Various writings on genre from Altman, Lawrence Alloway ( Violent America: The Movies 1946-1964 (1971)) and Peter Hutchings ( Approaches to Popular Film (1995)) implied it

13345-413: The artifacts and turn them into something else; so Old McDonald's farm is transformed from animal noises to the scatological version of animal poop. This childlore is characterized by "its lack of dependence on literary and fixed form. Children…operate among themselves in a world of informal and oral communication, unimpeded by the necessity of maintaining and transmitting information by written means". This

13502-427: The atmosphere created in imagery and themes. Dissonance , atonality and experiments with timbre are typical characteristics used by composers in horror film music. In the book Dark Dreams , author Charles Derry conceived horror films as focusing on three broad themes : the horror of personality , horror of Armageddon and the horror of the demonic . The horror of personality derives from monsters being at

13659-572: The biblical account of the Massacre of the Innocents and more recently in works such as E. T. A. Hoffmann's " The Nutcracker and the Mouse King " (1816) and Charles Dickens' A Christmas Carol (1843). Although ghosts have largely been replaced by serial killers, Christmas horror creates an outlet through which to explore "a modern reinvention of the Christmas ghost story". Erotic horror

13816-560: The biggest hits of the decade included films from Japan with the success of Ring (1998). Horror is a malleable genre and often can be altered to accommodate other genre types such as science fiction , making some films difficult to categorize. A genre that emerged in the 1970s, body horror films focus on the process of a bodily transformation. In these films, the body is either engulfed by some larger process or heading towards fragmentation and collapse. The focus can be on apocalyptic implication of an entire society being overtaken, but

13973-423: The business community, but also from federal and state organizations for these local street parties. Paradoxically, in parading diversity within the community, these events have come to authenticate true community, where business interests ally with the varied (folk) social groups to promote the interests of the community as a whole. This is just a small sampling of types and examples of customary lore. Childlore

14130-524: The centre of the plot, such Frankenstein's monster whose psychology makes them perform unspeakable horrific acts ranging from rapes , mutilations and sadistic killings. Other key works of this form are Alfred Hitchcock 's Psycho , which feature psychotic murderers without the make-up of a monster. The second 'Armageddon' group delves on the fear of large-scale destruction , which ranges from science fiction works but also of natural events , such as Hitchcock's The Birds (1963). The last group of

14287-502: 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 horror films is that "normality is threatened by the monster." This was further expanded upon by The Philosophy of Horror, or Parodoxes of the Heart by Noël Carroll who added that "repulsion must be pleasurable, as evidenced by

14444-457: The complexity of the interpretation, the birthday party for a seven-year-old will not be identical to the birthday party for that same child as a six-year-old, even though they follow the same model. For each artifact embodies a single variant of a performance in a given time and space. The task of the folklorist becomes to identify within this surfeit of variables the constants and the expressed meaning that shimmer through all variations: honoring of

14601-472: The continent is a single example of an ethnic group parading their separateness (differential behavior ), and encouraging Americans of all stripes to show alliance to this colorful ethnic group. These festivals and parades, with a target audience of people who do not belong to the social group, intersect with the interests and mission of public folklorists , who are engaged in the documentation, preservation, and presentation of traditional forms of folklife. With

14758-609: The custom, either as performer or audience, signifies acknowledgment of that social group. Some customary behavior is intended to be performed and understood only within the group itself, so the handkerchief code sometimes used in the gay community or the initiation rituals of the Freemasons. Other customs are designed specifically to represent a social group to outsiders, those who do not belong to this group. The St. Patrick's Day Parade in New York and in other communities across

14915-456: The defining features a challenge. While this classification is essential for the subject area of folkloristics, it remains just labeling and adds little to an understanding of the traditional development and meaning of the artifacts themselves. Necessary as they are, genre classifications are misleading in their oversimplification of the subject area. Folklore artifacts are never self-contained, they do not stand in isolation but are particulars in

15072-691: The development of film include folklore , religious beliefs and superstitions of different cultures, and the Gothic and horror literature of authors such as Edgar Allan Poe , Bram Stoker , and Mary Shelley . From origins in silent films and German Expressionism , horror only became a codified genre after the release of Dracula (1931). Many sub-genres emerged in subsequent decades, including body horror , comedy horror , erotic horror , slasher films , splatter films , supernatural horror and psychological horror . The genre has been produced worldwide, varying in content and style between regions. Horror

