found footage style


UNTIL DAWN FANS. I made this for you <3

Our new Until Dawn parody series is launching soon! Here is the trailer - we hope you enjoy it.

A reimagining of the game, found footage documentary style. Episode 1 coming in a couple of weeks!

God. Marble Hornets has such a good hook, too. When you do current-found footage style, you run into the problem of. Why would this person be uploading this to youtube? why would this person be painstaikingly editing the film to make it seem like it’s progressing through a night, rather than Just the important conversational stuff? for most other films that are similar, that’s where it falls flat, but with marble hornets, they make sure the memory issues, the amnesia, the paranoia etc are so interwoven with the main character that it erases that. Keeps you submerged in the story. he has to post them, because he’s afraid of forgetting it. Or losing the tapes. Needs it for reference and God it’s done so well


This Friday, Blair Witch, a reboot of the iconic horror film The Blair Witch Project, hits theaters. Helmed by Sundance alums and director/screenwriter duo Adam Wingard and Simon Barrett (V/H/S, V/H/S-2, The Guest), production on the new Blair Witch was kept a surprise under the working title The Woods until its trailer debut at San Diego Comic Con.

The original Blair Witch Project premiered at the 1999 Sundance Film Festival, where it was purchased by Artisan Entertainment after an all-night bidding war following its premiere. It was produced on a budget of $60,000 and grossed over $248,000,000 at the box office, making it one of the most successful independent releases of all time. The Blair Witch Project was a trailblazer in many ways: it popularized the ‘found footage’ style of horror movies and used internet advertising in innovative and immersive ways.

Film stills courtesy of The Blair Witch Project.

anonymous asked:

because Cole IS just a huge hipster :D

I usually dig his quirky, Beatnik-y hipster ways, but recording videos with a -0.45 megapixel potato from 1983, found footage style, is a bit too much. 

Justin once made an independent horror film with a psychological twist, starring Doom, Loki, Red Skull, Norman Osborne, and Emma Frost. It was shot found footage style in a remote location, after many twist Doom held up the camera, shaking and gave the most iconic performance since the Blair Witch Project. In the end after Loki’s character dies, Doom was attacked dropping the camera he slowly crawl towards it only to be dragged after screaming by something in the dark.

Justin got awards for his film, Doom got acting awards, and is currently nominated for a scream queen and an Oscar for best performance in a horror film.

The Kolor of Kaiju: Part 2

About a month ago I started a periodic series of articles delving into the color identities of giant movie monsters. As a lover of kaiju films, I begin with the most iconic members of this group: Godzilla and his most popular nemeses. There’s no denying the global influence Godzilla, and Japanese monster movies in general, have had on the genre.

But as much as Japan has dictated trends in monster movie history, the United States has been right there dictating trends too. While stories of giant monsters are thousands of years old, the first real monster movie hit was The Lost World, produced by First National Pictures in 1925. While the film “only” starred dinosaurs, it was the precursor to one of the most revered movie icons of all time.

Today’s article will focus on some of the American monsters that have most influenced the genre over the decades. Even if you’re not much of a monster movie fan you’ll certainly recognize some of the critters on this list.

It’s Good to Be the King

No, rexy, Kong doesn’t want to make out with you.

Godzilla may be King of the Monsters in Japan, but America’s monster monarch has ruled for much longer. While dinosaurs terrorized people on screen for years, King Kong marked the shift to more fantastic beasts. With his city-smashing ways, Kong punched the door open for the giant monster movie as we know it today. 1933 saw the birth of a genre.

So what color or colors does King Kong fall under? To start, he’s just a giant gorilla. Flavorfully in Magic, those tend to be Green creatures. Does Kong act Green? You bet! In the original film, he spends most of his time engaging in animalistic combat with his archosaur neighbors. The final clash on top of the Empire State Building even pits nature against the pinnacle of technology: the fighter plane.

The original film offers no insight into Kong’s motivations, showing him as merely an animal run amok. But both the 1976 and 2005 remakes show him having a sympathetic emotional connection to Dwan and Ann, respectively. This skews the character little bit into Red territory, as we know Kong protects his girl out of a sense of affection for her.

