A Nightmare on Elm Street: una pesadilla cultural de la que era difícil escapar

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dc.contributor.authorTiburcio Moreno, Erika
dc.date.accessioned2024-10-09T14:40:48Z
dc.date.available2024-10-09T14:40:48Z
dc.date.issued2016
dc.descriptionReferencias bibliográficas: • AAMODT, M. G. (2013): «Serial Killer Statistics», disponible en http://skdb.fgcu.edu/public/Serial%20Killer%20Statistics%206SEP2014.pdf • CLOVER, Carol J. (1992): Men, Women and Chain Saws. Gender in the Modern Horror Film, Princeton University Press, Nueva Jersey. • DEGRAFFENREID, L. J. (2011): «What Can You Do in Your Dreams? Slasher Cinema as Youth Empowerment», The Journal of Popular Culture, 44 (5), pp. 954-969. • DIKA, Vera (1990): Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle, Farleigh Dikison University Press, Madison. • GELDER, Ken (ed.) (2000): The Horror Reader, Routledge, Londres. • GILL, Pat (2002): «The Monstrous Years: Teens, Slasher Films, and the Family», Journal of Film and Video, 54 (4), pp. 16-30. • GROSS, Louis S. (1989): Redefining the American Gothic. From Wieland to Day of the Dead, UMI Research Press, Ann Arbor. • HANTKE, Steffen (1998): «“The Kingdom of the Unimaginable”: The Construction of Social Space and the Fantasy of Privacy in Serial Killer Narratives», Literature/Film Quaterly, 26 (3), pp. 178-195. • HEBA, Gary (1995): «Everyday Nightmares: The Rhetoric of Social Horror in the Nightmare on Elm Street Series», Journal of Popular Film and Television, 23 (3), pp. 106-115. • JANCOVICH, Mark (ed.) (2002): Horror. The Film Reader, Routledge, Nueva York. • JENKINS, Philip (1996): Using Murder. The Social Construction of Serial Homicide, Aldine de Gruyer, Hawthorne. • JONES, Maldwyn A. (1995): Historia de Estados Unidos. 1607-1992, Cátedra, Madrid. ´ • KALLEN, Stuart A (1999): A Cultural History of the United States through the Decades, Lucent Books, San Diego. • KENDRICK, James (2009): «Razors in the Dreamscape: Revisiting A Nightmare on Elm Street and the Slasher Film», Film Criticism, 33 (3), pp. 17-33. • LASCH, Christopher (1983): «The life of Kennedy’s death», Harper, 267, pp. 32-40. • MUIR, John K. (2004): Wes Craven. The Art of Horror, McFarland, Jefferson, NC, Londres. • MURPHY, Bernice M. (2009): The Suburban Gothic in American Popular Culture, Palgrave McMillan, Nueva York. • NOWELL, Richard (2011): Blood Money. A History of the First Teen Slasher Film Cycle, The Continuum International Publishing Group, Londres, Nueva York. • PHILLIPS, Kendall R. (2005): Projected Fears. Horror Films and American Culture, Praeger Publishers, Westport. • PEZZULO, Giovanni (2014): «Why do you Fear the Bogeyman? An Embodied Predictive Coding Model of Perceptual Inference», Cognitive, Affective & Behavioral Neuroscience, 14 (3), pp. 902-911. • PINEDO, Isabel C. (1997): Recreational Terror. Women and the Pleasures of Horror Film Viewing, University of New York Press, Albany. • PRINCE, Stephen (2000): A New Pot of Gold Hollywood under the Electronic Rainbow, 1980-1989, University of California Press, Berkley. • PRINCE, Stephen (ed.) (2007): American Cinema of the 1980s. Themes and Variations, Berg, Oxford. • RATHGEB, Douglas L. (1991): «Bogeyman from the ID. Nightmare and Reality in Halloween and Nightmare on Elm Street», Journal of Popular Film & Television, 19 (1), pp. 36-43. • ROAS, David (2009): «Lo fantástico como desestabilización de lo real: elementos para una definición», en Teresa López Pellisa y Fernando Ángel Moreno (eds.), Ensayos sobre literatura fantástica y ciencia ficción, Universidad Carlos III de Madrid, Madrid, pp. 94-120; disponible en http://e-archivo.uc3m.es/bitstream/handle/10016/8584/fantastico_roas_LITERATURA_2008.pdf?sequence=1 [consultado el 22/08/2015]. • ROCKOFF, Adam (2002): Going to Pieces: the Rise and Fall of the Slasher Film, 1978-1986, [Versión para lector digital], McFarland, Jefferson, NC, Londres. • SANTAULARIA, Isabel (2009): El monstruo humano. Una introducción a la ficción de los asesinos en serie, Laertes, Barcelona. • SHARY, Timothy (2002): «The Youth Horror Film: Slashers and the Supernatural», en Generation Multiplex. The Image of Youth in Contemporary American Cinema, University of Texas Press, Austin, pp. 137-179. • SHIMABUKURO, Karra (2014): «The Bogeyman of Your Nightmares: Freddy Krueger’s Folkloric Roots», Studies in Popular Culture, 356 (2), pp. 45-65. • TRENCANSKY, Sarah (2001): «Final Girls and Terrible Youth: Transgression in 1980s Slasher Horror», Journal of Popular Film and Television, 29 (2), pp. 63-72. • TUDOR, Andrew (1989): Monsters and a Cultural History of the Horror Movie, Basil Blackwell, Cambridge. • WALLER, Gregory A. (1987): American Horrors. Essays on the Modern American Horror Film, University of Illinois Press, Illinois. • WOOD, Robin (1986): «Horror in the 80s», en Hollywood. From Vietnam to Reagan, Columbia University Press, Nueva York, pp. 189-201. • BUCK, Christopher (dir.) (2014): Retro Report: McMartin Preschool: Anatomy of a Panic, New York Times, Estados Unidos. • CRAVEN, Wes (dir.) (1984): A Nightmare on Elm Street, New Line Cinema, Estados Unidos. • FARRANDS, Daniel (dir.) (2010): Never Sleep Again: The Elm Street Legacy, 1428 Films, Panic Productions, Estados Unidos. • NASR, Constantine (dir.) (2012): Fear Himself: The Life and Crimes of Freddy Krueger, Rivendell Films, Estados Unidos. • VV. AA. (dir.) (2006): Going to Pieces: The Rise and Fall of the Slasher Film, Starz Entertainment, Thinkfilm, Candy Heart Production, Estados Unidos.
