Abstract
This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.

From the Paper
"The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."

Tags:film, industry, analysis, slasher, horror, genre, alfred, hitchcock

Abstract
The paper argues that although his harrowing short story entitled "An Occurrence at Owl Creek Bridge" is considered more of a classic Gothic tale rather than a work of horror per se, Ambrose Bierce nevertheless utilizes literary elements distinct to the horror genre to enhance both the story's setting and plot.

From the Paper
"Though his harrowing short story entitled "An Occurrence at Owl Creek Bridge" is considered more of a classic Gothic tale rather than a work of horror per se, Ambrose Bierce nevertheless utilizes literary elements distinct to the horror genre to enhance both the story's setting and plot. Four fundamental characteristics normally associated with tales of horror action revolving around a violent act and graphic forceful imagery atmosphere inspiring dread and trepidation, particularly involving..."

Tags:horror, elements, setting, plot, violent, dread, dramatic irony

Abstract
This paper is comprised of a two-page gothic horror story followed by a two-page paper explaining the story's utilization of gothic elements.

From the Paper
"Count Trich grasped the heavy iron doorknocker and struck it three times against the massive wooden door leading into Castle Diable, cheeks flushed with excitement and imagination racing. An invitation to the home of Grand Duke Lucero was a rare and prized occurrence. Dogs barked somewhere in the interior of the castle and Trich saw the flickering of candlelight as someone-presumably a servant-proceeded toward the door. Finally, the door creaked open slowly to reveal an ancient man hunched over and holding the..."

Tags:gothic, horror story, fiction, short story, Edgar Allen Poe, eerie, mystery, device

Abstract
Many horror movies musical techniques are discussed in this paper. The writer shows how this music effects the audience's viewing experience and builds up hype and expectations. Different styles are discussed - creepy, tense, supernatural, fear etc.

From the Paper
"To fully utilize sound in a film it must be more than just neat sound effects added in as an after thought. The first crews to utilize this new mind set was the ever famous team of Ben Burtt and Walter Murch in Star Wars and then again in Apocalypse Now. They realized that the sound shaped the picture as much as the picture shaped the sound. The result was a powerful effect that forever changed the way sound is used in a film (Thom, 1999). It takes more than loud, high fidelity, and well executed sound effects to make a great movie. The soundtrack must be integrated into the entire film as a whole. It should enhance and change as the mood changes. In this way the soundtrack becomes a valuable part of the team (Thom, 1999). Many directors overlook the potential that sound has in storytelling and often do not consider it in relation to the other elements of the film. This philosophy embraces the idea that good sound embraces and is considered by the other crafts, as well. It is not just a product of the other crafts."

Tags:movie, thriller, horror, film, style, music, background, instrumental

Abstract
This three-page undergraduate-level paper discusses cannibalism in 1846 along the Oregon Trail. The experience of the Donner Party is examined in order to resolve the issue of whether or not cannibalism is ever justified.

Abstract
This paper analyzes why humans are attracted to the genre of horror by defining what horror is exactly and what major elements determine the face of horror, and then analyzing the emotions that are associated with the theme of horror. The author argues that true horror delves into the deepest recesses of the human mind and at times exposes peoples greatest fears and anxieties, which is something to which many people are drawn.

From the Paper
"Several crucial questions must now be asked. First, exactly what is horror and second, what major elements as compared to other genres determine the face of horror? According to Webster's Dictionary, horror can be defined as a "painful and intense fear," characterized by trembling, astonishment, repulsiveness and apprehension (582). Anthologist Douglas Winter declares that horror "is not a genre. . . Horror is an emotion," meaning that horror elicits specific emotional reactions in the viewer/reader, such as repulsion, dread, fright and at times pure terror. Winter also adds that horror resides in
places "which cannot be made safe," due to man's "relentless need to confront the unknown, the unknowable and the emotions. . .experienced when in its thrall" (xvi). Clearly then, horror is fundamentally based on raw human emotion, especially when under the influence of unknown and mysterious forces, such as those experienced by ancient man in the dark and foreboding wilderness of the natural world and within his own primitive mind."

Tags:zombie, fear, anxiety, drama

Abstract
The paper examines the horror comic's relationship with the reader to provide a better understanding of the interest in horror comics as a source of personal entertainment. The paper identifies what specific consumer traits the horror comic industry is targeting in its readers and shows how while the horror comic does not meet the needs of many readers, it does have a place in our society.

