They make use of sound, of temporal delay, and of the limitations and affordances of consumer video products that are both used to create the films, and actually used within the films. Produced on extremely low budgets, they devise a number of ways to generate scares and thrills without resorting to complicated, high-end special effects. viewing subject.The six Paranormal Activity movies (2007–15) explore a variety of methods for creating ‘found-footage’ horror. platforms (VHS, DVD, Blu-ray, streaming media) in the evolution of the. remarkable skill in a book that argues for the central importance of video. This moment plays with the intricate historical, technological and phenomenological interplay of genre and medium, one that Benson-Allott traces with.
The trailer plays out a typical summer-camp-slasher scenario, but as it concludes it reveals the trailer’s diegetic spectator, a teenage girl streaming the content over a wireless network on her smartphone. trailer seemingly assembled from a battered 35 mm print. colour scheme and style evoking a 1980s aesthetic, giving way to a. begins with what appears to be the logo for a VHS distributor, its neon. ALLISON WHITNEY While reading Caetlin Benson-Allott’s Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing, I also happened upon the 2015 release The Final Girls (Todd Strauss-Schulson) and was immediately struck by how effectively Benson-Allott equips her reader to engage with contemporary horror and spectatorship practice. University of California Press, 2013, 297 pp. reviews Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing. Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File.
Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing.
0 kommentar(er)
