0,00 €
0,00 €
inkl. MwSt.
Sofort per Download lieferbar
0,00 €
0,00 €
inkl. MwSt.
Sofort per Download lieferbar

Alle Infos zum eBook verschenken
Als Download kaufen
0,00 €
inkl. MwSt.
Sofort per Download lieferbar
Jetzt verschenken
0,00 €
inkl. MwSt.
Sofort per Download lieferbar

Alle Infos zum eBook verschenken
  • Format: PDF

Horror cinema is a genre that is undergoing constant evolution, from the sub-genre of 'found footage,' to post-cinematic new media forms such as Youtube horror, horror video games and cinematic virtual reality horror. By investigating how these new forms alter the dynamics of spectatorship, this book charts how cinema's affective capacities have shifted in relation to these modifications in the forms of cinematic horror. It applies a rich theoretical synthesis of phenomenological and Deleuzian approaches to a number of case studies, including films like The Blair Witch Project, Paranormal…mehr

Produktbeschreibung
Horror cinema is a genre that is undergoing constant evolution, from the sub-genre of 'found footage,' to post-cinematic new media forms such as Youtube horror, horror video games and cinematic virtual reality horror. By investigating how these new forms alter the dynamics of spectatorship, this book charts how cinema's affective capacities have shifted in relation to these modifications in the forms of cinematic horror. It applies a rich theoretical synthesis of phenomenological and Deleuzian approaches to a number of case studies, including films like The Blair Witch Project, Paranormal Activity and Creep as well as video games such as Alien: Isolation and new media forms such as Youtube horror and virtual reality horror.

Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, B, BG, CY, CZ, D, DK, EW, E, FIN, F, GR, HR, H, IRL, I, LT, L, LR, M, NL, PL, P, R, S, SLO, SK ausgeliefert werden.

Autorenporträt
Adam Daniel is a member of the Writing and Society Research Centre at Western Sydney University. His research investigates the evolution of horror film, with a focus on the intersection of embodied spectatorship and new media technologies. He has published on film, television and popular culture, and is the Vice-President of the Sydney Screen Studies Network.