Coincidently, Kong’s other main appearance also falls into the Red/Green category. While Kong plays mainly the same role in King Kong vs. Godzilla, he is given an expressly Red power. In order to be evenly matched against Godzilla’s atomic breath, Kong can absorb and channel electricity into his fists. This thundering touch helps Kong eventually overpower his reptilian adversary.

Legendary Pictures’s Kong: Skull Island is set to hit theaters next year. We know the film is set in the same diegesis as the latest Godzilla film, and Legendary has already scheduled the clash between the two icons. My assumption is that they will stay true to Kong’s Green nature, but we’ll have to wait and see how they update the legend for today.

20,000 Fathoms Under the Sea

If it ain’t broke, break it.

While King Kong may have kicked off the giant monster movie genre, The Beast from 20,000 Fathoms ushered it into modernity. Last week I mentioned that there are a number of monster archetypes that are threaded throughout the genre, and this film establishes the most common trope: the monster awakened by atomic weapons.

This film concerns the Rhedosaurus, a fictional dinosaur species woken by atomic tests in the Arctic Circle. The dino marches back to its ancient breeding ground…which just so happens to be New York City. Specifically, the Rhedosaurus assaults the Coney Island amusement park. No fun allowed, I guess!

The ancient menace is just a rampaging animal, making it a squarely Green threat. This is a recurring theme in American monster movies throughout the ‘50s, ‘60s, and ‘70s. Atomic bomb awakens or mutates a giant monster, monster attacks city, military scientists find a way to kill the monster.

Another fun little tidbit is that this is the film that really catapulted Ray Harryhausen’s stop motion animation effects. Harryhausen was inspired by the work in King Kong and would go on to become one of the most influential special effects artists in cinematic history.

Final Release

Would not smooch.

Writing about one of Harryhausen’s first creations means I should probably spend some time on one of his last. Clash of the Titans, released in 1981, was one of the last great stop motion animation films. Harryhausen’s career was defined by his Greek mythology films, and this one set out to outdo them all. It tells the story of Perseus, who slew Medusa and used her head to petrify many other monsters. The most notable story was when he defeated a sea monster, which the movie rebranded as the Norse kraken because evocative names sell better.

This isn’t a very difficult monster to assess, as the kraken in the film is just like Krakens in Magic. Huge sea monsters are a mainstay of Blue, and this kraken is no different. Most of the destruction it causes isn’t even caused by its immense bulk. Instead, the kraken’s movements cause tidal waves capable of wiping cities off the map. As Blue as can be.

Modern Mystery

Literally the clearest shot of the monster in the entire film.

Monster movies are making a bit of a comeback, and the film that rode King Kong (2005)’s heels was Cloverfield, a monster movie with almost no monster in it. The entire movie is shot found-footage style and follows the misadventures of a bunch of annoying young adults as a giant monster attacks New York City. The military fails to do much damage to it as the parasites that drop from its body start hunting people too. The film ends with the death of the final cast members, and the monster’s fate is unknown.

Clover, as the monster is affectionately nicknamed by crew and fans, is some sort of sea monster. The film never goes into detail why it’s attacking New York, but part of the viral marketing for the film implies it has something to do with an oil rig disturbing it. J. J. Abrams is a generally terrible storyteller, so it’s no wonder that there’s basically no information to talk about here. This is probably a case of a Green monster rampaging after being awakened by technology.

Get in the Robot

Russian tech always looks awesome.

Pacific Rim is going to be a historic movie. It bombed in the domestic market, but foreign box office totals were high enough to greenlight a sequel. The film didn’t perform great, and this will be the first time a movie deemed a failure will get a sequel like this. I hated the film, but its fans were vocal enough to factor into Legendary Pictures’s decision.

Alien monsters are attacking Earth through a portal in the bottom of the Pacific Ocean! I don’t know why they didn’t make it closer to land, but whatever. Humanity defends itself with titanic robots called jaegers, German for “hunter.” If you haven’t seen the film before, it’s basically a giant homage to mecha anime.

As defenders of humanity, jaegers are easily founded in White. They are guardians, soldiers, and great unifiers; the nations of the world have put their differences aside to fund the jaeger program for the good of all people.

