Found Footage Horror Films


Book Description

As the horror subgenre du jour, found footage horror's amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror's dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube's popular rise in sparking the subgenre's recent renaissance.




Found Footage Horror Films


Book Description

This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in the films in order to attempt to make audiences either (mis)read the footage as non-fiction, or more commonly to imagine that the footage is non-fiction. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, Noroi: The Curse, Autohead and Zero Day This book will be of key interest to Film Studies scholars with research interests in horror and genre studies, cognitive studies of the moving image, and those with interests in narration, realism and mimesis. It is an essential read for students undertaking courses with a focus on film theory, particularly those interested specifically in horror films and cognitive film theory.




Found Footage


Book Description

NOW 60 % PRICE REDUCTION|Found Footage: Cinema Exposed




The Archive Effect


Book Description

The Archive Effect: Found Footage and the Audiovisual Experience of History examines the problems of representation inherent in the appropriation of archival film and video footage for historical purposes. Baron analyses the way in which the meanings of archival documents are modified when they are placed in new texts and contexts, constructing the viewer’s experience of and relationship to the past they portray. Rethinking the notion of the archival document in terms of its reception and the spectatorial experiences it generates, she explores the ‘archive effect’ as it is produced across the genres of documentary, mockumentary, experimental, and fiction films. This engaging work discusses how, for better or for worse, the archive effect is mobilized to create new histories, alternative histories, and misreadings of history. The book covers a multitude of contemporary cultural artefacts including fiction films like Zelig, Forrest Gump and JFK, mockumentaries such as The Blair Witch Project and Forgotten Silver, documentaries like Standard Operating Procedure and Grizzly Man, and videogames like Call of Duty: World at War. In addition, she examines the works of many experimental filmmakers including those of Péter Forgács, Adele Horne, Bill Morrison, Cheryl Dunye, and Natalie Bookchin.




Recycled Images


Book Description




Found Footage Horror Films


Book Description

As the horror subgenre du jour, found footage horror's amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror's dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube's popular rise in sparking the subgenre's recent renaissance.




Our Last Echoes


Book Description

Melissa Albert meets Twin Peaks in this supernatural thriller about one girl's hunt for the truth about her mother's disappearance. In 1973, the thirty-one residents of Bitter Rock disappeared. In 2003, so did my mother. Now, I've come to Bitter Rock to find out what happened to her—and to me. Because Bitter Rock has many ghosts. And I might be one of them. Sophia's earliest memory is of drowning. She remembers the darkness of the water and the briny taste as it filled her throat, the sensation of going under. She remembers hands pulling her back to safety, but that memory is impossible—she's never been to the ocean. But then Sophia gets a mysterious call about an island named Bitter Rock, and learns that she and her mother were there fifteen years ago--and her mother never returned. The hunt for answers lures her to Bitter Rock, but the more she uncovers, the clearer it is that her mother is just one in a chain of disappearances. People have been vanishing from Bitter Rock for decades, leaving only their ghostly echoes behind. Sophia is the only one who can break the cycle—or risk becoming nothing more than another echo haunting the island.




We Eat Our Own


Book Description

A “canny, funny, impressively detailed debut novel” (The New York Times) that blurs the lines between life and art with the story of a film director’s unthinkable experiment in the Amazon jungle. When a nameless, struggling actor in 1970s New York gets the call that an enigmatic director wants him for an art film set in the Amazon, he doesn’t hesitate: he flies to South America, no questions asked. He quickly realizes he’s made a mistake. He’s replacing another actor who quit after seeing the script—a script the director now claims doesn’t exist. The movie is over budget. The production team seems headed for a breakdown. The air is so wet that the celluloid film disintegrates. But what the actor doesn’t realize is that the greatest threat might be the town itself, and the mysterious shadow economy that powers this remote jungle outpost. Entrepreneurial Americans, international drug traffickers, and M-19 guerillas are all fighting for South America’s future—and the groups aren’t as distinct as you might think. The actor thought this would be a role that would change his life. Now he’s worried if he’ll survive it. This “gripping, ambitious…vivid, scary novel” (Publishers Weekly) is a thrilling journey behind the scenes of a shocking film and a thoughtful commentary on violence and its repercussions.




Digital Horror


Book Description

In recent years, the ways in which digital technologies have come to shape our experience of the world has been an immensely popular subject in the horror film genre. Contemporary horror cinema reflects and exploits the anxieties of our age in its increasing use of hand-held techniques and in its motifs of surveillance, found footage (fictional films that appear 'real': comprising discovered video recordings left behind by victims/protagonists) and 'digital haunting' (when ghosts inhabit digital technologies). This book offers an exploration of the digital horror film phenomenon, across different national cultures and historic periods, examining the sub-genres of CCTV horror, technological haunting, snuff films, found footage and torture porn. Digital horror, it demonstrates, is a product of the post 9/11 neo-liberal world view - characterised by security paranoia, constant surveillance and social alienation. Digital horror screens its subjects via the transnational technologies of our age, such as the camcorder and CCTV, and records them in secret footage that may, one day, be found.




The Last Days of Jack Sparks


Book Description

"Ingenious and funny . . . Magnificent." -- Alan Moore, creator of Watchmen and V for Vendetta Jack Sparks died while writing this book. It was no secret that journalist Jack Sparks had been researching the occult for his new book. No stranger to controversy, he'd already triggered a furious Twitter storm by mocking an exorcism he witnessed. Then there was that video: forty seconds of chilling footage that Jack repeatedly claimed was not of his making, yet was posted from his own YouTube account. Nobody knew what happened to Jack in the days that followed -- until now. "Wow. Seriously hard to put down." -- M. R. Carey, author of The Girl With All the Gifts