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For nearly 800 years, the Dies Irae has been understood as a sonic marker of death, owing mostly to its presence in the Requiem Mass for the Dead. In the nineteenth century, this perception shifted as the melody began to appear in secular compositions for the concert hall, and by the twentieth century the Dies Irae became nearly synonymous with ominous, macabre, and supernatural scenes in film. Built on a large corpus of films that quote or reference the Dies Irae, this book not only illuminates this transition from the church to the concert hall to the cinema, but also examines how this melody came to be associated primarily with the monstrous “other” in the horror films of today.

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Introduction: The “Other” in Horror; The Dies Irae as “Other”

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  • 发表日期：

    2025年

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  • Alex Ludwig

摘要

For nearly 800 years, the Dies Irae has been understood as a sonic marker of death, owing mostly to its presence in the Requiem Mass for the Dead. In the nineteenth century, this perception shifted as the melody began to appear in secular compositions for the concert hall, and by the twentieth century the Dies Irae became nearly synonymous with ominous, macabre, and supernatural scenes in film. Built on a large corpus of films that quote or reference the Dies Irae, this book not only illuminates this transition from the church to the concert hall to the cinema, but also examines how this melody came to be associated primarily with the monstrous “other” in the horror films of today.