The jaegers are controlled in a unique way, however. Each one links the minds of two pilots in order to control the machine with their thoughts. This kind of psychic control scheme is Blue. Not only is the mental aspect reflective of the color of mental power, but the robots themselves are basically titanic prosthetics. Blue is the color that most readily embraces technology as a way to maximize the body’s potential. One simply needs to pilot a jaeger to be able to fight the evil monsters at our doorstep!

But what about those monsters?

Through the Breach

Who actually thought the wall would work?

The kaiju are genetically altered monsters created by an alien threat from another dimension. Or something like that? The movie isn’t very clear where exactly the bad guys are from. But they’re sending the kaiju over to Earth to wipe us out before they take our planet. Jerks.

Kaiju are essentially all clones, grown and manipulated by the alien scientists. Each one has specialized weapons for fighting the jaegers, from acid spit to electromagnetic pulses. I don’t know why they all just don’t have the EMP capabilities, as that’s the obvious weapon to fight robots. And I have no clue why Gipsy Danger somehow wasn’t affected by it. The thing still runs on electricity.

But anyway.

Magic has a close analogue to this process of monster manufacturing: the Simic Combine. The Simic are all about genetic manipulation to make creatures cooler and more useful. Since the aliens in the movie are making the kaiju with the same ideology and process, it’s safe to label the kaiju as Green/Blue beings. The aliens themselves probably have a bit of Black in them, what with the whole global domination thing, but we can consider the kaiju as separate entities for the purposes of this article.

Monster Mayhem

America’s role in the giant monster movie history is foundational to the genre. The early days incorporated regular dinosaurs (Green villains at their core), but King Kong started pushing such films in more fantastic directions. America also kicked off the age of atomic monsters, establishing one of the most common archetypes in the genre. Monster movies are making a comeback today, spearheaded by a handful of moderately successful American films as well. Green-aligned monsters fighting technology has been the core of the country’s relationship with monsters, and I’m sure that theme will be played with for decades to come.

Until next time, planeswalkers, just let them fight.

  • Slenderverse Celebs: We can't do trigger warnings, that would break immersion.
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  • Porcelain Spiders: The main character adds trigger warnings and captions to all the videos she posts because she's the kind of person who does that.
  • Dozens of Slendervlogs: *obscuring distortion*
  • Slenderverse Wikis: Sudden loud noises at [timestamp], and Slendy is visible at the following times...
  • Found Footage-style Movies: Rated R for violence, gore, and sexual content.
  • Actual News About Real Events: The following footage may be disturbing. Viewer discretion is advised.
  • Marble Fucking Hornets: I cut a scene here of Alex smashing a guy's head in because it was too graphic.

nathanthemoldy  asked:

Do you think modern horror is stupid nowadays? With the whole paranormal activity sequels and? And in recent years, found footages are getting a bad rap of being "cliched" "over the top" and "unnecessary elements" in the plots and characters. I'm not saying this because I absolutely despise horror and I'm not a "squeaky clean" person. But many critics complain about modern horror not being good presently. Just curious since you love horror movies and other movies of the like I suppose... ^ ^;

It isn’t necessarily that modern horror is “stupid”, per se, but that our current social/political and economical climate isn’t conducive to original, inventive, cutting-edge horror.

While horror films are some of the easiest to turn a profit from (much more so than, say, a drama or a romantic comedy), they’re also some of the easiest to fall into creative stagnation.  When a particular feature gains popularity, it becomes relentlessly exploited until audiences become sick of it, and move along to the next big thing. 

For example, after The Blair Witch Project (1999), “found footage” horror came into style in a big way, even though that particular method of marketing and storytelling had already been done nearly two decades prior with Cannibal Holocaust (1980).  What made the template so appealing is that independent filmmakers could shoot a feature on digital without the need for expensive equipment, as it actually benefited the production to look “raw”.  Of course, nowadays, the digital medium has garnered more respect, and the technology now boasts crisper imagery than it did back then (films like 28 Days Later (2002) helped to break down the stigma that had been associated with shooting a feature on digital).  “Found footage” enjoyed a second renaissance after the success of V/H/S (2012), but what producers and financiers fail to take into account is that a film becomes most successful when it’s bringing something new to the table.  With V/H/S, there came the simultaneous familiarity and departure of the VHS format, and it also appealed to the sort of crowd interested in trading “video mixtapes”.  Everything “retro” has come into style in a big way in the last few years, and outdated media formats are no exception.  However, even this has a shelf life, as V/H/S: Viral (2014)–the third installment in the franchise–has been met with generally negative reviews and overall indifference.

