Why Found Footage Horror Films Matter : Introduction
Why Found Footage Horror Films Matter : Introduction Peter Turner, Oxford Brookes University The cinematic image of a young woman staring into the camera – crying, hyperventilating, and talking directly to her audience – has become the definitive image of The Blair Witch Project (Myrick and Sanchez, 1999). It is arguably the most famous scene, and certainly the most parodied image of found footage horror cinema in general, perhaps even one of the defining images of cinema in the 1990s. This character, Heather Donahue, is played by a hitherto unknown actress called Heather Donahue, in her feature debut. From what we see on screen, and the manner in which her monologue is delivered, it can be inferred that she is not reciting scripted lines. She does not seem to be acting; her fear appears genuine. Heather is alone in a dark tent, shooting this footage herself with a handheld camera. The shot did not look like most other horror films that had been previously shown in cinemas; it is poorly framed, poorly lit, and the character knows and acknowledges that she is on camera. There had been previous films in this style: Cannibal Holocaust (Deodato, 1980) contains the use of ‘found footage’ within its narrative structure, and Man Bites Dog (Belvaux, Bonzel and Poelvoorde, 1992) is a mock-documentary that purports to be completely filmed by a diegetic film crew. However, neither of these films had the cultural impact or box office success of The Blair Witch Project, a film that eventually spawned numerous imitators, and arguably the entire found footage horror sub- genre that now consists of hundreds of films.1 There is a straightforward economic reason why filmmakers continue to produce found footage horror films.
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