- We will send in 10–14 business days.
/images/books/10130146/9781474482080.jpg)
- Author: Shellie McMurdo
- Publisher: Edinburgh University Press
- ISBN-10: 1474482082
- ISBN-13: 9781474482080
- Format: 15.6 x 23.4 x 1.6 cm, hardcover
- Language: English
- SAVE -10% with code: EXTRA
Reviews
Description
Through an identification of key case studies both mainstream and lesser known, Blood on the Lens: Trauma and Anxiety in American Found Footage Horror Cinema argues that found footage horror cinema is uniquely able to confront a pervasive contemporary culture of anxiety and trauma. This book traces how and why the subgenre has continued to endure, even as we enter a post-cinematic landscape.
Through three distinct sections, Blood on the Lens proposes key observations on the found footage horror subgenre. She questions how these films engage with national trauma, the common themes of this body of films and how they relate to wider anxieties. In addition, McMurdo investigates the effect various cultural movements have had on the aesthetics of found footage horror, how these films position their spectator and encourage an active viewing mode, and how the line between fiction and fact is blurred both paratextually and within the films themselves.
EXTRA 10 % discount with code: EXTRA
The promotion ends in 19d.18:00:58
The discount code is valid when purchasing from 10 €. Discounts do not stack.
- Author: Shellie McMurdo
- Publisher: Edinburgh University Press
- ISBN-10: 1474482082
- ISBN-13: 9781474482080
- Format: 15.6 x 23.4 x 1.6 cm, hardcover
- Language: English English
Through an identification of key case studies both mainstream and lesser known, Blood on the Lens: Trauma and Anxiety in American Found Footage Horror Cinema argues that found footage horror cinema is uniquely able to confront a pervasive contemporary culture of anxiety and trauma. This book traces how and why the subgenre has continued to endure, even as we enter a post-cinematic landscape.
Through three distinct sections, Blood on the Lens proposes key observations on the found footage horror subgenre. She questions how these films engage with national trauma, the common themes of this body of films and how they relate to wider anxieties. In addition, McMurdo investigates the effect various cultural movements have had on the aesthetics of found footage horror, how these films position their spectator and encourage an active viewing mode, and how the line between fiction and fact is blurred both paratextually and within the films themselves.
Reviews