15229-527: The developmental function of this childlore, the artifacts themselves have been in play for centuries. Below is listed just a small sampling of types and examples of childlore and games. A case has been made for considering folk history as a distinct sub-category of folklore, an idea that has received attention from such folklorists as Richard Dorson. This field of study is represented in The Folklore Historian , an annual journal sponsored by

15386-563: The early films of Peter Jackson who combined splatter films with comedy with Bad Taste (1988) and Braindead (1992) which has the largest following of the mentioned films. Film producer Ant Timpson had an influence curating New Zealand horror films, creating the Incredibly Strange Film Festival in the 1990s and producing his own horror films over the 2010s including The ABCs of Death (2012), Deathgasm (2015), and Housebound (2014). Timpson noted

15543-410: The emergence of sub-genres like splatter films and torture porn. In a study by Jacob Shelton, the many ways that audience members are manipulated through horror films was investigated in detail. Negative space is one such method that can play a part in inducing a reaction, causing one's eyes to remotely rest on anything in the frame – a wall, or the empty black void in the shadows. The jump scare

15700-433: The environment reminds them of particular scenes. A 2021 study suggested horror films that explore grief can provide psychological benefits to the bereaved, with the genre well suited to representing grief through its genre conventions. In a study by Medes et al., prolonged exposure to infrasound and low-frequency noise (<500 Hz) in long durations has an effect on vocal range (i.e. longer exposure tends to form

15857-410: The established church tends to be so large and complex that it is usually treated as a specialized area of folk customs; it requires considerable expertise in standard church ritual in order to adequately interpret folk customs and beliefs that originated in official church practice. Customary folklore is always a performance, be it a single gesture or a complex of scripted customs, and participating in

16014-536: The evolution of the horror genre through various cultural and historical contexts. He discusses the impact of socio-political factors on the genre , such as the influence of World War I and II, the Great Depression , and the Cold War , which shaped the themes and narratives of horror films. For instance, the anxieties of the post-war era manifested in horror films as fears of invasion , contamination, and

16171-434: The extensive array of other legislation designed to protect the natural and cultural heritage of the United States, this law also marks a shift in national awareness. It gives voice to a growing understanding that cultural diversity is a national strength and a resource worthy of protection. Paradoxically, it is a unifying feature, not something that separates the citizens of a country. "We no longer view cultural difference as

16328-589: The films stated if you partook in such vices such as drugs or sex, your punishment of death would be handed out. Prior to Scream , there were no popular teen horror films in the early 1990s. After the financial success of Scream , teen horror films became increasingly reflexive and self-aware until the end of the 1990s with films like I Know What You Did Last Summer (1997) and non-slasher The Faculty (1998). The genre lost prominence as teen films dealt with threats with more realism in films like Donnie Darko (2001) and Crazy/Beautiful (2001). In her book on

16485-496: The first classification system for folktales in 1910. This was later expanded into the Aarne–Thompson classification system by Stith Thompson and remains the standard classification system for European folktales and other types of oral literature. As the number of classified oral artifacts grew, similarities were noted in items that had been collected from very different geographic regions, ethnic groups, and epochs, giving rise to

16642-613: The focus is generally upon an individual and their sense of identity, primarily them watching their own body change. The earliest appearance of the sub-genre was the work of director David Cronenberg , specifically with early films like Shivers (1975). Mark Jancovich of the University of Manchester declared that the transformation scenes in the genre provoke fear and repulsion, but also pleasure and excitement such as in The Thing (1982) and The Fly (1986). Christmas horror

16799-411: The generations and subject to the same forces of conservative tradition and individual variation" that are found in all folk artifacts. Folklorists are interested in the physical form, the method of manufacture or construction, the pattern of use, as well as the procurement of the raw materials. The meaning to those who both make and use these objects is important. Of primary significance in these studies

16956-521: The genre among viewers (ahead of South Korea), according to a 2016 research. In a study done by Uri Hasson et al., brain waves were observed via functional magnetic resonance imaging (fMRI). This study used the inter-subject correlation analysis (ISC) method of determining results. It was shown that audience members tend to focus on certain facets in a particular scene simultaneously and tend to sit as still as possible while watching horror films. In another study done by John Greene & Glenn Sparks, it

