| 000 | 01991 a2200373 4500 | ||
|---|---|---|---|
| 001 | 0367661845 | ||
| 005 | 20250317100400.0 | ||
| 008 | 250312042020GB eng | ||
| 020 | _a9780367661847 | ||
| 037 |
_bTaylor & Francis _cGBP 40.99 _fBB |
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| 040 | _a01 | ||
| 041 | _aeng | ||
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| 100 | 1 | _aPeter Turner | |
| 245 | 1 | 0 |
_aFound Footage Horror Films _bA Cognitive Approach |
| 250 | _a1 | ||
| 260 |
_aOxford _bRoutledge _c20200930 |
||
| 300 | _a190 p | ||
| 520 | _bThis 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. | ||
| 999 |
_c1116 _d1116 |
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