Víc než jen strašidelné filmy: Jak rozumět hororu

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Kód Zakončení Kredity Rozsah Jazyk výuky Semestr
376HC zkouška 3 2 hodiny PŘEDNÁŠEK týdně (45 minut), 54 až 69 hodin domácí příprava anglicky, česky letní

Garant předmětu

Jindřiška BLÁHOVÁ

Jméno vyučujícího (jména vyučujících)

Jindřiška BLÁHOVÁ, Tomáš JANÁČEK, Richard Andrew NOWELL

Katedra

Předmět zajišťuje Kabinet teorie a historie audiovize

Obsah

Offering both conceptual and practical components, “(More than) Scary Movies” aims to develop student understandings of horror cinema so they can better explore this format in their creative practice. The conceptual component of the course consists of a series of historically- and theoretically-focused seminars that challenge the notion that horror is a dumb, sensational, marginal, reactionary format aimed mainly at young men. These will focus on Art Horror like The Shining (1980), Progressive Horror like American Psycho (2001), Children’s Horror like It: Chapter One (2017), and Female-Oriented Horror like Black Christmas (2019). The practical component of the course consists of a series of workshops drawing on ideas introduced in these seminars, in which students will develop their own horror concept before presenting it at the end of the course. Together these two complementary components shall enrich student appreciation of the industrial, social, and especially the textual dimensions of one of the most important historically formats in global audiovisual culture.

Please Note: To be as inclusive as possible, this course will not feature screenings of extreme or ultra-violent horror. Such films may, however, be discussed in passing on the course.

Course Moodle Site (for all Slides, Readings, and Screenings): https://moodle.amu.cz/course/view.php?id=1487

Výsledky učení

This course aims uses the case of the modern horror film to bridge Film Studies and Creative Practice. On the one hand, it aims to familiarize students with critical and revisionist understandings of audio-visual formats, by focusing their industrial, aesthetic, and social dimensions. On the other, it encourages students to integrate critical tools, frameworks, approaches, and skills into their creative practice. By the end of the course, students will be expected to demonstrate a capacity engage with the historical and theoretical concepts introduced in the seminars into creative work they will develop across the workshops. Their proficiency in such areas shall be assessed through their production of an original horror concept that will be pitched at the end of the course. Generally speaking, students are expected to demonstrate insights on:

For learning outcomes specific to each topic, see below for individual session outlines.

Předpoklady a další požadavky

This course combines two types of session: conceptual seminars and practical workshops.

Conceptual Seminars

Held every two weeks by Richard Nowell, the 5 conceptual seminars will consist of student-focused discussions supported with brief “lecturettes”. As preparation, students are expected to view the home screenings and study the set scholarship and in relation to the questions issued in advance; these will form the basis of the seminar discussions, to which students are encouraged actively to contribute. Such an approach is intended to maximize students’ engagement and comprehension of the learning outcomes of each session.

Practical Workshops

Every two weeks, Tomáš Janáček will lead hands-on sessions focused on developing and refining students’ horror film concepts. These 5 practical workshops will combine introductions to the practical tools and concepts of storytelling with interactive activities, such as group discussions, brainstorming sessions, and peer feedback.

Students are expected to come prepared with assigned homework, such as preparing story concepts and writing synopses. Active participation is encouraged, as students will present their work, engage in constructive critique, and collaborate on projects.

Literatura

Carroll, Noel. “The Nature of Horror”, The Journal of Aesthetics and Art Criticism, 46.1 (Autumn, 1987), pp. 51–59.

Lester, Catherine. “The Children’s Horror Film: Characterizing an ‘Impossible’ Genre”, The Velvet Light Trap, no. 78 (2016), pp. 22-37.

Church, David. “Apprehension Engines: The New Independent ‘Prestige Horror’”, in Post-Horror: Art, Genre, and Cultural Elevation (Edinburgh: Edinburgh University Press, 2021), pp. 15-33.