17113-431: The genre continuously evolves, incorporating elements from other genres and responding to contemporary societal fears and anxieties. This adaptability is evident in the various sub-genres that have emerged over the years, such as psychological horror, body horror, and found footage horror, each addressing different aspects of human fear and the unknown. Rhodes also explores the role of censorship and regulation in shaping

17270-597: The genre did not become a codified genre until the release of Dracula (1931). Dracula was a box office success, leading to Universal and several other American film studios to develop and popularise horror films well into the 1940s . By the 1950s , horror would often be made with science fiction themes, and towards the end of the decade horror was a more common genre of international productions. The 1960s saw further developments, with material based on contemporary works instead of classical literature. The release of films like Psycho , Black Sunday and Night of

17427-579: The genre's popularity." Prior to the release of Dracula (1931), historian Gary Don Rhodes explained that the idea and terminology of horror film did not exist yet as a codified genre , although critics used the term "horror" to describe films in reviews prior to Dracula ' s release. "Horror" was a term used to describe a variety of meanings. In 1913, Moving Picture World defined "horrors" as showcasing "striped convicts, murderous Indians, grinning 'black-handers', homicidal drunkards" Some titles that suggest horror such as The Hand of Horror (1914)

17584-500: The horror film have feelings similar to happiness or joy felt with friends, but intensified. Alternatively, audience members with negative feedback regarding the film would typically feel emotions they would normally associate with negative experiences in their life. Only about 10% of the American population enjoy the physiological rush felt immediately after watching horror films. The population that does not enjoy horror films could experience emotional fallout similar to that of PTSD if

17741-485: The horror films of Europe were often more erotic and "just plain stranger" than their British and American counter-parts. European horror films (generally referred to as Euro Horror) draw from distinctly European cultural sources, including surrealism , romanticism , decadent tradition , early 20th century pulp-literature , film serials , and erotic comics . In comparison to the narrative logic in American genre films, these films focused on imagery, excessiveness, and

17898-515: The horror genre" between both fans and critics of the genre. Jancovich found that disagreements existed from audiences who wanted to distinguish themselves. This ranged from fans of different genres who may view a film like Alien (1979) as belonging to science fiction , and horror fan bases dismissing it as being inauthentic to either genre. Further debates exist among fans of the genre with personal definitions of "true" horror films, such as fans who embrace cult figures like Freddy Kruger of

18055-521: The horror genre. The enforcement of the Hays Code in the 1930s and subsequent rating systems influenced the depiction of violence and sexuality in horror films. This regulation often pushed filmmakers to find creative ways to imply horror elements without explicit content, leading to a focus on atmosphere, suggestion, and psychological horror. The relaxation of censorship in the late 20th century allowed for more graphic and explicit horror, contributing to

18212-404: The individual within the circle of family and friends, gifting to express their value and worth to the group, and of course, the festival food and drink as signifiers of the event. The formal definition of verbal lore is words, both written and oral, that are "spoken, sung, voiced forms of traditional utterance that show repetitive patterns." Crucial here are the repetitive patterns. Verbal lore

18369-490: The irrational. Between the mid-1950s and the mid-1980s, European horror films emerged from countries like Italy, Spain and France, and were shown in the United States predominantly at drive-in theatre and grindhouse theaters. As producers and distributors all over the world were interested in horror films, regardless of their origin, changes started occurring in European low-budget filmmaking that allowed for productions in

18526-417: The items were used, with actors reenacting the everyday lives of people from all segments of society, relying heavily on the material artifacts of a pre-industrial society. Many locations even duplicate the processing of the objects, thus creating new objects of an earlier historic time period. Living museums are now found throughout the world as part of a thriving heritage industry . This list represents just

18683-431: The job of folklorists..." Folklore became a verb, an action, something that people do, not just something that they have. It is in the performance and the active context that folklore artifacts get transmitted in informal, direct communication, either verbally or in demonstration. Performance includes all the different modes and manners in which this transmission occurs. Transmission is a communicative process requiring

18840-408: The language of a folklore performance. Material culture requires some moulding to turn it into a performance. Should we consider the performance of the creation of the artifact, as in a quilting party, or the performance of the recipients who use the quilt to cover their marriage bed? Here the language of context works better to describe the quilting of patterns copied from the grandmother, quilting as

