The essay analyses The Blair Witch Project (1999) under the lens of Gernot Böhome’s atmospheric theory and the concept of postmodernism. By highlighting the complex classification of mockumentaries and found footage, as well as their hybridisation, it identifies the codification, in the textual and peritextual dimensions, of an “emotionally toned space”. The peritextual apparatus and the corporealisation of the camera encourage the viewer’s emotional participation, whose perception is incorporated into the filmic experience, blurring the lines between media and physical reality.
Entrare nello “spazio emozionalmente tonalizzato”: The Blair Witch Project
Marianna Lucia di Lucia
2025-01-01
Abstract
The essay analyses The Blair Witch Project (1999) under the lens of Gernot Böhome’s atmospheric theory and the concept of postmodernism. By highlighting the complex classification of mockumentaries and found footage, as well as their hybridisation, it identifies the codification, in the textual and peritextual dimensions, of an “emotionally toned space”. The peritextual apparatus and the corporealisation of the camera encourage the viewer’s emotional participation, whose perception is incorporated into the filmic experience, blurring the lines between media and physical reality.
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