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Marble Hornets, the Slender Man, and The
DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror. -
Marble Hornets, the Slender Man, and the Emergence Of
DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror. -
Found-Footage Horror and the Frame's Undoing
Found-Footage Horror and the Frame’s Undoing by CECILIA SAYAD Abstract: This article fi nds in the found-footage horror cycle an alternative way of under- standing the relationship between horror fi lms and reality, which is usually discussed in terms of allegory. I propose the investigation of framing, considered both fi guratively (framing the fi lm as documentary) and stylistically (the framing in handheld cameras and in static long takes), as a device that playfully destabilizes the separation between the fi lm and the surrounding world. The article’s main case study is the Paranormal Activity franchise, but examples are drawn from a variety of fi lms. urprised by her boyfriend’s excitement about the strange phenomena registered with his HDV camera, Katie (Katie Featherston), the protagonist of Paranormal Activity (Oren Peli, 2007), asks, “Are you not scared?” “It’s a little bizarre,” he replies. “But we’re having it documented, it’s going to be fi ne, OK?” S This reassuring statement implies that the fi lm image may normalize the events that make up the fabric of Paranormal Activity. It is as if by recording the slamming doors, fl oating sheets, and passing shadows that take place while they sleep, Micah and Katie could tame the demon that follows the female lead wherever she goes. Indeed, the fi lm repeatedly shows us the two characters trying to make sense of the images they capture, watching them on a computer screen and using technology that translates the recorded sounds they cannot hear into waves they can visualize. -
An Investigation of Priming, Self-Consciousness, and Allegiance in the Diegetic Camera Horror Film
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR An investigation of priming, self-consciousness, and allegiance in the diegetic camera horror film by Peter Turner A thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy by Oxford Brookes University Submitted June 2017 Statement of originality Some of the discussion of The Blair Witch Project throughout this thesis has formed the basis for a book, Devil’s Advocates: The Blair Witch Project (Auteur, 2014). Some of the discussion of priming in chapter four was also used in a conference paper, Behind the Camera: Priming the Spectator of Found Footage Horror, delivered at The Society for Cognitive Studies of the Moving Image in 2015. Sections on personal imagining also formed the basis of a conference paper, Personal Imagining and the Point-of-View Shot in Diegetic Camera Horror Films, delivered at The Society for Cognitive Studies of the Moving Image in 2017. Finally, significant amounts of Chapter 3 and Chapter 5 will be featured in two chapters of an upcoming edited collection on found footage horror films with the working title [Rec] Terror: Essays on Found Footage Horror Films. i Abstract The main research question underpinning this study asks why and how the diegetic camera technique has become so popular to both contemporary horror filmmakers and audiences. In order to answer this question, this thesis adopts a mainly cognitive theoretical framework in order to address the mental schemata and processes that are elicited and triggered by these films. -
Off the Beaten Path
Off the Beaten Path A Comprehensive List of the Horror Community’s Favorite Overlooked Films Tomatometer Audience Score Mentions Logline [Rec] (2007) 89% 82% Reporter Angela (Manuela Velasco) and her trusty cameraman Pablo are following a local fire crew for a segment of their reality television series "When You're Asleep" when the firefighters receive a distress call from a nearby apartment building. An elderly woman has become locked in her apartment; a routine call by any account. The police are already on the scene, so now it's up to firemen Manu (Ferran Terraza) and Alex (David Vert) to break down the door and ensure that no harm has come to her. Upon arriving at the building, everything appears normal. But the calm atmosphere at the moment betrays the horrors that begin to unfold after the firemen break down the tenant's door and experience something that no one would believe had it not been captured on camera. Later, as the building is surrounded and quarantined, Pablo continues to roll tape to ensure that whatever the outcome of this terrifying situation may be, there will be some evidence to ensure that the truth gets out. [Rec] 2 (2010) 68% 60% The highly anticipated sequel to one of the scariest films of all time, "[REC] 2" picks up 15 minutes from where we left off, taking us back into the quarantined apartment building where a terrifying virus has run rampant, turning the occupants into mindlessly violent, raging beasts. A heavily armed SWAT team and a mysterious government official are sent in to assess and attempt to neutralize the situation. -
ANNIE BLOOM Costume Designer Bloomosphere.Com