From the Paper
"This is perhaps the most succinct definition of the horror comic book reader. If we look at the horror comic book enthusiast as a mutation, in comparison to the romance or even the super hero reader, we find that indeed the horror comic book reader is select reading audience - perhaps a mutation of the thrill enthusiast whose need rests in the rush of adrenaline as the action and prospect of danger heightens. The horror comic book is a violent jolt in the fashion of entertainment, because it does not just rely on the images created for the audience by the comic depictions, but causes the reader to suspend their own disbelief, their own value system, and to look past their own perhaps socially dignified position to venture into a realm in which they must in part create for their selves based on the comic book image triggers in their emotional and mental realms. In other words, the reader must be willing to venture beyond his or her self into a realm of not just tension and surprise that is the basis of the thriller, but even further in order to participate in the physical danger of physical destruction."

Tags:thriller, danger, vampires, escapism

Abstract
This paper provides an insight into horror films, from the classics such as "Psycho" to the psychological thrill of "The Silence of the Lambs". It examines the history of the horror film from the first film directed by Georges Melies in 1896 and its development through the period of silent and black-and-white movies to the technological effects of the 21st century. It also attempts to analyze their attraction for people and how the fear and loathing, as well as the almost guilty enjoyment experienced in a movie theater filled with gore lovers, are human psychological needs.

Outline
The Classics
The Psychological Need
The History of the Horror Film
Conclusion

From the Paper
""Psycho" is seen by many horror fans as the ultimate horror film. Hitchcock plays with the idea of identity and involvement. The viewer is expected to feel drawn into the world of Norman Bates. The suggestion is also that the viewer's identity is not as important as his or her emotional involvement in the plot. The film universalizes the idea of monstrosity in each individual. It mirrors the audience's wickedness and guilt back at the audience by means of the ordinary and unassuming Norman. The implication is that everybody has a dark side. The monster therefore appears to have moved closer and closer with the development of the horror film. And now it is inside. Or now its existence is recognized. The monster is no longer something that looks hideous. Instead he or she is as human-looking as everyone else."

Tags:psych, vampires, dracula, frankenstein, stephen, king

Abstract
The great Aztec civilization was so foreign and so utterly isolated from other world civilizations, that, when the Spanish conquistadors first saw it, their emotions were a mixture of awe and horror. They were awed by the artistic, technological and social advances they witnessed; but they were horrified by their pagan ways, the human sacrifices and the cannibalism they saw. This paper examines the origins of the Aztecs, and examines this civilization in terms of mythology, agriculture, craft and religion. It also traces the destruction of the Aztecs by the Spaniards in the 16th Century.

From the Paper
"As limited as the land devoted to producing maize was, animal sources of nutrition were even harder to come by. "Dogs, turkeys, and the Muscovy duck were the only domesticated animals in ancient Mesoamerica. All were used for food, but they made only a minor contribution to the Aztec diet." (Smith 2003:63). This situation is most closely analogous to the rice crop of eastern Asia, and contrasts sharply with the ancient West, where numerous animals were domesticated on a large scale for the purposes of nutrition. By virtue of their dependence upon maize, the Aztecs developed some of the most advanced farming techniques in the world."

Tags:Olmec, Veracruz, Tenochtitlan, Mayan

Abstract
This paper discusses Lovecraft's short story "The Picture in the House," and the way in which Lovecraft creates the twilight zone background and the subtle atmosphere of fear that dominate the work. The writer describes the dreary environment both inside and outside the house and how Lovecraft uses symbology that is meant to give us an overwhelming feeling of dread and discomfort as opposed to the shock-style fear that is present in the writings of other authors. The paper concludes that it is the setting that takes on and maintains the mantle of fear in this story.

From the Paper
"In first discussing the physical surroundings, we have lots of material to sort through regarding our narrator's location. Lovecraft first sets out to describe the general character of the houses that he is encountering. In so doing, he describes houses which suffer more from the neglect of a strange people than houses which are overtly evil or demonic looking. This is not territory dominated by high, sprawling castles with grotesque outcroppings of fashioned stone. Instead, these are simple houses which have fallen victim to the elements themselves, notably because of a fascination on the part of the inhabitants which diverts their attention elsewhere. Lovecraft uses the concept of rundown houses to first introduce the concept of "otherness", that feeling where anyone who subscribes to natural and normal thought is thrust into a world where that is no longer commonplace."

Tags:Miskatonic foreshadowing isolation super-reality mythic symbolism, Matrix Trilogy, cannibalism horror