Fradley, Martin. “Horror is a Teenage Girl: Postfeminism and Contemporary Teen Horror”, in Joel Gwynne and Nadine Miller (eds), Postfeminism and Contemporary Hollywood Cinema (London: Palgrave Macmillan, 2013), pp. 204–221.

Grant, Barry Keith. “Rich and Strange: The Yuppie Horror Film”, Journal of Film and Video, 48.1/2 (1996), pp. 4-16.

Robin Wood, “The American Nightmare: Horror in the 1970s”, in Hollywood From Vietnam to Reagan … and Beyond (York: Columbia University Press, 2003), pp. 63-85.

HOME SCREENINGS:

American Psycho (Mary Harron, 2000)

Black Christmas (Sophia Tackal, 2019)

It: Chapter 1 (Andy Muschietti, 2017)

Lovely Bones, The (Peter Jackson, 2009)

Shining, The (Stanley Kubrick, 1980)

The Silence of the Lambs (Jonathan Demme, 1991)

Hodnoticí metody a kritéria

*Attendance

Students must maintain at least 80% attendance to meet the course requirements.

*Participation (25%)

Students will be evaluated based on their active participation and general engagement throughout the course, including their contributions to discussions, feedback sessions, and collaborative activities.

*Portfolio (75%)

At the end of the course, each student is to submit a portfolio spotlighting the following:

  1. Story Concept: The core idea of their horror film.
  2. Character Motivation: The motivations of each major character.
  3. Synopsis: Summaries of plot and character arcs.
  4. Final Pitch: A PowerPoint presentation highlighting the story concept, characters, and other elements such as themes, address, atmosphere, and style.

Areas of Assessment

Students portfolios should take steps to show evidence of the following learning outcomes:

Essential Criteria

  1. Evidence of the basic scenario of horror (narrative situation)
  2. Evidence of how to provoke fear and loathing (making monsters)

Supplementary Criteria (show evidence of at least one of the following)

  1. Novelty (art horror)
  2. Socio-political engagement (themes)
  3. Audience address (tailoring content for children, women, or other groups)

Bonus Criteria:

  1. Evidence of balancing the above conventions with a degree of invention or originality.

Value: 100% of Final Grade

Due Date: Wednesday 21 May for in-person assessment; otherwise flexible for submissions.

NB: Extensions can be arranged with the instructor in advance, based on health, humanitarian, and other grounds.

Tutorials

Students may arrange one-on-one tutorials to discuss any issues arising from the course, including the assessment. Meetings can be arranged by email and will take place online at a time of mutual convenience.

Feedback

Each student will be emailed individually with detailed personal feedback on their assessment. This feedback is designed to be constructive so will spotlight strengths, shortcomings, and suggestions on how the paper might have been elevated.

General Evaluation:

Grades from A-F will be awarded based on the following general criteria.

*A = 90< Responding to the prompt in a focused and direct fashion. Clear and sustained evidence of all of the stated learning outcomes. Executed in a clear and inventive manner. No real evidence of blind-spots or misunderstandings.

*B = 80 – 89.99 Responding to the prompt in largely focused and direct fashion. Clear and considerable evidence of most of the stated learning outcomes. Executed in a generally clear and somewhat inventive manner. Little evidence of blind-spots or misunderstandings

*C = 70 – 79.99Responding to the prompt in a generally focused and direct fashion. Evidence of some of the stated learning outcomes. Executed in a generally clear and somewhat inventive manner. Some evidence of blind-spots or misunderstandings.

*D 60 – 69.99 = Responding to the prompt in a somewhat indirect and unfocused fashion. Evidence of a small number of the states learning outcomes. Executed in a somewhat unclear and unimaginative manner. Significant evidence of blind-spots or misunderstandings.

*E 50 – 59.99 Responding to the prompt in a largely indirect and unfocused manner. Little evidence of the stated learning outcomes. Executed in an unclear and unoriginal manner. Considerable blind-spots and misunderstandings.

*F = <50 No significant evidence of any of the stated learning outcomes.