18997-494: The latter horror entries from New Zealand are all humorous films like What We Do in the Shadows (2014) with Jonathan King , director of Black Sheep (2006) and The Tattooist (2007) stating "I'd love to see a genuinely scary New Zealand film but I don't know if New Zealand audiences – or the funding bodies – are keen." After the 1931 release of a US-produced Spanish-language version of Dracula by George Melford for

19154-462: The mashup of classic gothic and romantic themes and characters with autochthonous features of the Mexican culture such as the Ranchería setting, the colonial past or the myth of La Llorona (shared with other Hispanic-American nations). Horror has proven to be a dependable genre at the Mexican box office in the 21st-century, with Mexico ranking as having the world's largest relative popularity of

19311-478: The most part self-explanatory, these categories include physical objects ( material folklore ), common sayings, expressions, stories and songs ( verbal folklore ), and beliefs and ways of doing things ( customary folklore ). There is also a fourth major subgenre defined for children's folklore and games ( childlore ), as the collection and interpretation of this fertile topic is particular to school yards and neighborhood streets. Each of these genres and their subtypes

19468-411: The necessary beat to complex physical rhythms and movements, be it hand-clapping, jump roping, or ball bouncing. Furthermore, many physical games are used to develop strength, coordination and endurance of the players. For some team games, negotiations about the rules can run on longer than the game itself as social skills are rehearsed. Even as we are just now uncovering the neuroscience that undergirds

19625-460: The next meal. Most of these folklore artifacts are single objects that have been created by hand for a specific purpose; however, folk artifacts can also be mass-produced, such as dreidels or Christmas decorations. These items continue to be considered folklore because of their long (pre-industrial) history and their customary use. All of these material objects "existed prior to and continue alongside mechanized industry. … [They are] transmitted across

19782-491: The past that continued to exist within the lower strata of society. The " Kinder- und Hausmärchen " of the Brothers Grimm (first published 1812) is the best known but by no means only collection of verbal folklore of the European peasantry of that time. This interest in stories, sayings, and songs continued throughout the 19th century and aligned the fledgling discipline of folkloristics with literature and mythology. By

19939-531: The performance and this is where transmission of these cultural elements takes place. American folklorist Roger D. Abrahams has described it thus: "Folklore is folklore only when performed. As organized entities of performance, items of folklore have a sense of control inherent in them, a power that can be capitalized upon and enhanced through effective performance." Without transmission, these items are not folklore, they are just individual quirky tales and objects. This understanding in folkloristics only occurred in

20096-559: The period of romantic nationalism in Europe. A particular figure in this development was Johann Gottfried von Herder , whose writings in the 1770s presented oral traditions as organic processes grounded in the locale. After the German states were invaded by Napoleonic France , Herder's approach was adopted by many of his fellow Germans, who systematized the recorded folk traditions and used them in their process of nation building . This process

20253-427: The popularity of sites like YouTube in 2006 sparked a taste for amateur media, leading to the production of further films in the found footage horror genre later in the 2000s including the particularly financially successful Paranormal Activity (2007). In their book Gothic film , Richard J. McRoy and Richard J. Hand stated that "Gothic" can be argued as a very loose subgenre of horror, but argued that "Gothic" as

20410-554: The process of understanding issues by making use of their optical elements. The use of horror films can help audiences understand international prior historical events occurs, for example, to depict the horrors of the Vietnam War , the Holocaust , the worldwide AIDS epidemic or post-9/11 pessimism. In many occurrences, the manipulation of horror presents cultural definitions that are not accurate, yet set an example to which

20567-430: The release of Francis Ford Coppola 's Bram Stoker's Dracula (1992), a small wave of high-budgeted gothic horror romance films were released in the 1990s. Also described as "eco-horror", the natural horror film is a subgenre "featuring nature running amok in the form of mutated beasts, carnivorous insects, and normally harmless animals or plants turned into cold-blooded killers." In 1963, Alfred Hitchcock defined

20724-408: The rural poor as folk. The common feature in this expanded definition of folk was their identification as the underclass of society. Moving forward into the 20th century, in tandem with new thinking in the social sciences , folklorists also revised and expanded their concept of the folk group. By the 1960s, it was understood that social groups , i.e., folk groups, were all around us; each individual

20881-420: The same function of learning and practicing skills needed for growth. So bouncing and swinging rhythms and rhymes encourage development of balance and coordination in infants and children. Verbal rhymes like Peter Piper picked... serve to increase both the oral and aural acuity of children. Songs and chants, accessing a different part of the brain, are used to memorize series ( Alphabet song ). They also provide

