Filtered Reality: The Progenitors and Evolution of Found Footage Horror
About
Filtered Reality is our love letter to found footage horror.
Featuring a foreword from Stephen Volk (Ghostwatch) and an introduction by Aislínn Clarke (The Devil’s Doorway), the book's sixteen chapters are divided into two sections — Progenitors and Evolution — to chart the genesis of the contemporary found footage horror film.
The first section includes influences such as epistolary Victorian horror novels (Dracula), radio hoaxes (The War of the Worlds), and the mondo film (Cannibal Holocaust), before the second explores subjects ranging from digital folklore (The Blair Witch Project), to video games (Resident Evil), to post-cinematic horror (Host) — and what lies beyond...
The first-edition paperback is limited to 500 copies (complete with a numbered certificate) and features original section illustrations and detailed monochrome cover art complete with UV spotting. Each order comes with a reversible bookmark.
If you would prefer an electronic version of Filtered Reality, the eBook is available on the Kindle store.
Contents
Foreword
by Stephen Volk
Introduction
Hex, Lies and Videotape: The Magic of Found Footage Film
by Aislínn Clarke
Part One: Progenitors
“Your Letters Are Sacred to Me”: Dracula (1897) and the Epistolary Horror Novel
by Samm Deighan
Irony Is a Dead Scene: Audience Position and the Pursuit of Dramatic Irony in La Compagnia del Grand-Guignol, the Giallo Film and Found Footage Horror
by Matt Rogerson
The Spirit at One’s Elbow: Denis Johnston, Orson Welles and Interrupted Radio
by Reggie Chamberlain-King
Forbidden Files and Ghostwatching: Television, Truth and Transgression
by Alexandra Heller-Nicholas
“See Hangings and Electrocutions”: Early ‘Execution’ Films as Progenitors of Found Footage Horror
by Jon Towlson
Cannibalizing Ethnographic Film: Anthropology’s Complicated Relationship with Found Footage Horror
by Gavin Weston, Ricardo Leizaola, and Justin Woodman
You’ll Only Believe Your Eyes if the Camera Work is Lousy: A Survey of Found Footage Bigfoot
by John Kenneth Muir
Infopocalypse Now: Hoaxing as Social Disruption in The McPherson Tapes and Beyond
by Rob Skvarla
Part Two: Evolution
“The Medium Is the Message”: The Evolution of American Folklore Through Found Footage in The Last Broadcast (1998) and The Blair Witch Project (1999)
by Jessica Rose
Emblazoned Eve: embodied Spectatorship, Material Feminism and Monstrous Religiosity in REC (2007) and The Devil’s Doorway (2018)
by Rebecca Booth
Fact or Fiction: Layering Media to Construct the Illusion of ‘True’ Crime in The Poughkeepsie Tapes (2007) and Lake Mungo (2008)
by Mary Beth McAndrews
Behind Every “Marked” Man Is a Great Coven: Hauntology, Matrilineality and the Accelerationist Specter of Becoming in the Paranormal Activity Series
by Rebecca Booth and Valeska Griffiths
The Mechanical Uncanny: Social Media and Digital Doubles in Unfriended (2014) and Cam (2018)
by Dawn Keetley
Welcome to Hell (House): Haunted Attractions and the Culture of Excess in The Houses October Built (2014) and Hell House LLC (2015)
by Peter Turner
Fear and the Ludic Subject: Phenomenology, the Body and Horror Video Games
by Daniel Vella
Screaming Services: The Audience, the Egregore and Post-Cinematic Horror in “Dear David” (2017-2018) and Host (2020)
by Valeska Griffiths
About
Filtered Reality is our love letter to found footage horror.
Featuring a foreword from Stephen Volk (Ghostwatch) and an introduction by Aislínn Clarke (The Devil’s Doorway), the book's sixteen chapters are divided into two sections — Progenitors and Evolution — to chart the genesis of the contemporary found footage horror film.
The first section includes influences such as epistolary Victorian horror novels (Dracula), radio hoaxes (The War of the Worlds), and the mondo film (Cannibal Holocaust), before the second explores subjects ranging from digital folklore (The Blair Witch Project), to video games (Resident Evil), to post-cinematic horror (Host) — and what lies beyond...
The first-edition paperback is limited to 500 copies (complete with a numbered certificate) and features original section illustrations and detailed monochrome cover art complete with UV spotting. Each order comes with a reversible bookmark.
If you would prefer an electronic version of Filtered Reality, the eBook is available on the Kindle store.