Filmmaking relies heavily on having a “draw”, or an element to exploit–something to catch the attention of potential audiences.  Exploitation cinema is not the only subgenre that thrives on ballyhoo.  We have come to a point now where a lot of cinematic taboos have been breached, and we’re left with very few options when it comes to giving audiences something they’ve never seen before.  When one has explored every trail and tree, the forest holds much less allure.

Filmmaking also revolves more around profits than it honestly should.  Potential producers are less likely to finance anything that doesn’t have a guaranteed return.  If it lacks certain exploitable elements, lacks notable names, and strays too far from a recognized template, it’s practically dead in the water.  Sure, there are breakout hits here and there, but breakout hits are just what the name implies:  They succeed because they manage to excel in some way.  A Nightmare on Elm Street (1984) succeeded just as the slasher genre was waning by introducing a supernatural element that allowed for surreal imagery and fantastic setpieces.  Darren Aronofsky‘s Pi (1998) (not a horror film, per se, but horror fans should definitely take notice) was a breakout indie hit–and launched the director’s career–because it took the mundane concept of mathematics, and made it tense, stylish, and thought-provoking.  The Cabin in the Woods (2012) was a hit because it took every tired, overused horror cliché, and validated them in the most unexpected way possible.

Another obstacle currently facing the genre is the recent resurgence of the “moral majority” and the “political correctness” plague, and this time, the bulk of the backlash isn’t coming from the far right, but from the far left (because let’s face it–if it was coming from the same people that it did two decades ago, no one would give a shit.  We’d still be laughing at them).  While older horror films have finally been granted uncensored releases, newer films are still being butchered left and right by the ever-vigilant MPAA–not only for language, but for violent content.  The only means of circumventing this is to be the fattest cat with the biggest wallet (Spielberg once got away with graphically ripping someone’s face off in a PG film, but Wes Craven wasn’t allowed to have a large splash of blood in an R-rated one two years later).  We’re seriously in a time now where people don’t even want to allow villains to be villainous.  The entire point of having a “bad guy” is to have a negative force to focus our hatred and fear on in a fictional setting, and the PC-police won’t allow them to say anything “offensive”.  It’s as though no one ever wants to be out of their comfort zone, even in a safe, controlled environment.  No one wants to feel anything (except moral outrage, of course).  Human beings need to experience the entire spectrum of emotion in order to remind us of our own humanity.  You’re afraid?  Good.  It means you’re still alive.  Once again, the media is being blamed for violence, despite already having had numerous studies delving into the notion coming up empty-handed.  Humanity always wants a scapegoat to avoid acknowledging our own highly-flawed system of beliefs. 

“What?  His parents never paid attention to him as a child?  They disregarded his feelings?  They abused him?  Don’t be absurd!  It was those horror movies and video games that made him do it!”

We’re walking on eggshells now.  Nothing can be too “mean”, even if the entire point of the movie is to scare the living shit out of the audience.  But, I digress.

In the end, there is no surefire recipe for “good” horror, and honestly, it’s for the best.  A good horror film does exactly what it should–it comes out of nowhere, and gives you a solid jolt.  These days, we’ve been seeing a tremendous glut of remakes and reboots, with a good portion of them failing miserably.  The financiers of these films are simply trying to further milk an established fan base with little regard for the quality or integrity of the films.  Sure, a movie can make money over a weekend, but is anyone going to give a damn about it ten years down the line?  Is anyone even going to remember it?  Good horror rarely comes from the people grabbing you by the arm and forcing it down your throat.  Good horror comes from taking chances.  If we never take chances–if we live in fear of “offending” people, or try to follow someone else’s guidelines of what is “acceptable”–then we’re just like one of those little Hot Wheels cars going around and around the same track until we inevitably veer off-course and crash into the side of the fridge.