Download PDF by Abhinavagupta: Abhinavabharati

Download PDF by Abhinavagupta: Abhinavabharati

By Abhinavagupta

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This deception, as well as the formal qualities of the film, can be attributed to the filmmakers’ desire to provoke strong responses to the film. As audiences, and particularly horror fans, have become more and more accepting of on screen violence, horror filmmakers have looked for new ways to scare and shock their audiences. Giving the viewer the uncanny sense that what they are seeing could be real footage of death and torture takes horror film watching into new and exciting territory for many fans of the genre.

Shtml [Accessed 11th June] Higley, S. (2004) ‘“People just want to see something”: art, death, and document in Blair Witch, The Last Broadcast, and Paradise Lost’ In: Higley, S. L. and J. A. Weinstock (eds) (2004) Nothing That Is: Millennial Cinema and the Blair Witch Controversies. Detroit: Wayne State University Press Hills, M. (2005) The Pleasures of Horror. London: Continuum Ingle, Z. (2011) George A. Romero’s Diary of the Dead and the rise of the Diegetic Camera in Recent Horror Films. html McDowell, S.

Documentaries and therefore also mockumentaries are often less fluid in their editing. The spontaneous nature of capturing ‘real life’ often means that shots cannot be snipped as carefully and seamlessly as in fiction feature films. The Blair Witch Project features jump cuts and flash frames, which draw attention to the edited nature of the material. At some points tension is heightened when the editor chooses to leave some shots lasting for just a little longer than is comfortable for the audience.

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Abhinavabharati by Abhinavagupta


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