Last modified: 07 Jul 2025 15:16
Providing a scholarly analysis of horror cinema, from Germany's early silent classics to the work of Black directors and to slasher films and so-called “paracinema” and beyond, this course will give students insight into the evolution of society’s many screen nightmares. From landmark works to cult favourites, from Murnau to Argento, from Indonesia to Spain, this is a course that will give an insightful look at some of the major trends, and theories, related to a genre that remains one of celluloid’s most provocative, and frequently controversial, forms.
Due to the adult material viewed and studied on this option, students should anticipate content that might cause offence, including graphic depictions of terror and violence (please note that this includes sexual violence as with the pivotal work of Wes Craven, essential to any module on horror). While weekly content warnings will be provided, students who might find this material offensive may wish to consider another module option.
| Study Type | Undergraduate | Level | 3 |
|---|---|---|---|
| Term | First Term | Credit Points | 30 credits (15 ECTS credits) |
| Campus | Aberdeen | Sustained Study | No |
| Co-ordinators |
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One or more of these courses have a limited number of places. Priority access will be given to students for whom this course is compulsory. Please refer to the Frequently Asked Questions for more details on this process.
The course will introduce students to some of the classic theories in horror film studies, beginning with Siegfried’s Kracauer’s writing on the collective unconscious, related to Weimar era output such as The Cabinet of Dr. Caligari and Nosferatu to Robin Wood’s “American Nightmare”, Carol Clover’s work on the "final girl” and Robin R. Means Coleman contemporary discussion of Black identity within the genre.
An industry-focused approach will also be taken to analysing some of the key moments in the form’s evolution, such as the “video nasty” scandal, and its inclusion of a supposed “foreign terror” antagonising British shores (here represented by the “Spanish-fantastique”), the rise of the teen slasher trend and the critical dichotomy that, perhaps unfairly, exists between presumptions of the “highbrow” and the “lowbrow”.
Also taking an international approach to our learning and understanding of this unique cinematic outlet, students can expect to engage with cinema from Indonesia, Germany and Italy, as well as the rise of practical effects, female voices behind-the-lens, and cult figures like Jess Franco and Jörg Buttgereit as well as more recognised masters of macabre motion pictures, including Dario Argento, Mario Bava, Wes Craven and David Cronenberg.
Information on contact teaching time is available from the course guide.
| Assessment Type | Summative | Weighting | 50 | |
|---|---|---|---|---|
| Assessment Weeks | 21 | Feedback Weeks | 26 | |
| Feedback |
Written feedback |
Word Count | 2500 | |
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Factual | Apply | Develop an understanding of how horror cinema has been seen to express society’s nightmares during especially turbulent political periods. |
| Factual | Apply | Relating into wider school teaching, students will debate how an “art”, such as filmmaking, is often caught within a wider “high” and “low” (or “trash” and “treasure”) dichotomy. |
| Factual | Apply | Students will also discuss how horror films have tackled changing gender and race representations. |
| Assessment Type | Summative | Weighting | 20 | |
|---|---|---|---|---|
| Assessment Weeks | 22 | Feedback Weeks | 26 | |
| Feedback |
Written feedback, students expected as part of their TAM mark to submit at least four brief written reviews of films viewed during the semester. |
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Factual | Apply | Students will also discuss how horror films have tackled changing gender and race representations. |
| Factual | Apply | Develop an understanding of how horror cinema has been seen to express society’s nightmares during especially turbulent political periods. |
| Factual | Apply | Relating into wider school teaching, students will debate how an “art”, such as filmmaking, is often caught within a wider “high” and “low” (or “trash” and “treasure”) dichotomy. |
| Assessment Type | Summative | Weighting | 30 | |
|---|---|---|---|---|
| Assessment Weeks | 22 | Feedback Weeks | 26 | |
| Feedback |
Critical Blog Project: 1,500-words Video Essay: 7-minutes Written feedback provided. |
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Factual | Apply | Relating into wider school teaching, students will debate how an “art”, such as filmmaking, is often caught within a wider “high” and “low” (or “trash” and “treasure”) dichotomy. |
| Factual | Apply | Students will also discuss how horror films have tackled changing gender and race representations. |
| Factual | Apply | Develop an understanding of how horror cinema has been seen to express society’s nightmares during especially turbulent political periods. |
There are no assessments for this course.
| Assessment Type | Summative | Weighting | 100 | |
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback |
Written feedback provided. |
Word Count | 3000 | |
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Factual | Apply | Relating into wider school teaching, students will debate how an “art”, such as filmmaking, is often caught within a wider “high” and “low” (or “trash” and “treasure”) dichotomy. |
| Factual | Apply | Develop an understanding of how horror cinema has been seen to express society’s nightmares during especially turbulent political periods. |
| Factual | Apply | Students will also discuss how horror films have tackled changing gender and race representations. |
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