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Horror paradokumentalny — próba charakterystyki gatunku

100%
Żakieta K.
Panoptikum
|
2013
|
issue 12(19)
46-60
EN
This article aims to define the characteristics of horror vérité. The author raises issues related to the phenomenon of genealogical contexts – such as cinema vérité or mockumentary that have significantly influenced the formal shape of the species discussed. The controversial film Cannibal Holocaust (1979) dir. Ruggero Deodato, which is considered a pioneering image relative to the horror vérité is discussed in this article. It is one of the first examples in which blurring the boundary between fiction and reality by an extremely reliable styled on the documentaries. The use of 16 mm tape or simulated found footage became an extremely effective method to stimulate the viewer bored with conventional, petrified determinants of the horror genre. This paved the way for other films, and the turning point was amazing blockbuster The Blair Witch Project (1999) dir. D. Myrick, E. Sanchez. The story of the witch of Blair was executed in an almost ascetic manner according to the principle “less is more”. This film has cemented the characteristics of the documental horror set of tricks: shaky camera, natural lighting, unprofessional acting, reflexivity and specific marketing strategies that activate the viewer using a variety of metatexts (casus Sundance and web site). Series such as Paranormal Activity or [REC] show that through balancing on the edge of fictional and factual order, the recipient accustomed to exaggerated gore, is able to refer again to the basic determinant of horror – fear. Paradocumentalism’s immersion can be achieved with varying degrees of intensity and it is up to the viewer to decide whether he will step up to the plate.
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Film jako produkt marketingowy − studium dwóch przypadków

67%
Wywioł A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2017
|
issue 9(2) "Film w działaniu"
44-53
PL
Popularną tendencją, jaką można zaobserwować w marketingu filmowym od 1997 r., jest aktywizowanie widzów i nobilitowanie ich do rangi kreatorów, mających realny wpływ na fabułę bądź osób „wtajemniczonych” – wiedzących więcej o nowej produkcji za pośrednictwem informacji, które pojawiają się na różnych platformach medialnych. Sposoby zaangażowania odbiorcy w dyskurs medialny, towarzyszący działaniom promocyjnym filmu – rozumianego w kategorii produktu marketingowego − można prześledzić na przykładzie dwóch filmów – Blair Witch Project i Mrocznego rycerza. Kampanie te ze względu na innowacyjne podejście do tematu promocji i zaangażowania potencjalnego widza zapisały się jako nietypowe w odniesieniu do marketingu tradycyjnego, przyczyniając się do spektakularnych sukcesów kasowych, pozyskania nowych odbiorców, utworzenia lub poszerzenia istniejących filmowych fanklubów oraz do zmiany w podejściu do marketingu filmowego, który współcześnie te schematy immersyjne poszerza bądź reinterpretuje.
EN
The popular trend that can be observed in the film promotion since 1997 is activating viewers and ennobled them to the rank of creators, having a real impact on the storyline or “insiders” – people who know more about the new production through the information that appears on different media platforms. Ways to engage the recipient in the media discourse, accompanying promotional activities for the film – understood in the category of marketing product – can be traced back to the example of two movies – The Blair Witch Project and The Dark Knight, which − due to an innovative approach to the subject of promotion and engage potential viewers – materialized as unusual in compared to traditional marketing, contributing to the spectacular box office success, acquiring new recipients, creating or expanding existing film fan clubs and to changes in film marketing, which today extends or reinterpreted these schemes of immersion.
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