排序方式： 共有35条查询结果，搜索用时 46 毫秒
1.
“There’s nothing I hate more than a racist:” (Re)centering whiteness in American Horror Story: Coven
Amanda Kay LeBlanc 《Critical Studies in Media Communication》2018,35(3):273-285
This article examines race and racism in the popular cable horror-drama American Horror Story: Coven. Centered around a feud between a white witch coven and a black, voodoo group of witches, Coven overtly deals with the issue of racism, but presents racism as a phenomenon contained in the past; something that does not happen anymore. Using critical post-race theory and scholarship on colorblind racism, whiteness, as well as black feminist theory, I show that although the narrative of Coven explicitly decries racism, it simultaneously invests in colorblind racist narratives and dialogue. Whiteness is central in Coven, operating through discourse that ignores racial difference and contemporary forms of oppression and erasure. Coven uses graphic depictions of violence against black bodies, makes explicit connections between black sexuality and animals, and uses exotic and aggressive stereotypes of black women to tell its story. Thus, Coven’s narrative both condemns racism and relies on it. This article shows that the contemporaneous presentations of explicit anti-racist dialogue and racist imagery work to (re)place whiteness at the center of Coven, a TV show that purports to forward a message of equality and justice for those who are different. 相似文献
2.
江浩 《洛阳师范学院学报》2011,30(4):51-55
《阿芒提拉多的酒桶》是埃德加·爱伦·坡恐怖小说的经典范例。全文短小精悍,结构紧密,寓意深刻,每个词、每句话都在为文章的效果服务,展现了爱伦.坡非凡的智慧和高超的艺术技巧。小说用精彩的语言对白和对环境氛围的描写,透析人性的阴暗,表现外在世界的恐怖,也探寻人心内在的恐怖。 相似文献
3.
张娜 《齐齐哈尔师范高等专科学校学报》2015,(1):42-43
《孔雀东南飞》的悲剧性可以在亚里士多德的《诗学》中得到同质性因素对等适应的阐释,我们可以提取亚里士多德在《诗学》中讨论的性格、情节与悲剧的作用这些具有真理普适性的理论来看待《孔雀东南飞》的悲剧审美内涵。 相似文献
4.
埃德加·爱伦·坡是美国19世纪著名的短篇小说家、诗人、文学批评家。其创作的短篇小说大多以悬疑、复仇和谋杀为主题,具有极强的恐怖效果。发表于1846年的《一桶白葡萄酒》便是此类主题的代表作品之一。小说自始至终都笼罩在紧张、压抑、阴暗的气氛之中,坡用他冷静又极具想象的笔触,精心布局了一个恐怖的复仇故事。同时,坡大量运用反讽、象征、伏笔等文学艺术手法,营造出令人窒息的恐怖氛围,并借此进一步渲染了复仇的主题。 相似文献
5.
Children's experiences and understandings are often marginalised in discussions of their own television viewing. Moreover, rarely is attention paid to the meaning children make from and with the ideas and images in media, much less in horror movies. This inquiry examines the horror media talk of a preschool girl in a poor and working-class preschool programme in a conservative Christian area in the Southern United States. One extended story by Jakaysha, a five-year-old African-American girl, is the focus of this paper. Using multiple post-structural theories including Davies' fluidity and Bakhtinian text mapping, we examine the contrasting gendered discourses in her narrative. Combining characters ‘poached’ from various media with discourses from her local community, she creates new horror media. In one reading of her tale, she uses horror to justify a departure from feminised subjectivities, while in another feminised expectations prevail, speaking to the multiple gendered subjectivities for girls. 相似文献
6.
肖燕姣 《河南科技学院学报》2013,(11):74-76
美国著名的短篇小说家埃德加·爱伦·坡创作了大量优秀的哥特式短篇小说,开创了“心理哥特”小说的先河。同时,在创作理论上他提出了“效果统一论”,并将该原则付诸于他的文学创作实践。文章将该理论应用在对其名篇《丽姬娅》中哥特艺术的研究上,从人物刻画、背景和情节等方面分析与论证坡是如何成功地制造哥特式的悬疑与恐怖。 相似文献
7.
Ted Blanding 《Communication quarterly》2013,61(1):16-18
Applying theories of cognition and affect that predict emotional responses to a stimulus on the basis of prior affect toward specific cues included in that stimulus, a study was conducted assessing individuals' fear and enjoyment reactions to horror films. Prior fear of specific cues included in each film was a significant predictor of overall fear reactions, after controlling for prior exposure to the film, fear of specific cues not included in the film, and manifest anxiety. Prior liking of specific cues included in each film did not emerge as a significant predictor of overall enjoyment. The contributions of gender and of level of forewarning about the film's content were also assessed. 相似文献
8.
Katinka van Heeren 《Inter-Asia Cultural Studies》2013,14(2):211-226
Abstract In about half a decade since May 1998, changes have taken place in the content, production, distribution, exhibition, and discourse of Indonesian cinema. During Reformasi (1999–2001), the rules and regulations of cinema authorized under the New Order government of President Suharto began to be contested and re‐negotiated. The rise of new film genres and changes in concepts about existing genres and formats took place, new discourses emerged, and different communities and institutions arose that identified themselves with certain film genres or which used the medium of film for particular means, such as a medium for advocacy of human rights issues. Five to six years after 1998, it is apparent that besides changes, there are also many continuities: many old film institutions and structures for film production, distribution, and exhibition are still in place, and topics of discourses often recall past discourses of the New Order period or those held in the newly independent 1950s. This paper considers some of the changes in the understanding of genres and formulas within horror films, and discusses modes of representation and constraints in choices of subject matter in narrative practices in contemporary Indonesian cinema. 相似文献
9.
浅析恐怖小说中的意象及其意蕴 总被引：1，自引：0，他引：1
在恐怖小说中,作家经常会反复地使用某些特殊的意象,用以推进情节、增强刺激、营造气氛。而随着时代的发展,恐怖小说摆脱了通篇"群魔乱舞"的俗套,开始发掘日常事物背后的禁忌、隐喻、并灌注恐怖感,从而生成了新的意象。本文将通过恐怖小说中最典型的"超自然意象"和"动物意象",对其意象系统作一个梳理和研究。 相似文献
10.
随着哥特小说研究的兴起,《修道士》也越来越受到研究界的重视。立足文本,在通过对安布罗斯之死中出现的典型意象分析的基础上,探讨其独具特色的恐怖美学和其与圣经的文化渊源,在横向与纵向两个维度上完成对《修道士》的价值提升。 相似文献