Voices of the Dead: Robert Eggers’s The Lighthouse and the Horror Genre by Maciej Morawiec

“…The focus of the article is primarily on the film’s employment of the cinematic language associated with the horror genre, discussed primarily in reference to the theoretical framework proposed by Noël Carroll, and thus it serves as the argument for The Lighthouse’s inclusion into the genre. …”
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Multimodalność w literackich narracjach zombiecentrycznych by Ksenia Olkusz

“…The article attempts to indicate the variety of narrative techniques in works a priori perceived as belonging to a lower aesthetic category due to their common (though unfounded) inclusion in the horror genre. Various aspects of multimodality, expressed in the visual dimension (e.g. typographic or illustrative) or in the use of focalization, were subjected to close analysis. …”
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Mythologies of American violence in Alan Ball's True Blood series by Anne-Marie PAQUET-DEYRIS

“…To capture their extreme violence, the showrunner uses the conventions of the horror genre. Vampire, werewolf movie codes and motifs are very often recycled in various episodes of the series to problematize current problems in American society such as the women’s liberation movement, the gay and lesbian rights, the civil rights movement etc. …”
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Apports de l’iconographie sidérale aux problématiques spatiales vidéoludiques : le cas des jeux vidéo horrifiques by Guillaume Baychelier

“…In this way, survival horror genre consolidates its game mechanics : being immerged in Space becomes a trial that makes vulnerable to claustrophobic narrowing and also to vertiginous endlessness. …”
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How Do Trauma and Identity Unfold Through Dialogue? A Psychoanalytic and Linguistic Analysis of Netflix's Slasher Solstice by Fajar Nadeem, Seemab Jamil Ghouri

“…This research offers a new perspective by combining psychoanalytic and linguistic approaches to understand character development within the horror genre. The analysis reveals that shifts in language style, as the narrative unfolds, indicate a transformation in the characters' identities, increasingly shaped by trauma and internal conflict. …”
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TARİHSEL BİR KARŞITLIĞIN TEZAHÜRÜ: 2002 SONRASI TÜRK KORKU FİLMLERİNDE BİLİM-DİN ÇATIŞMASI by Şan Ararat Halis

“…It is seen that religious items have been eminently used by in the world horror genre and in some periods, in accordance with some political requirements, science and religion are brought against each other in the horror movies. …”
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La question intersectionnelle à travers trois exemples du cinéma anglophone contemporain. Entre invisibilisation, revendication et discours contradictoires by Héloïse Van Appelghem

“…In a second step, beyond intersectionality as an analytical tool, the concept can be solicited on the side of the production or on the side of the audience in the reception, operating different discourses on a film: Antebellum bases its script and promotion on an intersectional discourse, striving to examine the intersection of different discriminations through the lens of the Black Horror genre, while Suffragettes makes the choice to invisibilize the parameter of race oppression in favor of class. …”
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Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films by Elise Pereira Nunes

“…A pioneer of the gore subgenre, Herschell Gordon Lewis and his exploitation of graphic violence and blood in order to take the horror genre one step further has influenced the gruesome aesthetics of Waters’s films. …”
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