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A Critical Reassessment of Found Footage Horror

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.

Gothic Studies
Open Access (free)
Pleasantville and the textuality of media memory

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 ‘digital cinema’ had become, by the late

in Memory and popular film
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‘choice’: the oft-trumpeted primary attraction of the multiplex. The study ends with a consideration of the new developments in digital cinema, particularly digital projection, and with a discussion of the future directions that cinema may take in Britain. Notes 1 M. B. Hansen, ‘America, Paris, the Alps: Kracauer (and Benjamin) on Cinema and Modernity’, in L

in From silent screen to multi-screen
Futurist cinema as metamedium

). 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 Digital Cinema?’, 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

in Back to the Futurists

Committee on 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 Digital cinema Technology doesn’t matter. Nobody pays to see

in From silent screen to multi-screen

taken to more questionable extremes than in the celebration of cinema’s digitization, in pronouncements that finally cinema can shake off the belief it Rushton_03_Ch2.indd 52 31/08/2010 09:35 Realism, reality and authenticity  53 might once have had that its task was to represent reality. Digital cinema, 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

in The reality of film
Open Access (free)
Heterogeneous temporalities, algorithmic frames and subjective time in geomedia

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 digital cinema (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 cinematic

in Time for mapping
Interview with Patrick Keiller

the lecture Interview with Patrick Keiller 191 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 digital cinema 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

in British rural landscapes on film

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 digital cinema in which endings can be changed, and troublesome scenes transformed instantaneously

in Memory and popular film
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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, digital cinema 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

in Postcolonial African cinema