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Found Footage Cinema and the Horror of the Real

This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.

Gothic Studies
REC and the contemporary horror film

influential The Blair Witch Project in 1999 . This strategy (also known as subjective camera, amateur camera, found footage, POV and mock documentary) has come to be widely used, including in Death of a Ghost Hunter (2001), The Descent (2005), Diary of the Dead ( 2007 ), the Paranormal Activity series (2007–12), Cloverfield (2008), The Zombie Diaries

in Monstrous media/spectral subjects
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]onster figures can be used to affirm the existing 104 Security order in that they represent threats to normality which are purged. The release of narrative tension is often identified … with conservative institutions’ (1988: 179). Accordingly, within monster narratives the agent of rescue provides a return to pre-existing order. The agents may be authoritative institutions such as the military (Cloverfield, 2008), police, sheriffs, or other government agents (Police Chief Martin Brody in Jaws, 1975; Sheriff Donald Thompson in A Nightmare on Elm Street, 1984; Agent Clarice

in The cultural politics of contemporary Hollywood film
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reanimated nightmares. In other words, fear films can provide momentary relief but, unlike most Hollywood films, do not entirely contain what they manifest. The ‘happy ending’ is perhaps merely contingent, and may be equivocal. Furthermore, in the aftermath of chaos we may see irrevocable trauma and damage. Sometimes disruption is total, destroying all in its path, disavowing even provisional relief, and ends in apocalypse. The monster movie Cloverfield (2008) is one of these profoundly unsentimental 86 Security instances, a narrative that offers little or no containment

in The cultural politics of contemporary Hollywood film
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-up, lighting, and staging, along with the performance of actors and movement within the shot. Mise-en-scène elements may be contrasted with editing, which occurs after shooting (Cook, 2016). 19 Here we endorse Liam Burke’s view that the superhero story has become synonymous with the comic book film (L. Burke, 2015). 20 For more on the United States government and Hollywood in the post-9/11 context, see chapter 4. 21 See, for example, films like Gladiator (2000), The Perfect Storm (2000), The Day after Tomorrow (2004), Cloverfield (2008), Avatar (2009), Transformers: Dark

in The cultural politics of contemporary Hollywood film
Nordic Gothic and transcultural adaptation

’ personal admiration for and interest in adapting Riget and Låt den rätte komma in , there were unsurprisingly also American economic interests at play. ABC, one of the big traditional US networks, needed to improve its viewer ratings in a changing TV landscape, which I will comment on below, and hoped that King's Kingdom Hospital would be the answer to that challenge, whereas Reeves had been the director of the found-footage horror movie Cloverfield (2008), a profitable box office hit. However, despite Stephen King pronouncing it ‘the best American horror movie

in Nordic Gothic

way the film starts: focusing on the ambulance going to the hospital – it gives the thing a completely different tone. It is very much its own movie. I know how passionate the director [Matt Reeves] was for this story, and for making this movie. 181 Swedish crime fiction SP: That comes across to me as a viewer of the film, and there are certainly different emotional and stylistic registers. Reeves is working in a much more melodramatic mode. His understanding of different genres, and combining them, is prevalent in his earlier film, too, in Cloverfield. JAL

in Swedish crime fiction
Appointment with Fear

Gothic tradition of the discovered manuscript and the discovered recordings in films such as Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999), Cloverfield (Matt Reeves, 2008) and Paranormal Activity (Oren Peli, 2007) and its sequels. Probably the most impressive achievement of Suspense’s ‘Ghost Hunt’ is to be found in the use of the voice of a celebrity non-actor in the lead role

in Listen in terror