Found Footage Horror Films

Fear and the Appearance of Reality

Nonfiction, Entertainment, Performing Arts, Film, Fiction & Literature, Literary Theory & Criticism
Cover of the book Found Footage Horror Films by Alexandra Heller-Nicholas, McFarland & Company, Inc., Publishers
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Author: Alexandra Heller-Nicholas ISBN: 9781476613215
Publisher: McFarland & Company, Inc., Publishers Publication: April 16, 2014
Imprint: Language: English
Author: Alexandra Heller-Nicholas
ISBN: 9781476613215
Publisher: McFarland & Company, Inc., Publishers
Publication: April 16, 2014
Imprint:
Language: English

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.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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.

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