This thesis examines concepts of the Sublime, liminality and terror, as expressed through hesitation, through the spectrum of Sad Satan (2015). Hunter, Jason Scott, Stijn Joye, Eli Horwatt, Emma Cocker, Sérgio Dias Branco, Brigid Cherry, Darren Elliott, Jordan Lavender-Smith, Austin Fisher, Neelam Sidhar Wright, and Pamela Atzori. Shifting focus onto more imitative forms of appropriation, Part III focuses on 'Modes of Parody and Pastiche.' Finally, in Part IV, the focus shifts away from the predominant focus on US media to consider the contribution that 'Transnational Screen Cultures' can make to our understandings of the adaptive act. Part II looks to the future and examines the contemporary practice of 'Found Footage and Remix Culture'. Part I examines 'Hollywood Cinema and Artistic Imitation' and provides three complimentary historical accounts of the development of adaptation within US cinema. The issue is organised in four sections, each dealing with a different form of cultural borrowing.
This special issue of 'Scope: An Online Journal of Film and Television Studies' offers an original and provocative contribution to debates around adaptation and appropriation in film, television and new media. The focus will be put on different features: the circumstances in which the film was produced including its links with Hollywood and the origin of the funding, the aesthetic aspects and the originality of the choices the directors made to narrate the story and the values and ideology conveyed in the film which wouldn’t be found in a mainstream movie. Beyond the legend, it seems relevant to question the actual independence of a film which was acclaimed when it was released before becoming a reference, and, to what extent the myth around the film is true. It is known to be a small film which came out of the blue, directed by unknown cinematographers, produced with a very limited budget, shot with a handheld camera, and made millions of dollars worldwide, because of the liberty it took at the time with Hollywood cinematographic conventions, bringing to theaters viewers who had never seen independent films before.
One of its legends is The Blair Witch Project. In parallel with this industry, there is a diversity of other films and a genuine culture of independent American cinema.
The American cinema is generally associated with Hollywood.
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