ANNIE BLOOM Costume Designer bloomosphere.com PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS BURN YOUR MAPS Jordan Roberts CINELOU Michael Cuddy, Patrick Aiello Courtney Solomon THE MEDDLER Lorene Scafaria Lorene Scafaria Official Selection – Toronto Int’l Film Festival THE PERFECT GUY David Rosenthal SONY SCREEN GEMS Valerie Sharp NO ESCAPE John Erick Dowdle BOLD FILMS / SIERRA/AFFINITY Drew Dowdle, David Lancaster Andrew Pfeffer AS ABOVE, SO BELOW John Erick Dowdle LEGENDARY PICTURES / UNIVERSAL Bryan Yaconelli, Alex Hedlund Drew Dowdle, Patrick Aiello AIM HIGH Ari Sandel WONDERLAND / WARNER BROS. Season 2 Mary Viola, Lance Sloane Shea Kammer DEVIL John Erick Dowdle MRC / UNIVERSAL Add’l Photography Drew Dowdle, Ashwin Rajan Sam Mercer, M. Night Shyamalan HOW TO MAKE LOVE TO A WOMAN Scott Culver Sarah Donohue, Adam Lawson Sheri Bryant THE INFORMERS Gregor Jordan SENATOR ENTERTAINMENT Add’l Photography Marjorie Chodorov THE FIFTH PATIENT Amir Mann SHORELINE ENTERTAINMENT Darren Moorman, Morris Ruskin UNEARTHED Matt Leutwyler AFTER DARK FILMS Add’l Photography AMBUSH ENTERTAINMENT Official Selection – Tribeca Film Festival Michael Van Briesen, Francey Grace Marjorie Chodorov THE POUGHKEEPSIE TAPES John Erick Dowdle MGM Official Selection – Tribeca Film Festival Stephen Chbosky THE ADVENTURES OF BEATLE Donna Robinson Michael Van Briesen SPECIAL Hal Haberman MAGNET RELEASING Official Selection – Sundance Film Festival Jeremy Passmore Frank Mele, Edward Parks I’LL BE THERE WITH YOU Akihiro Kitamura Michael Van Briesen Daniel Baldwin IN THE MORNING Short Danielle Lurie Katie Mustard Official Selection – Sundance Film Festival Official Selection – Tribeca Film Festival HALFWAY HOME Various Directors COMEDY CENTRAL Series Megan Dillon, Rock Birt INNOVATIVE-PRODUCTION.COM | 310.656.5151 . -
Introduction: 'Welcome to Your Worst Nightmare' 1 'The Past Catches Up
Notes Introduction: ‘Welcome to Your Worst Nightmare’ 1. Hostel tagline. 2. For Edelstein’s first use of the term, see Edelstein, 2005. 3. Lowenstein (2011) for example, has claimed that ‘“torture porn” does not exist’. 4. 2010 Entertainment One DVD release. 5. 2012 Left Films DVD release. 6. 2008 Film 2000 DVD release. 7. Director interview featurette (Martyrs 2009 Optimum Releasing DVD release). Further reference to any DVD commentaries or featurettes cited throughout the book will refer to release initially cited for each film. 8. For example, on Antichrist, see Tookey, 2009; Hunter, 2009; and on The Killer Inside Me see Phillips, 2010; Anna Smith, 2010. 1 ‘The Past Catches Up to Everyone’: Lineage and Nostalgia 1. Choose tagline. 2. Major International English language publications were searched via LexisNexis UK. The 45 films are: Antichrist, Captivity, The Collector, Deadgirl, The Devil’s Rejects, Donkey Punch, Dying Breed, Embodiment of Evil, The Final, Frontier(s), Funny Games, Grindhouse, The Hills Have Eyes, Hostel, Hostel: Part II, The Human Centipede, The Human Centipede II, I Know Who Killed Me, I Spit on Your Grave, Irreversible, The Last House on the Left, The Loved Ones, Martyrs, Meat Grinder, Mum and Dad, P2, Saw, Saw II, Saw III, Saw IV, Saw V, Saw VI, Saw 3D, Scar, A Serbian Film, Shadow, Switchblade Romance, The Texas Chainsaw Massacre, The Texas Chainsaw Massacre: The Beginning, Timber Falls, Turistas, Untraceable, Vacancy, Wolf Creek, Wrong Turn, and wΔz. 3. 39 had at least limited theatrical runs in the UK. 4. The Texas Chainsaw Massacre: The Beginning tagline. 5. -
Transmedial Ghosts: Paranormal Investigation from Photography to Youtube
Transmedial Ghosts: Paranormal Investigation from Photography to YouTube by Kevin Chabot A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Cinema Studies Institute University of Toronto © Copyright by Kevin Chabot 2019 Transmedial Ghosts: Paranormal Investigation from Photography to YouTube Kevin Chabot Doctor of Philosophy Cinema Studies Institute University of Toronto 2019 Abstract Paranormal investigation has been a narrative preoccupation within horror films for quite some time, yet the context of the 21st century and the rise of digitization have raised renewed questions concerning the evidentiary status of audio-visual technologies and their capacity for revelation. In exploring the ways in which paranormal investigation has figured within contemporary horror, this dissertation argues that the inherent ghostly qualities of film, television, video, and the Internet are exploited in diverse ways, figuring the medium itself as a spectral conduit. This spectrality manifests itself differently from medium to medium, highlighting unique articulations of haunting across media. As such, paranormal investigation in contemporary horror situates the ghost as a transmedial figure, one that exhibits unique medium- specific degrees of haunting depending upon its mode of visualization. In presenting differing instantiations of haunting within distinct media forms, paranormal investigation presents us with a composite image of current understandings of the ontology of the ghost as well as a reflexive analysis of the revelatory role of contemporary media. This investigative enterprise betrays a desire to visualize the imperceptible, an epistephilic drive to bring the supernatural within the bounds of knowledge. At the same time, paranormal investigation demonstrates a persistent ii investment in media as compensatory vision, in their ability to access and document that which escapes our perceptive capabilities. -