21038-410: The second half of the 20th century, when the two terms " folklore performance " and "text and context" dominated discussions among folklorists. These terms are not contradictory or even mutually exclusive. As borrowings from other fields of study, one or the other linguistic formulation is more appropriate to any given discussion. Performance is frequently tied to verbal and customary lore, whereas context

21195-521: The self-representation of a community. Different genres are frequently combined with each other to mark an event. So a birthday celebration might include a song or formulaic way of greeting the birthday child (verbal), presentation of a cake and wrapped presents (material), as well as customs to honor the individual, such as sitting at the head of the table and blowing out the candles with a wish. There might also be special games played at birthday parties, which are not generally played at other times. Adding to

21352-444: The sophisticated world of adults, and quite as little affected by it. Of particular interest to folklorists here is the mode of transmission of these artifacts; this lore circulates exclusively within an informal pre-literate children's network or folk group. It does not include artifacts taught to children by adults. However children can take the taught and teach it further to other children, turning it into childlore. Or they can take

21509-403: The speaker has just thought up within the current context. Another example is the child's song Old MacDonald Had a Farm , where each performance is distinctive in the animals named, their order, and their sounds. Songs such as this are used to express cultural values (farms are important, farmers are old and weather-beaten) and teach children about different domesticated animals. Verbal folklore

21666-412: The study of a group: you can start with an identified group in order to explore its folklore, or you can identify folklore items and use them to identify the social group. Beginning in the 1960s, a further expansion of the concept of folk began to unfold through the study of folklore. Individual researchers identified folk groups that had previously been overlooked and ignored. One notable example of this

21823-405: The study of folklore is "concerned with the study of traditional culture, or the unofficial culture" that is the folk culture, "as opposed to the elite culture, not for the sake of proving a thesis but to learn about the mass of [humanity] overlooked by the conventional disciplines." Individual folklore artifacts are commonly classified as one of three types: material, verbal or customary lore. For

21980-470: The study of folklore. With the increasing theoretical sophistication of the social sciences , it has become evident that folklore is a naturally occurring and necessary component of any social group; it is indeed all around us. Folklore does not have to be old or antiquated; it continues to be created and transmitted, and in any group, it is used to differentiate between "us" and "them." Folklore began to distinguish itself as an autonomous discipline during

22137-549: The sub-genre sits within a trend of holiday-themed slasher films, alongside films such as My Bloody Valentine (1981) and April Fool's Day (1986). Others take a broader view that Christmas horror is not limited to the slasher genre, noting how it evolved from the English Christmas tradition of telling ghost stories. Christmas in literature has historically included elements of "darkness"—fright, misery, death and decay—tracing its literary antecedents as far back as

22294-426: The tide has come in, leaving Kyle floating in the water. Before Jaelyn can retrieve him, several sharks arrive and devour the body. When she wades back to shore, a shark attacks her and bites her leg before she can drive it off. After recovering, Jaelyn walks off along the coastline until she meets a local fisherman in his coracle , who stitches her wounds; but as she falls asleep, he dives down to check his weir and

22451-420: The topic, there are "four functions to folklore": The folk of the 19th century, the social group identified in the original term "folklore" , was characterized by being rural, illiterate, and poor. They were the peasants living in the countryside, in contrast to the urban populace of the cities. Only toward the end of the century did the urban proletariat (on the coattails of Marxist theory) become included with

22608-478: The totality of their customs and beliefs as folklore. This distinction aligned American folkloristics with cultural anthropology and ethnology , using the same techniques of data collection in their field research. This divided alliance of folkloristics between the humanities in Europe and the social sciences in America offers a wealth of theoretical vantage points and research tools to the field of folkloristics as

22765-480: The trip is meant to restore her spirits again. However, on their second night, a violent tropical storm hits the resort. The bungalow is flooded and torn off its moorings, drifting away from the mainland, and Kyle's leg is severely injured. As the days pass, Jaelyn and Kyle try to take stock of their situation and wait for rescue. When a ship passes by, they try to create a smoke signal, but the fire instead destroys their shelter, forcing them to abandon it and climb onto

22922-408: The turn of the 20th century, the number and sophistication of folklore studies and folklorists had grown both in Europe and North America. Whereas European folklorists remained focused on the oral folklore of the homogenous peasant populations in their regions, the American folklorists, led by Franz Boas and Ruth Benedict , chose to consider Native American cultures in their research, and included