Poznámka

SEMINAR I: CONCEPTUALIZING HORROR (19 February)

Richard Nowell

Our first seminar defines horror cinema. We will consider how the format uses a distinctive combination of elements to encourage emotional responses. This model helps us to think about horror as textual building block, one that can be combined with other material to generate films can be scary, but much, much more as well.

Learning Outcomes:

Preparation

Home Screening: The Lovely Bones (2009)

https://ww2.m4uhd.tv/watch-movie-the-lovely-bones-2009-23110.html

  1. Do you consider this film a horror movie? If so, why?
  2. Would you classify this film differently? If so, how and why?

Recommended Reading I: Wood, 63–85.

Recommended Reading: II: Carroll, 51–59.

  1. What does each scholar suggest distinguishes horror as a genre?
  2. What do you consider the strengths and the weaknesses of their definitions?

WORKSHOP 1: COMFRONTING EVIL (26 February)

Tomáš Janáček

Horror is often considered among the lowest forms of entertainment. However, this session focuses on horror that draws from that most prestigious of formats, art cinema. Students will therefore consider how some scary movies are positioned as superior cultural products.

Preparation:

Home Screening: Silence of the Lambs (1991)

Available at: https://ww1.m4uhd.tv/watch-movie-the-silence-of-the-lambs-1991--2335.html

SEMINAR II: ART HORROR (5 March)

Learning Outcomes

Preparation

Home Screening: The Shining (1980)

Available at: https://ww1.m4uhd.tv/watch-movie-the-shining-1980-2081.html

  1. How do the makers of this film position it as a superior form of scary movie?
  2. Do you find this film difficult to understand; if so, why?
  3. What do you think this film might really be about?

Recommended Reading: Church, 15-33.

  1. What is “elevated” or post-horror?
  2. What does Church suggest distinguishes these from “regular” horror films?
  3. What pleasures does he suggest these films offer their targeted audiences?

WORKSHOP 2: INTO THE WOODS (12 March)

Tomáš Janáček

How stories work and why we tell them. This session focuses on the structure of storytelling. We will explore the dramatic premise and act concepts, and discuss their applicability to horror films. When and why can we break the rules? In the final part of the session, we will review ideas for the horror film. Students will prepare one paragraph about their story concept for the next session.

Learning outcomes:

  1. Understanding key act concepts
  2. Insight into the concept of the dramatic premise and the dramatic argument

Preparation

Student will send in advance their horror film idea

SEMINAR 3: PROGRESSIVE HORROR (19 March)

Richard Nowell

Whereas horror is often reductively considered a reactionary genre, this session considers how some scary movies critique the world around us, by focusing on those that demonize economic inequalities.

Learning Outcomes

Preparation

Home Screening: American Psycho (2001)

Available at: https://ww1.m4uhd.tv/watch-movie-american-psycho-2000-998.html

  1. What does this film consider to be monstrous?
  2. What does this film suggest is problematic about American social and economic life?

Recommended Reading: Grant, 4-16.

  1. How does Grant build on Wood’s definition of horror?
  2. What does he suggest was the American yuppy culture of the 1980s (and beyond)?
  3. How does he suggest scary movies engaged with yuppie culture?

WORKSHOP 3: THEMATIC CORE (26 March)

Tomáš Janáček

How do horror plots and characters relate to each other, and how do they together build the thematic core of the film? This session briefly synthesizes character and structure theory. The main part of the session focuses on applying these elements to the paragraph concepts

Are we watching horror stories for the plot or for the characters? In this first workshop, we will explore how horror tropes reveal characters’ true nature, relationships, and flaws. How do these characters engage us, and why? We will analyze horror films through character arcs and discuss practical screenwriting concepts for developing characters. We will explore the difference between character and characterization, offering tools and concepts to enhance your thinking during the creative process. At the end of the session, students will choose to work individually or in groups of up to three to brainstorm ideas for a horror movie for the next session.

