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|a (OCoLC)ebc1085229719
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|a ebc5654988
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|a GWRE
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|a PN1995.9.H6
|b .T876 2019
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| 100 |
1 |
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|a Turner, Peter.
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| 245 |
1 |
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|a Found Footage Horror Films :
|b a Cognitive Approach.
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| 260 |
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|a Milton :
|b Routledge,
|c 2019.
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| 300 |
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|a 1 online resource (205 pages)
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| 336 |
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|a text
|b txt
|2 rdacontent.
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| 337 |
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|a computer
|b c
|2 rdamedia.
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| 338 |
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|a online resource
|b cr
|2 rdacarrier.
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| 490 |
1 |
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|a Routledge Advances in Film Studies.
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|a Cover; Half Title; Series Page; Title page; Copyright Page; Dedication; Contents; List of Figures and Tables; Acknowledgments; Introduction: Why Found Footage Horror Films Matter; Approaching Diegetic Camera Horror; The Processing of Point of View; Developing a Cognitive Approach to Diegetic Camera Horror; Limits of Psychoanalytic Theories for Diegetic Camera Horror Films; Cognitivism and How We Think about the Diegetic Camera; Priming for Point of View; Heightened Engagement in Diegetic Camera Films; Encouraging Empathy through Information Acquisition.
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|a Attention and Cognitive Participation: Activating the Seeking SystemAlignment and Allegiance with Camera Operators and Charismatic Killers; Methods; This Book; Notes; Bibliography; Filmography; 1 Genealogy; Faked Representations; First-Person Point of View; Real Death on Screen; Developments in Technology and the Impact on Aesthetics: Cameras, Surveillance, and the Dominance of Mediated Reality; The Horror Genre: History, Aesthetics, and Technology; Mimicked Forms: Documentary, Reality Television, and Home Video; Bibliography; TV/Filmography; 2 Narration and the Diegetic Camera.
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|a The Diegetic Camera and Point of ViewIssues of Narration and Enunciation; Self-Consciousness; Tone and Metatextuality; Performance; Sound and Dialogue; Personal Imagining; Realism; Note; Bibliography; TV/Filmography; 3 Priming the Viewer and Mediated Reality; Defining Priming; Viewer Hypothesising; Representing Mediated Reality with the Diegetic Camera; Stylistic Techniques; Creating Mood and Emotion; Conclusion; Note; Bibliography; Filmography; 4 Camera Operator Interaction with Viewers and Profilmic Subjects: The Case of Home Movies.
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| 505 |
8 |
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|a Recognition of Camera Operators and Cinematography as PerformanceAlignment of Information Accumulation and Cognitive and Bodily Response; Interaction with the Viewer; Interaction between Camera Operators and Profilmic Subjects; Empathy, Affective Identification, and Allegiance with Camera Operators; Allegiance with Camera Operators Engaging in Amoral Behaviour; Conclusion; Bibliography; Filmography; 5 Problematic Allegiance with Charismatic Killers: Man Bites Dog, The Last Horror Movie, and Zero Day; Recognition of Killers and Amoral Fascination.
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|a How the Diegetic Camera Directs Moral Evaluations of the CharactersEmpathy, the Killer's Face, and the Close-up; Moral Structure: Killers and Camera Operators; Conclusion; Bibliography; Filmography; Conclusion: The Future for Diegetic Cameras; Re-definitions and Classifications; Conclusions and Contribution; The Importance of Priming; Self-consciousness and Camera Operator Interaction; Allegiance with Charismatic Killers; Further Areas of Exploration; Bibliography; Filmography; Index.
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|a Print version record.
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| 650 |
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|a Horror films
|x History and criticism.
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| 650 |
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7 |
|a Horror films.
|2 fast
|0 (OCoLC)fst00960370.
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| 655 |
|
7 |
|a Criticism, interpretation, etc.
|2 fast
|0 (OCoLC)fst01411635.
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| 776 |
0 |
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|i Print version:
|a Turner, Peter.
|t Found Footage Horror Films : A Cognitive Approach.
|d Milton : Routledge, ©2019
|z 9781138388512.
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| 830 |
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0 |
|a Routledge advances in film studies.
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| 856 |
4 |
0 |
|u http://ebookcentral.proquest.com/lib/ucb/detail.action?docID=5654988
|z Full Text (via ProQuest)
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| 907 |
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|a .b110269391
|b 07-01-21
|c 06-09-20
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| 915 |
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|a M
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| 948 |
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|a May 2024 ebook central cleanup, msw.
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|a Ebook Central
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| 956 |
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|b Ebook Central Perpetual Titles
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| 998 |
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|a web
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|p Can circulate
|a University of Colorado Boulder
|b Online
|c Online
|d Online
|e PN1995.9.H6 .T876 2019
|h Library of Congress classification
|i web
|n 1
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