23079-424: The turn of the millennium. Bill Gibron of PopMatters declared a mixed definition of the psychological horror film, ranging from definitions of anything that created a sense of disquiet or apprehension to a film where an audience's mind makes up what was not directly displayed visually. Gibron concluded it as a "clouded gray area between all out splatter and a trip through a cinematic dark ride." Religious horror

23236-402: The unknown, reflecting the collective psyche of the time. Rhodes also highlights the significance of technological advancements, such as the advent of sound in cinema, which revolutionized the horror genre by enhancing its ability to evoke fear and suspense through auditory effects. Moreover, the horror genre's flexibility and adaptability are crucial to its enduring popularity. As Rhodes notes,

23393-638: The upside-down coracle, Jaelyn drifts to a fishing village, where she is soon spotted by fishermen on the beach. The film was shot at Universal Orlando and Full Sail University in Orlando, Florida and has nearly 1,000 VFX shots. On the review aggregator website Rotten Tomatoes , 19% of 16 critics' reviews are positive, with an average rating of 3.8/10. Simon Abrams, writing for RogerEbert.com , gave it 2 1/2 stars out of 4, concluding "I don't think you can really love The Requin based on its modest strengths, but there's enough here to make 89 minutes move

23550-584: The use of faith to defeat evil. The slasher film is a horror subgenre which involves a killer murdering a group of people (often teenagers), usually by use of bladed tools. In his book on the genre, author Adam Rockoff wrote that these villains represented a "rogue genre" of films that are "tough, problematic, and fiercely individualistic." Following the financial success of Friday the 13th (1980), at least 20 other slasher films appeared in 1980 alone. These films usually revolved around three properties: unique social settings (campgrounds, schools, holidays) and

23707-432: The use of symbolic language, and employing the subjunctive mood . In viewing the performance, the audience leaves the daily reality to move into a mode of make-believe, or "what if?" It is self-evident that this fits well with all types of verbal lore, where reality has no place among the symbols, fantasies, and nonsense of traditional tales, proverbs, and jokes. Customs and the lore of children and games also fit easily into

23864-688: The utility of the object. Before the Second World War , folk artifacts had been understood and collected as cultural shards of an earlier time. They were considered individual vestigial artifacts, with little or no function in the contemporary culture. Given this understanding, the goal of the folklorist was to capture and document them before they disappeared. They were collected with no supporting data, bound in books, archived and classified more or less successfully. The Historic–Geographic Method worked to isolate and track these collected artifacts, mostly verbal lore, across space and time. Following

24021-418: Was a melodrama about a thief who steals from his own sister. During the silent era, the term horror was used to describe everything from "battle scenes" in war films to tales of drug addiction. Rhodes concluded that the term "horror film" or "horror movie" was not used in early cinema. The mystery film genre was in vogue and early information on Dracula being promoted as a mystery film was common, despite

24178-437: Was enthusiastically embraced by smaller nations, like Finland, Estonia, and Hungary, which were seeking political independence from their dominant neighbors. Folklore, as a field of study, further developed among 19th-century European scholars, who were contrasting tradition with the newly developing modernity . Its focus was the oral folklore of the rural peasant populations, which were considered as residues and survivals of

24335-445: Was found that the audience tends to experience the excitation transfer process (ETP) which causes a physiological arousal in audience members. The ETP refers to the feelings experienced immediately after an emotion-arousing experience, such as watching a horror film. In this case, audience members' heart rate, blood pressure and respiration all increased while watching films with violence. Audience members with positive feedback regarding

24492-513: Was the original folklore , the artifacts defined by William Thoms as older, oral cultural traditions of the rural populace. In his 1846 published call for help in documenting antiquities, Thoms was echoing scholars from across the European continent to collect artifacts of verbal lore. By the beginning of the 20th century, these collections had grown to include artifacts from around the world and across several centuries. A system to organize and categorize them became necessary. Antti Aarne published

24649-483: Was the first Australian horror production made for theatrical release. 1970s Australian art cinema was funded by state film corporations, who considered them more culturally acceptable than local exploitation films ( Ozploitation ), which was part of the Australian phenomenon called the cultural cringe . The greater success of genre films like Mad Max (1979), The Last Wave (1977) and Patrick (1978) led to

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