Contents
Foreword
by Stephen Volk
Introduction
Hex, Lies and Videotape: The Magic of Found Footage Film
by Aislínn Clarke
Part One: Progenitors
“Your Letters Are Sacred to Me”: Dracula (1897) and the Epistolary Horror Novel
by Samm Deighan
Irony Is a Dead Scene: Audience Position and the Pursuit of Dramatic Irony in La Compagnia del Grand-Guignol, the Giallo Film and Found Footage Horror
by Matt Rogerson
The Spirit at One’s Elbow: Denis Johnston, Orson Welles and Interrupted Radio
by Reggie Chamberlain-King
Forbidden Files and Ghostwatching: Television, Truth and Transgression
by Alexandra Heller-Nicholas
“See Hangings and Electrocutions”: Early ‘Execution’ Films as Progenitors of Found Footage Horror
by Jon Towlson
Cannibalizing Ethnographic Film: Anthropology’s Complicated Relationship with Found Footage Horror
by Gavin Weston, Ricardo Leizaola, and Justin Woodman
You’ll Only Believe Your Eyes if the Camera Work is Lousy: A Survey of Found Footage Bigfoot
by John Kenneth Muir
Infopocalypse Now: Hoaxing as Social Disruption in The McPherson Tapes and Beyond
by Rob Skvarla
Part Two: Evolution
“The Medium Is the Message”: The Evolution of American Folklore Through Found Footage in The Last Broadcast (1998) and The Blair Witch Project (1999)
by Jessica Rose
Emblazoned Eve: embodied Spectatorship, Material Feminism and Monstrous Religiosity in REC (2007) and The Devil’s Doorway (2018)
by Rebecca Booth
Fact or Fiction: Layering Media to Construct the Illusion of ‘True’ Crime in The Poughkeepsie Tapes (2007) and Lake Mungo (2008)
by Mary Beth McAndrews
Behind Every “Marked” Man Is a Great Coven: Hauntology, Matrilineality and the Accelerationist Specter of Becoming in the Paranormal Activity Series
by Rebecca Booth and Valeska Griffiths
The Mechanical Uncanny: Social Media and Digital Doubles in Unfriended (2014) and Cam (2018)
by Dawn Keetley
Welcome to Hell (House): Haunted Attractions and the Culture of Excess in The Houses October Built (2014) and Hell House LLC (2015)
by Peter Turner
Fear and the Ludic Subject: Phenomenology, the Body and Horror Video Games
by Daniel Vella
Screaming Services: The Audience, the Egregore and Post-Cinematic Horror in “Dear David” (2017-2018) and Host (2020)
by Valeska Griffiths
About
Filtered Reality is our love letter to found footage horror.
Featuring a foreword from Stephen Volk (Ghostwatch) and an introduction by Aislínn Clarke (The Devil’s Doorway), the book's sixteen chapters are divided into two sections — Progenitors and Evolution — to chart the genesis of the contemporary found footage horror film.
The first section includes influences such as epistolary Victorian horror novels (Dracula), radio hoaxes (The War of the Worlds), and the mondo film (Cannibal Holocaust), before the second explores subjects ranging from digital folklore (The Blair Witch Project), to video games (Resident Evil), to post-cinematic horror (Host) — and what lies beyond...
The first-edition paperback is limited to 500 copies (complete with a numbered certificate) and features original section illustrations and detailed monochrome cover art complete with UV spotting. Each order comes with a reversible bookmark.
If you would prefer an electronic version of Filtered Reality, the eBook is available on the Kindle store.
Contents
Foreword
by Stephen Volk
Introduction
Hex, Lies and Videotape: The Magic of Found Footage Film
by Aislínn Clarke
Part One: Progenitors
“Your Letters Are Sacred to Me”: Dracula (1897) and the Epistolary Horror Novel
by Samm Deighan
Irony Is a Dead Scene: Audience Position and the Pursuit of Dramatic Irony in La Compagnia del Grand-Guignol, the Giallo Film and Found Footage Horror
by Matt Rogerson
The Spirit at One’s Elbow: Denis Johnston, Orson Welles and Interrupted Radio
by Reggie Chamberlain-King
Forbidden Files and Ghostwatching: Television, Truth and Transgression
by Alexandra Heller-Nicholas
“See Hangings and Electrocutions”: Early ‘Execution’ Films as Progenitors of Found Footage Horror
by Jon Towlson
Cannibalizing Ethnographic Film: Anthropology’s Complicated Relationship with Found Footage Horror
by Gavin Weston, Ricardo Leizaola, and Justin Woodman
You’ll Only Believe Your Eyes if the Camera Work is Lousy: A Survey of Found Footage Bigfoot
by John Kenneth Muir
Infopocalypse Now: Hoaxing as Social Disruption in The McPherson Tapes and Beyond
by Rob Skvarla
Part Two: Evolution
“The Medium Is the Message”: The Evolution of American Folklore Through Found Footage in The Last Broadcast (1998) and The Blair Witch Project (1999)
by Jessica Rose
Emblazoned Eve: embodied Spectatorship, Material Feminism and Monstrous Religiosity in REC (2007) and The Devil’s Doorway (2018)
by Rebecca Booth
Fact or Fiction: Layering Media to Construct the Illusion of ‘True’ Crime in The Poughkeepsie Tapes (2007) and Lake Mungo (2008)
by Mary Beth McAndrews
Behind Every “Marked” Man Is a Great Coven: Hauntology, Matrilineality and the Accelerationist Specter of Becoming in the Paranormal Activity Series
by Rebecca Booth and Valeska Griffiths
The Mechanical Uncanny: Social Media and Digital Doubles in Unfriended (2014) and Cam (2018)
by Dawn Keetley
Welcome to Hell (House): Haunted Attractions and the Culture of Excess in The Houses October Built (2014) and Hell House LLC (2015)
by Peter Turner
Fear and the Ludic Subject: Phenomenology, the Body and Horror Video Games
by Daniel Vella
Screaming Services: The Audience, the Egregore and Post-Cinematic Horror in “Dear David” (2017-2018) and Host (2020)
by Valeska Griffiths