This book adopts a cognitive theoretical framework to address the mental processes triggered by found footage horror films. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, and Zero Day.
This book adopts a cognitive theoretical framework to address the mental processes triggered by found footage horror films. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, and Zero Day.
Peter Turner is Associate Lecturer in the School of Technology, Design and Environment at Oxford Brookes University, UK
Inhaltsangabe
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
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
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