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Found Footage Horror Films: A Cognitive Approach by Peter Turner (English) Hardc
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Specificaties
- Objectstaat
- ISBN-13
- 9781138388512
- Book Title
- Found Footage Horror Films
- ISBN
- 9781138388512
- Publication Year
- 2019
- Series
- Routledge Advances in Film Studies
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Publication Name
- Found Footage Horror Films
- Item Height
- 0.6in
- Item Length
- 9.2in
- Publisher
- Routledge
- Item Width
- 6.2in
- Number of Pages
- 190 Pages
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Product Information
This 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.
Product Identifiers
Publisher
Routledge
ISBN-10
1138388513
ISBN-13
9781138388512
eBay Product ID (ePID)
28038533220
Product Key Features
Publication Name
Found Footage Horror Films
Format
Hardcover
Language
English
Publication Year
2019
Series
Routledge Advances in Film Studies
Type
Textbook
Number of Pages
190 Pages
Dimensions
Item Length
9.2in
Item Height
0.6in
Item Width
6.2in
Additional Product Features
Lc Classification Number
Pn1995.9.H6t87 2018
Table of Content
TABLE OF CONTENTS List of Figures Acknowledgements Introduction: why found footage horror films matter Approaching diegetic camera horror The processing of point of view Developing a cognitive approach to diegetic camera horror Limits of psychoanalytic theories for diegetic camera horror Cognitivism and how we think about the diegetic camera Priming for point of view Engagement and empathy in diegetic camera films Attention and cognitive participation: activating the seeking system Alignment and allegiance with camera operators and charismatic killers Notes Bibliography Filmography 1 Genealogy Faked representations First-person point of view Real death on screen Developments in technology and the impact on aesthetics: cameras, surveillance, and the dominance of mediated reality The horror genre: history, aesthetics, and technology Mimicked forms: documentary, reality television, and home video Notes Bibliography Filmography 2 Narration and the diegetic camera The diegetic camera and point of view Issues of narration and enunciation Self-consciousness Tone and metatextuality Performance Sound and dialogue Personal imagining Realism Notes Bibliography Filmography 3 Priming the spectator and mediated reality Defining priming Viewer hypothesising Representing mediated reality with the diegetic camera Stylistic techniques Creating mood and emotion Conclusion Notes Bibliography Filmography 4 Camera operator interaction with viewers and profilmic subjects: The case of home movies Recognition of camera operators and cinematography as performance Alignment of information accumulation and cognitive and bodily response Interaction with the viewer Interaction between camera operators and profilmic subjects Empathy, affective identification, and allegiance with camera operators Allegiance with camera operators engaging in amoral behaviour Conclusion Notes Bibliography Filmography 5 Allegiance with Charismatic Killers : Man Bites Dog , The Last Horror Movie and Zero Day Recognition of killers and amoral fascination How the diegetic camera directs moral evaluations of characters Empathy, the killer's face, and the close-up Moral Structure: Killers and camera operators Conclusion Notes Bibliography Filmography Conclusion: The future for diegetic cameras Re-definitions and classifications Conclusions The importance of priming Self-consciousness and camera operator interaction Allegiance with charismatic killers Further areas of exploration Notes Bibliography Filmography Index
Copyright Date
2019
Target Audience
College Audience
Topic
Film / Genres / Horror, Media Studies, Film / Direction & Production, Film / History & Criticism
Lccn
2018-052701
Dewey Decimal
791.436164
Dewey Edition
23
Illustrated
Yes
Genre
Social Science, Performing Arts
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