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Extra resources for Abhinavabharati
The House of Horror. htm Caro, M. (1999) ‘Frightfully Frightfully, Frightfully Real: The Bewitching Story Behind ‘The Blair Witch Project’’. Chicago Tribune. Gallagher, S. ’ Filmmaker. 7 (2), 72-74. Harris, M. ’ The Journal of Popular Culture. 34 (4), 75-107. Higley, S. L. and J. A. ) (2004) Nothing That Is: Millennial Cinema and the Blair Witch Controversies. Detroit: Wayne State University Press Kaufman, A. ’ The Village Voice. villagevoice. com/1999-07-13/news/season-of-the-witch/ Kendzior, S.
By positioning the audience to expect a documentary experience, early viewers of The Blair Witch Project would have narrative safety disrupted, making it much more difficult for them to see it as ‘only a movie’. A final idea to consider about the effect of the aesthetics of The Blair Witch Project is that different audiences will respond in different ways. The idea that some people were convinced they were seeing a real documentary when the film was first screened at Sundance is dubious, though there must have been those unsure of exactly what they were seeing.
Considering the positioning of spectators, and exploring the cognitive processes that lead to increased identification, is essential. Is it really as simple as suggesting that, because the cameras are in the hands of the characters, audiences will identify more with them, and therefore be more scared? Many film theorists have considered identification, empathy and emotion and some have applied their findings to The Blair Witch Project. However, there is room for further exploration of the most potent reasons behind the use of the aesthetics discussed in the previous chapter.