Cannibal Holocaust, on the other hand, momentarily makes use of conventions employed by the subgenre’s second definition, which appears to more resemble home movies. By its most popular definition, found footage films appear to replicate the same conventions as mockumentaries, documentary films, and reality-based television and The Blair Witch remains one of the most commercially successful films of its kind. Where these films deviate from one another is in their adherence to the definition of found footage films. Meanwhile, The Blair Witch Project (Myrick & Sanchez, 1999) turned the entire film’s production into an event, making use of the marketing campaigns that ostensibly fooled audiences that they were watching a horrifying documentary with a real-life body count. Ruggero Deodato’s stomach-churning Cannibal Holocaust (1980) made use of these devices while building its own story structure.
The narratives of Hollywood horror films were once altogether traditional in their approach, but found footage films have allowed horror to maneuver in remarkably creative directions utilising stylistic devices of substandard lighting, hand-held imbalance, awkward framing, and a complete acceptance by the film’s players that they are being recorded.
Since its earliest entries into the genre of horror, the subgenre of found footage has maintained a contentious regard by both fans and critics. Levinson’s found footage film forecasts the horror of environmental pollution By Justin Howard Query
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