The aim of this article is twofold. On the one hand, it offers a survey of found footage horror since the turn of the millennium that begins with The Blair Witch Project (1999) and ends with Devils Due (2014). It identifies notable thematic strands and common formal characteristics in order to show that there is some sense of coherence in the finished look and feel of the films generally discussed under this rubric. On the other hand, the article seeks to reassess the popular misunderstanding that found footage constitutes a distinctive subgenre by repositioning it as a framing technique with specific narrative and stylistic effects.
theoretical development in the discussion of memory crisis, especially
as it bears upon the notional ‘amnesia’ that has been
associated with digital technology in, and as part of, the culture of
postmodernism. In doing so, I want to examine Pleasantville
(1998), a film that reframes the relationship between colourisation and
cultural remembrance in a period where ‘digitalcinema’ had
become, by the late
‘choice’: the oft-trumpeted primary attraction of the multiplex.
The study ends with a consideration of the new developments in digitalcinema, particularly digital projection, and with a discussion of the future
directions that cinema may take in Britain.
M. B. Hansen, ‘America, Paris, the Alps:
Kracauer (and Benjamin) on Cinema and Modernity’, in L
Lista, G. (1987). ‘Ginna e il cinema futurista’, Il Lettore di Provincia, 69, 20.
Lista, G. (2001). Cinema e fotografia futurista (Milan: Skira).
Manovich, L. (1995). ‘What Is DigitalCinema?’, www.manovich.net/TEXT/
digital-cinema.html. Accessed 17 October 2013.
Marinetti, F. T. (1912a). Manifesto tecnico della letteratura futurista (Milan:
Direzione del Movimento Futurista).
Marinetti, F. T. (1912b). I poeti futuristi (Milan: Edizioni futuriste di Poesia).
Marinetti, F. T. (1914). Lo splendore geometrico e meccanico e la sensibilità numerica
(Milan: Direzione del
Culture, Media and Sport, the Association of Independent Film Exhibitors
also sought to stress the problems which would be brought about by the
closure of the unit by arguing that the decision ‘brings into question
how the bfi will continue to have any regional impact’. 66
Technology doesn’t matter. Nobody pays to
taken to more questionable extremes than in the celebration of cinema’s digitization, in
pronouncements that finally cinema can shake off the belief it
Realism, reality and authenticity 53
might once have had that its task was to represent reality. Digitalcinema, so the argument goes, is a completely different beast
from the cinema of celluloid, especially as films can now be made
without any reference to ‘reality’ at all. One recent article written by
Stephen Prince puts it in the following way, with Bazin again registered
Heterogeneous temporalities, algorithmic frames and subjective time in
the view of the
built-in smartphone camera into an interface, so the ‘actual’ environment of the
subject using the device becomes a potential target. The whole of the environment – whether virtually or geographically real – becomes a potential interface,
a mode of production that corresponds to the conditions of production of digitalcinema (Manovich, 1999) and of immersive virtual environments in general.
With navigation, any producer-sided predictability of framing and mobility
is dropped. If the virtual environment of the geobrowser is compared to the
Interview with Patrick Keiller
theatre as ProRes (HQ) files, which worked very well. By the time the film was
finished, making prints seemed an unnecessary expense, but the finished digitalcinema version confirmed the decision to originate on film stock. The cinematography began rather suddenly, when I noticed a first camera subject (the
plywood-encased house) that I thought might not be there for much longer. This
also offered a good opportunity to compare two film stocks (using the grain of
the plywood, as in an early sequence in London) and
movement that has made contemporary cinema the emblematic
expression, not of the real, but rather of the hyperreal. The rise of
digital morphing techniques, for example, along with other forms of
electronic manipulation of images in film, and the certain development
in the very near future of an interactive digitalcinema in which
endings can be changed, and troublesome scenes transformed
revive Ouédraogo’s critical and commercial fortunes,
they are clear evidence of his boundless capacity for reinvention as a
director. As was mentioned above, he has now turned his attention towards
developing a cheap, but high-quality, digitalcinema for the national market
in Burkina Faso, investing heavily in digital cameras for filming, and
projectors for screening in a number of cinemas across the country (De Rochebrune 2005 : 58–9): clearly