In that entire sweeping era of 2000's found footage, I think there are two projects that actually nailed the cinematic language by actually treating it as the reality of "people being filmed." The Office UK. And Chronicle. Maybe another?
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Replying to @FilmCritHULK
I'd like to hear what separates these from others in your opinion. Why is Blair Witch out? Take me to school.
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Replying to @ColinEFLawrence @ColinLawrence3
Because it's just a blind aesthetic of them shooting mostly whatever the hell with very few actual choices being made. Last shot obviously works tho.
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Replying to @FilmCritHULK
So it has to do with filmmakers sticking to the narrative device throughout, and not taking logical leaps for story/entertainment purposes? Genuinely asking, no B.S.. rare for me.
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Replying to @ColinEFLawrence @ColinLawrence3
It's honoring the choices of cinematic language / reality. Those aren't logical leaps. That's trying to have it both ways.
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Replying to @FilmCritHULK
I guess I see it both ways. Sometimes to create a moment you want, you have to break the rules you've established. But it's definitely a risk taken that you may lose a few audience members. But it's also a commendable feat to follow the rules of the narrative device to a T.
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Replying to @ColinEFLawrence @ColinLawrence3
My whole problem is that found footage is the only thing those kinds of rules actually apply too. Usually, the great thing about cinematic language is it's malleable and you use it to whatever tonal purpose you need. With found footage - YOU MAKE A CHOICE TO TAKE THAT AWAY.
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And you do it, for the cheap ass gag of having someone look at a camera or say something directly in an interview comment. (Harmon called this out directly in community).
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Replying to @FilmCritHULK
I'm sure filmmakers have their reasons for breaking the rules (hopefully). But your problem also illuminates something about the subgenre- it's incredibly difficult to tell a story this way without breaking the rules. If it weren't, we'd see more compliance with t visual language
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