dc.description.abstractEl objetivo de este artículo es analizar A Nightmare on Elm Street, entendiendo dicho filme como un texto cultural que, al igual que otros relatos fílmicos slasher, estaba influenciado por el discurso conservador del momento. En esta cinta, las barreras que separan la realidad de la fantasía se difuminan para crear una confusión que impide diferenciar claramente ambos mundos; un hecho que sucedía de manera similar en el mundo real con el asesino en serie, cuya simplificación lo había convertido en un ser de inagotable maldad y deshumanizado. Asimismo, Freddy Krueger, el protagonista de nuestra cinta, reúne una serie de atributos que lo acercan a la realidad del momento, siendo un monstruo aterrador debido a la influencia tan directa que, en aquellos momentos, ejercen en él las tensiones y acontecimientos que estaban sucediendo en el país en aquellos momentos.
dc.description.abstractThe aim of this article is to analyze A Nightmare on Elm Street from a Cultural Studies perspective, understanding it as a historical source which offers a deeper knowledge of the eighties. In the United States, those years were marked by a conservative dis-course that permeated many products of the popular culture, such as horror movies. Nonetheless, A Nightmare is different from these other movies. The boundaries between fantasy and reality boundaries were blurred to create confusion in order to make it impossible to differentiate between the two worlds. Indeed, this was the same thing that happened in the real world with the serial killer, who was simplified, turned into an evil being without any human traits. Likewise, the protagonist Freddy Krueger displays several attributes that turn him in a frightening monster, a representation directly influenced by the historical tensions and events in the country at that time.
dc.description.departmentDepto. de Didáctica de las Ciencias Experimentales , Sociales y Matemáticas
dc.description.facultyFac. de Educación
dc.description.refereedTRUE
dc.description.statuspub
dc.identifier.citationTiburcio Moreno, E. (2016). A Nightmare on Elm Street: una pesadilla cultural de la que era difícil escapar. Brumal. Revista de Investigación sobre lo Fantástico, 4(2), 227-246. https://doi.org/10.5565/REV/BRUMAL.220
dc.identifier.doi10.5565/REV/BRUMAL.220
dc.identifier.essn2014-7910
dc.identifier.officialurlhttps://doi.org/10.5565/rev/brumal.220
dc.identifier.relatedurlhttps://revistes.uab.cat/brumal/article/view/v4-n2-tiburcio-moreno
dc.identifier.relatedurlhttps://dialnet.unirioja.es/servlet/articulo?codigo=5800305
dc.identifier.relatedurlhttps://produccioncientifica.ucm.es/documentos/608a72aae4bbc72e753094f2
dc.identifier.urihttps://hdl.handle.net/20.500.14352/108815
dc.issue.number2
dc.journal.titleBrumal. Revista de Investigación sobre lo Fantástico
dc.language.isospa
dc.page.final246
dc.page.initial227
dc.publisherUniversidad Autónoma de Barcelona = Universitat Autònoma de Barcelona
dc.rightsAttribution-NonCommercial-ShareAlike 4.0 Internationalen
dc.rights.accessRightsopen access
dc.rights.urihttp://creativecommons.org/licenses/by-nc-sa/4.0/
dc.subject.cdu791.43-252
dc.subject.cdu009
dc.subject.keywordCine de terror
dc.subject.keywordMonstruo
dc.subject.keywordEstudios culturales
dc.subject.keywordEstados Unidos
dc.subject.keywordFantasía/realidad
dc.subject.keywordHorror cinema
dc.subject.keywordMonster
dc.subject.keywordCultural studies
dc.subject.keywordUnited States
dc.subject.keywordFantasy/reality
dc.subject.ucmHumanidades
dc.subject.ucmCine (Historia del Arte)
dc.subject.ucmEducación
dc.subject.unesco55 Historia
dc.subject.unesco6203.01 Cinematografía
dc.subject.unesco5899 Otras Especialidades Pedagógicas
dc.titleA Nightmare on Elm Street: una pesadilla cultural de la que era difícil escapar
dc.title.alternativeA Nightmare on Elm Street: a cultural nightmare difficult to scape
dc.typejournal article
dc.type.hasVersionVoR
dc.volume.number4
dspace.entity.typePublication
relation.isAuthorOfPublicationa9ca3e2f-4cf1-48f5-8f28-46b573b502d1
relation.isAuthorOfPublication.latestForDiscoverya9ca3e2f-4cf1-48f5-8f28-46b573b502d1
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