Bibliography
Bibliography Agamben , Giorgio . Homo Sacer: Sovereignty and Bare Life . Trans. Daniel Heller- Roazen (Stanford: University Press, 1998 ). —— . ‘On Security and Terror’, Trans. Soenke Zehle, in Frankfurter Allgemeine Zeitung , 2011. Web. 10 September 2011 . Akdeniz , Yaman . Sex on the Net: The Dilemma of Policing Cyberspace (Reading: South Street Press, 1999 ). Alexander , Yonah . ‘The Media and Terrorism’, in Contemporary Terror: Studies in Sub-State Violence , Ed. by David Carlton and Carlo Schaerf (Basingstoke: Macmillan, 1981 ), pp. 50–65. Alien, Dir. Ridley Scott (20th Century Fox, 1979 ). Althusser , Louis . On Ideology (London: Verso, 2008 ). Anderson , Benedict . Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1991 ). Apocalypse Now , Dir. Francis Ford Coppola (United Artists, 1979 ). Arendt , Hannah . The Human Condition (New York: Doubleday Anchor Books, 1959 ). Avisar , Ilan . Screening the Holocaust: Cinema’s Images of the Unimaginable (Bloomington: Indiana University Press, 1988 ). Badiou , Alain . On Beckett , Ed. Alberto Toscano and Nina Power (Manchester: Clinamen Press, 2003 ). —— . Being and Event , Trans. Oliver Feltham (London: Continuum, 2005 ). Badley , Linda . Film, Horror, and The Body Fantastic (Westport, Connecticut: Greenwood Press, 1995 ). Bal , Mieke . Reading “Rembrandt”: Beyond the Word-Image Opposition (Cambridge: Cambridge University Press, 1991 ). Ball , James , Matthew Taylor, and Tim Newburn . ‘Reading the Riots’, The Guardian (5 December 2011 ). Barker , Martin , and Julian Petley . ‘Introduction: From Bad Research to Good – A Guide for the Perplexed’, in Ill Effects: The Media/Violence Debate , Ed. Martin Barker and Julian Petley, second edition (London, New York: Routledge, 2001 ), pp. 1–27. Barnes , Peter . To Be or Not To Be? (London: BFI, 2002 ). Barthes , Roland . Mythologies , Trans. -
Affectivity and Corporeal Transgression on Stage and Screen
CONSUMING MUTILATION: AFFECTIVITY AND CORPOREAL TRANSGRESSION ON STAGE AND SCREEN PhD Thesis, Lancaster University December 2012 Xavier Aldana Reyes, BA (Hons), MA This thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. ProQuest Number: 11003437 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003437 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 DECLARATION This thesis is my own work. It has not been submitted for the award of a higher degree elsewhere. Xavier Aldana Reyes December 2012 3 ABSTRACT Xavier Aldana Reyes, BA (Hons), MA Consuming Mutilation: Affectivity and Corporeal Transgression on Stage and Screen PhD Thesis, Lancaster University December 2012 This thesis suggests the possibility that psychoanalytic frameworks may prove insufficient to apprehend the workings of post-millennial horror. Through a sustained exploration of how affect theory may be applied to horror, I propose a new affective corporeal model that accounts for the impact of recent films such as Saw (James Wan, 2004) and Hostel (Eli Roth, 2005). I also explore how such a theoretical approach exceeds cognitivism in favour of an understanding of the genre founded on phenomenology, Pain Studies and Deleuze and Guattari’s notion of the ‘body without organs’. -
PRODUCTION BIOS JOHN ERICK Writer, Director & Executive
PRODUCTION BIOS JOHN ERICK Writer, Director & Executive Producer DREW DOWDLE Writer & Executive Producer Filmmaking duo John Erick Dowdle and Drew Dowdle are a writing-directing-producing team known for their captivating projects and well-rounded stories that showcase their actors in a different light. Most recently, the Dowdles saw the release of their film No Escape, starring Owen Wilson, Pierce Brosnan, and Lake Bell. The film, which made over $55 million at the worldwide box office, tells the story of an American family settling into their new overseas home, who soon find themselves caught in the middle of a revolution. Previously, the Dowdles released As Above / So Below, a supernatural thriller about an archeologist’s search for a lost relic in the catacombs under the streets of Paris. The film, which John directed and Drew produced based on the script they co-wrote, was released by Universal Pictures and made over $41 million at the worldwide box office. In 2010, Devil, was released by Universal and grossed $63 million at the worldwide box office. John directed and Drew executive produced, based on a story by M. Night Shyamalan, who also produced. Prior to Devil, the brothers co-wrote, John directed, and Drew executive produced Quarantine for Sony Screen Gems, which was released in 2008 and met with critical and commercial success, grossing over $41 million at the box office. The Dowdles’ indie horror / faux documentary, The Poughkeepsie Tapes was a break out success at the 2007 Tribeca Film Festival. The documentary-style depiction of the hunt for a serial killer shocked audiences and sold to MGM.