Learning outcomes:

  1. Importance of characters in genre cinema
  2. Understanding key concepts of character theory

SEMINAR 4: CHILDREN’S HORROR (2 April)

Richard Nowell

Where horror is typically imagined as a genre for grownups, this session explores scary movies made specifically for children. The session examines how these films introduce youngsters to horror media consumption, while raising issues they may face in their everyday lives.

Learning Outcomes

I. Horror as an adult-oriented format.

II. The features of children’s horror.

III. Children’s horror as training for horror film consumption.

Preparation

Home Screening I: It: Chapter 1 (2017)

Available at: https://ww1.m4uhd.tv/watch-movie-it-2017-14268.html

  1. How does this film suggest horror is a part of children’s lives?
  2. How does the film depict the adult world?
  3. How does it suggest consuming horror media can benefit children?

Recommended Reading: Lester, 22-37.

  1. What led to the emergence of child-oriented horror films in the 1980s?
  2. How does Lester suggest these films are tailored for younger audiences?
  3. What does she suggest are the main themes of the films?

WORKSHOP 4: ANALYZING THE STORY (9 April)

Tomáš Janáček

The fourth session will solely focus on analyzing and discussing the synopses and paragraphs students have delivered, with special focus on character motivation, story structure, logic, thematic consistency, and originality. Discussions will also cover the best ways to pitch the concept, including story, tone, atmosphere, and visual elements. Based on the discussion, students will polish their synopsis and prepare the PowerPoint presentation and the pitch for the next session.

Learning outcomes:

I.Deeper understanding of storytelling

II.Understanding how the tone and atmosphere relate to the story

Preparation

Students will prepare a one-page synopsis/outline for the next session.

Students will write a short paragraph about the motivations of each major character in their story.

SEMINAR 5: FEMALE-ORIENTED HORROR (16 April)

Richard Nowell

Although horror is typically associated with male audiences, this session examines scary movies tailored specifically for female audiences. We will consider how such films offer sometimes sensitive and supportive positions, addressing the concerns, fears, outrage, and pleasures of this important audience.

Learning Outcomes

I. Horror as male-oriented format.

II. The forces driving female-oriented horror

III. The gendered politics and preoccupations of this format.

Preparation

Home Screening: Black Christmas (2019)

Available at: https://ww1.m4uhd.tv/watch-movie-black-christmas-2019-235700.html

  1. How does this film try to be specifically relevant to female youth?
  2. How do these films offer support to girls and young women in the audience?
  3. What messages does this film suggest to males viewing it?

Recommended Reading: Fradley, 204–221.

  1. What does Fradley mean by “Postfeminist cinema”?
  2. What are some of the female-oriented themes teen horror movies articulate?
  3. What does Fradley consider the positives and negatives of the positions these films offer?

WORKSHOP 5: PITCH SESSION (23 April)

Tomáš Janáček

Students will present their final horror film concepts. The presentations and the concepts will be discussed.

Learning outcomes:

  1. Effectively present and communicate ideas, analyses, and proposals during discussions and presentations
  2. Successfully collaborate on group projects and provide constructive feedback to peers.

Preparation

Based on the discussion in the previous session, students will polish their synopsis and prepare the PowerPoint presentation and the pitch.

Další informace

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Rozvrh na zimní semestr 2024/2025:

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06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Po
Út
St
místnost 344
Učebna 7 (FAMU)
(Lažanský palác)
NOWELL R.
JANÁČEK T.
14:00–15:30
(přednášková par. 1)
výuka začíná dnem19.2., seminář 5.3. bude posunut od 13:30 - 15:00hod
Čt
Pá
Datum Den Čas Vyučující Místo Poznámky Č. paralelky
St 14:00–15:30 Richard Andrew NOWELL
Tomáš JANÁČEK		 Učebna 7 (FAMU)
Lažanský palác		 výuka začíná dnem19.2., seminář 5.3. bude posunut od 13:30 - 15:00hod přednášková par. 1

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