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Found Footage Horror

dc.contributor.authorCastillo Aira, Miren Itxaso
dc.date.accessioned2024-02-08T14:40:31Z
dc.date.available2024-02-08T14:40:31Z
dc.date.issued2017-01-01
dc.identifier.citationSigna: Revista de la Asociación Española de Semiótica 26 : 815-823 (2017)es_ES
dc.identifier.issn2254-9307
dc.identifier.issn1133-3634
dc.identifier.urihttp://hdl.handle.net/10810/65783
dc.description.abstractFound Footage Horror is a prolific and succesfull subgenre sin 2007. This article focusses on three distinctive traits of Found Footage Horror: inclusion of the camera into the narrative, limitation of the field of vision, and bad quality of the image. For this purpose, it analyzes Chronicle (Josh Trank, 2012) and the first chapter of V/H/S (2012), directed by David Bruckner “Amateur Night”.es_ES
dc.language.isospaes_ES
dc.publisherUNEDes_ES
dc.rightsinfo:eu-repo/semantics/openAccesses_ES
dc.rights.urihttp://creativecommons.org/licenses/by-nc/4.0/*
dc.subjectFound Footagees_ES
dc.subjectterror
dc.subjectamateur
dc.subjectvigilancia
dc.subjectháptico
dc.subjectChronicle
dc.subjectJosh Trank
dc.subjectV/H/S
dc.subjectDavid Bruckner
dc.subjecthorror
dc.subjectsurveillance
dc.subjecthaptic
dc.titleFound Footage Horrores_ES
dc.typeinfo:eu-repo/semantics/articlees_ES
dc.rights.holder© La autora 2017, bajo Licencia Creative Commons Atribución-NoComercial 3.0 España*
dc.relation.publisherversionhttps://revistas.uned.es/index.php/signa/article/view/19918
dc.identifier.doi/10.5944/signa.vol26.2017.19918
dc.departamentoesComunicación Audiovisual y Publicidad
dc.departamentoeuIkus-entzunezko Komunikazio eta Publizitatea


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© La autora 2017, bajo Licencia Creative Commons Atribución-NoComercial 3.0 España
Except where otherwise noted, this item's license is described as © La autora 2017, bajo Licencia Creative Commons Atribución-NoComercial 3.0 España