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Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television / SARAH CROWTHER

Swansea University Author: SARAH CROWTHER

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DOI (Published version): 10.23889/SUthesis.57686

Abstract

Horror and comedy. Screaming and laughing. Two genres and the visceral responses which they provoke, broadly considered to be polarised, apparently juxtaposed. This thesis argues that horror and comedy can be significantly more cohesive in their thematic traits, visual presentation and narrative eve...

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Published: 2021
Institution: Swansea University
Degree level: Doctoral
Degree name: Ph.D
Supervisor: Dr David Britton; Dr Nicko Vaughan
URI: https://cronfa.swan.ac.uk/Record/cronfa57686
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first_indexed 2021-08-24T14:33:08Z
last_indexed 2021-09-03T03:21:57Z
id cronfa57686
recordtype RisThesis
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spelling 2021-09-02T15:11:19.7789391 v2 57686 2021-08-24 Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television 9a2a1a7b7f7c2c0ee3327e812473c9ed SARAH CROWTHER SARAH CROWTHER true false 2021-08-24 Horror and comedy. Screaming and laughing. Two genres and the visceral responses which they provoke, broadly considered to be polarised, apparently juxtaposed. This thesis argues that horror and comedy can be significantly more cohesive in their thematic traits, visual presentation and narrative events, than might initially be considered. Expanding a relatively underexplored academic field and building on the work of Paul (1994), the doctorate explores gross-out cinema and television in both theory and praxis. Part One opens with scholarly exploration of core theories of genre, horror and comedy. Semiotic and historical analysis and close reading of key texts in the horror, comedy, and hybrid horror comedy genre identifies and considers shared representation across the genres. Analysed texts include The Evil Dead series (1981-1992), Grimsby (2016), Nighty Night (2004-2005) and Braindead (1992). The core shared themes and representations across the genres are posited as abjection, excess and absurdity. Each of these elements is then explored in context of the tension of horror and humour co-present in the grotesque (Thomson, 1972). The paradoxical pleasure in reception (often in the disgust response) is found to align to the transgressions of the carnivalesque, and moreover, the carnivalesque grotesque (Danow, 1995, Bakhtin, 1974 et al.). These findings are then uniquely applied in praxis in Part Two in the original feature lengthfilm script Knitters! in which the women of the Potter’s Bluff Townswomen’s Guild must face an indestructible supernatural foe in an isolated Lake District resort. In the Lake District no-one can hear you scream! The Part Three exegesis reflects rigorously on the application of thesis findings in praxis, alongside detailed gnosis of the practical construction of a feature length script including close consideration of plotting, narrative pacing and characterisation. E-Thesis Horror, Comedy, Abjection, Excess, Absurdity, Gross-out, Film, Script 24 8 2021 2021-08-24 10.23889/SUthesis.57686 COLLEGE NANME COLLEGE CODE Swansea University Dr David Britton; Dr Nicko Vaughan Doctoral Ph.D Swansea University’s College of Arts & Humanities Not Required 2021-09-02T15:11:19.7789391 2021-08-24T15:01:25.2862717 Faculty of Humanities and Social Sciences School of Culture and Communication - English Literature, Creative Writing SARAH CROWTHER 1 57686__20698__adf0f3d8801a4dafbbf6ba58cad1a579.pdf Sarah Crowther PhD.Final. Bloody Disgusting! Abjection, Excess & Absurdity-The Carnivalesque Cohesion Between Horror & Comedy in Film & Television.pdf 2021-08-24T15:28:03.7718705 Output 4220533 application/pdf E-Thesis – open access true Copyright: The Author, Sarah Crowther, 2021. true eng
title Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
spellingShingle Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
SARAH CROWTHER
title_short Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
title_full Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
title_fullStr Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
title_full_unstemmed Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
title_sort Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television
author_id_str_mv 9a2a1a7b7f7c2c0ee3327e812473c9ed
author_id_fullname_str_mv 9a2a1a7b7f7c2c0ee3327e812473c9ed_***_SARAH CROWTHER
author SARAH CROWTHER
author2 SARAH CROWTHER
format E-Thesis
publishDate 2021
institution Swansea University
doi_str_mv 10.23889/SUthesis.57686
college_str Faculty of Humanities and Social Sciences
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hierarchy_top_id facultyofhumanitiesandsocialsciences
hierarchy_top_title Faculty of Humanities and Social Sciences
hierarchy_parent_id facultyofhumanitiesandsocialsciences
hierarchy_parent_title Faculty of Humanities and Social Sciences
department_str School of Culture and Communication - English Literature, Creative Writing{{{_:::_}}}Faculty of Humanities and Social Sciences{{{_:::_}}}School of Culture and Communication - English Literature, Creative Writing
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description Horror and comedy. Screaming and laughing. Two genres and the visceral responses which they provoke, broadly considered to be polarised, apparently juxtaposed. This thesis argues that horror and comedy can be significantly more cohesive in their thematic traits, visual presentation and narrative events, than might initially be considered. Expanding a relatively underexplored academic field and building on the work of Paul (1994), the doctorate explores gross-out cinema and television in both theory and praxis. Part One opens with scholarly exploration of core theories of genre, horror and comedy. Semiotic and historical analysis and close reading of key texts in the horror, comedy, and hybrid horror comedy genre identifies and considers shared representation across the genres. Analysed texts include The Evil Dead series (1981-1992), Grimsby (2016), Nighty Night (2004-2005) and Braindead (1992). The core shared themes and representations across the genres are posited as abjection, excess and absurdity. Each of these elements is then explored in context of the tension of horror and humour co-present in the grotesque (Thomson, 1972). The paradoxical pleasure in reception (often in the disgust response) is found to align to the transgressions of the carnivalesque, and moreover, the carnivalesque grotesque (Danow, 1995, Bakhtin, 1974 et al.). These findings are then uniquely applied in praxis in Part Two in the original feature lengthfilm script Knitters! in which the women of the Potter’s Bluff Townswomen’s Guild must face an indestructible supernatural foe in an isolated Lake District resort. In the Lake District no-one can hear you scream! The Part Three exegesis reflects rigorously on the application of thesis findings in praxis, alongside detailed gnosis of the practical construction of a feature length script including close consideration of plotting, narrative pacing and characterisation.
published_date 2021-08-24T04:13:36Z
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score 11.036334

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