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Acoustic Startles in Horror Films

A Neurofilmological Approach

Valerio Sbravatti

audience a “jump scare.” 1 Such sound can consist of either a bang happening in the story, usually heard by the characters, or a stinger, that is, the musical blare provided by the score, thus not happening in the story and unheard by the characters. My

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Ted Nannicelli

colloquially referred to as the “jump scare.” One of the most interesting points of Sbravatti's article is that the jump scare is not achieved solely by preconscious, automatic means; rather, it is cued by the various ways in which a film first establishes a

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

as Paul pulls it from his wife—with all the affective sucking sounds and viscera of the best horror scenes—followed by a little jump scare as the worm twitches on the bed (see figures 1 and 2 ). This “little” jump scare is an exclamation point