The Blair Witch Project by Peter Turner

By Peter Turner

Few motion pictures have had the impact and impression of The Blair Witch venture (1999). Its arrival was once a horror cinema palette cleaner after a decade of serial killers and postmodern intertextuality, a naked bones 'found pictures' pattern setter. during this Devil's recommend, Peter Turner tells the tale of the movie from his notion and creation then offers a special research of the recommendations used, their attract audiences and the topics that helped make the movie such a world hit, together with the pionerring net marketing.

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The Blair Witch Project

Few motion pictures have had the effect and impression of The Blair Witch venture (1999). Its arrival used to be a horror cinema palette purifier after a decade of serial killers and postmodern intertextuality, a naked bones 'found pictures' pattern setter. during this Devil's recommend, Peter Turner tells the tale of the movie from his belief and creation then presents a special research of the ideas used, their entice audiences and the subjects that helped make the movie such a global hit, together with the pionerring online marketing.

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Recording media like video cameras do not lie; they capture what is filmed, vividly and resembling real life. Directors Daniel Myrick and Eduardo Sánchez deliberately construct the visuals of The Blair Witch Project to deceive the viewer into believing what they see is real footage. Though The Blair Witch Project contains no special effects in terms of CGI and only one instance of blood and gore, the film is itself one long special effect from start to finish. By declining to use the latest in high tech special effects wizardry and instead focussing on creating a plausible piece of ‘documentary’ footage, the directors made their film seem infinitely more real than many other horror films.

The idea of being trapped in the narrative of the victims, and particularly the perspective of two/three characters, will now be explored in relation to identification. It is also important to consider how this concept can be problematic when the cameras can switch hands between characters. Finally this chapter will explore the pleasure of this kind of identification, and the idea that audiences wish to experience the action in a visceral way, without actually giving up their safety. The Blair Witch Project attempts to disrupt the safety of the viewing experience and unlike a first-person videogame, leaves the viewer with no control over the characters’ actions.

The Blair Witch Project’s visuals leave much to the viewer’s imagination. The witch is never seen in the film and audiences are left to imagine what she looks like, if indeed they choose to accept that she even does exist in the diegesis. The audience is forced into evaluating that the witch probably does exist as something is definitely in these woods taunting Heather, Mike and Josh. There are many clues to suggest that a supernatural entity is responsible. The construction of the witch is left very much to our imaginations.

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