20.500.12556/RUL-186307 Strah v popularni kulturi: Grozljivka kot katarza Fear in Popular Culture: Horror as Catharsis Magistrsko delo obravnava grozljivko kot kulturni in družbeni fenomen ter raziskuje njeno vlogo pri soočanju s strahom in drugimi intenzivnimi čustvi. Izhaja iz antropoloških pristopov preučevanja strahu, čustev in popularne kulture (pri čemer so bila pomembna dela avtorjev, kot je Caroline Humphrey). Osredotoča se na vprašanje, zakaj ljudje prostovoljno posegajo po vsebinah, katerih namen je vzbujanje nelagodja, tesnobe in strahu. Delo predstavlja različne pristope razumevanja strahu, estetike grozljivega, afekta, vzdušja in senzorike. Grozljivko pri tem obravnava kot žanr, ki skozi zgodovino odseva družbene napetosti, kolektivno tesnobo in kulturne predstave o nevarnosti. Posebno pozornost namenja filmu Čarovnica (2015) režiserja Roberta Eggersa, ki služi kot primer analize odnosa med strahom, atmosfero, folklornimi motivi in liminalnimi prostori. Magistrsko delo obravnava ta film v kontekstu zgodovinskih predstav o čarovništvu, folklorne imaginacije in sodobnih pristopov h grozljivki, pri čemer raziskuje načine, na katere vzdušje, prostor in senzorični elementi soustvarjajo izkušnjo groze. Empirični del temelji na polstrukturiranih intervjujih in skupinskih pogovorih s štirinajstimi sogovornicami ter sogovorniki iz različnih okolij. Avtorica je raziskala njihove prve stike z grozljivkami, načine doživljanja strahu, pomen atmosfere, telesnih odzivov in nasilja v filmu ter razloge za privlačnost žanra. Analiza je pokazala, da sogovornice in sogovorniki razumejo grozljivke mnogo globlje kot zgolj obliko zabave. V njih prepoznavajo prostor raziskovanja lastnih strahov, eksistencialnih vprašanj, družbenih problemov in čustvenih izkušenj. Pomembno vlogo igrajo atmosfera, neznano, občutek nelagodja in možnost varnega soočanja z nevarnostjo. Raziskava je pokazala, da grozljivke za številne gledalce predstavljajo obliko emocionalnega dela in simbolnega soočanja z negotovostjo sodobnega sveta. Grozljivka pri tem ni le žanr strahu. Lahko je tudi prostor refleksije, identifikacije in katarze, skozi katerega posameznice in posamezniki osmišljajo lastna čustva ter izkušnje. The master's thesis examines horror as a cultural and social phenomenon and explores its role in confronting fear and other intense emotions. Drawing on anthropological approaches to the study of fear, emotions, and popular culture, it addresses the question of why people voluntarily engage with media whose purpose is to evoke discomfort, anxiety, and fear (citing the works of authors such as Caroline Humphrey). The author presents various approaches to understanding fear, the aesthetics of horror, affect, atmosphere, and sensory experience, while discussing horror as a genre that reflects social tensions, collective anxieties, and cultural conceptions of danger. It devotes particular attention to the film The Witch (2015), directed by Robert Eggers, which serves as an example for analysing the relationship between fear, atmosphere, folkloric motifs, and liminal spaces. The film is examined within the context of historical representations of witchcraft, folk imagination, and contemporary horror cinema. Special emphasis is placed on the ways in which atmosphere, space, and sensory elements contribute to the experience of horror. The empirical section is based on semi-structured interviews and group discussions with fourteen participants of different backgrounds. The author explores their first encounters with horror media, their experiences of fear, the significance of atmosphere, bodily responses and violence in film, and the reasons behind the genre’s appeal. The analysis demonstrates that participants perceive horror as far more than a form of entertainment. They view it as a space for exploring personal fears, existential concerns, social issues, and emotional experiences. Atmosphere, the unknown, feelings of unease, and the opportunity to confront danger within a safe environment emerge as particularly important elements. The thesis concludes that, for many viewers, horror functions as a form of emotional work and symbolic engagement with the uncertainties of the contemporary world. Horror thus emerges not merely as a genre of fear, but also as a space of reflection, identification, and catharsis through which individuals make sense of their emotions and lived experiences. etnologija kulturna antropologija grozljivka strah katarza antropologija čustev popularna kultura atmosfera afekt Čarovnica (film) folklora ethnology cultural anthropology horror fear catharsis anthropology of emotions popular culture atmosphere affect The Witch (film) folklore true false false Slovenski jezik Angleški jezik Magistrsko delo/naloga 2026-08-30 08:18:08 2026-08-30 08:18:17 2026-08-31 04:06:10 0000-00-00 00:00:00 2026 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 626003 70864.pdf 70864.pdf 1 CA752D8482FC5A4871960D5E21CBFC52 4cd544a3775e70be222756e709672887f31d8375a0b9176b9287acb7b1dcd4e8 2d6f5d58-a43a-11f1-9b0d-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=245454 Filozofska fakulteta 0 0 0