Like other “faux footage horror” films, the Paranormal Activity series places the viewer in the role of the forensics analyst or police detective searching for demonic perpetrators within a media timeline stitched together from a variety of commercial grade electronic sources, ranging from digital camcorders and VHS to surveillance cameras. Unlike other films in this genre, however, it forefronts the devices themselves and their capacity, or lack thereof, for capturing visible evidence, an approach that reaches its climax in Paranormal Activity 6: The Ghost Dimension, when the discovery of a hacked videotape camera enables the users (and audience) to see the invisible ectoplasmic source of disruption to their normal suburban activities. This visual and technological self-reflexivity—which foregrounds technique over content and defies the conventions of traditional continuity filmmaking—has inspired scholars like Steven Shaviro to describe the series as "post-cinematic" or beyond the ken of cinematic viewing and identification. This video essay both underscores and responds to many of the points made by Shaviro in “The Glitch Dimension: Paranormal Activity and the Technologies of Vision.” For more information about the project under which both his and our essay were produced, please go to: indefinitevisions.com/
Переход Елены и Мег из Чарльстона в Галифакс, июль 2017. "Говорящая с луной" - cadenza.ca
Elena and Meg, sailing non-stop from Charleston to Halifax. Raw footage. For background, like "why in the heck?" see Elena's site: cadenza.ca or Meg's site: anticruise.online or google "Escape from Russia by sailboat"
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