Numerous deep-seated fears that underpin both interpersonal interactions and self-conception are routinely reified as horror in these films. Although largely disparaged as cultural trash, fabricated snuff films give voice to complex social ideas. This chapter seeks to offer one alternative interpretation of snuff-fiction's narrative content, examining what the simulated snuff form reveals about self. Although pertinent then, the attention devoted to realism in scholarly writing about snuff has resulted in under-theorization of feigned snuff narratives' symbolic meanings. Unlike other horror subgenres – such as the werewolf film, the zombie movie, the slasher flick, and torture porn – simulated snuff is not principally defined by its content, but rather by its realist form.
That emphasis is unsurprising given snuff's ontological foundations. To date, scholarly debate about the content of snuff-themed fiction has predominantly focused on two co-joining issues: realism and affect. By demolishing the ordinary conventions of horror genre with these strategies, the film claims that it creates a horror effect which is more realistic and convincing. The film does all these depending on the reality claim of the found footage mode. In the film, the facts that the protagonist avoids demonstrating killings scenes, rejects to use darkness as an element of horror, interrupts all the horror scenes and gives exhaustive explanations to the audience are elaborated in great detail. The thesis investigates how and why the movie undermines horror codes and conventions by focusing on the narrative and narration aspects of the film and by instrumentalizing the found footage mode. The thesis analyzes how the movie uses the patterns of horror genre and found footage strategies, and with which aspects does the movie diverge from these conventions. The thesis firstly makes a detailed formal analysis of The Last Horror Movie and evaluates the movie with respect to horror genre and found footage mode. What makes the film distinct from its counterparts and renders it worthy of deeper inquiry is that found footage form takes on a different function. Additional to using a variety of conventions of the horror genre, the film includes “found footage” mode.
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This thesis focuses on the film - The Last Horror Movie (Julian Richards, 2003) - in which the protagonist is a serial killer who is recording his murders and trying to shoot his own movie.
By considering directors' own statements on the matter, I suggest that such violence can not simply be dismissed as ethically flawed rather, it carries a potential critique of the ideology of meat as pure commodity.
My main interest lies in the occurrence of real violence, and particularly animal killings, in exploitation cinema. From a brief presentation of traditional theatre semiotics and the concept of a fictive stance, I then discuss two specific films where the body of the actor functions not only as the carrier of symbolical meaning but also as an indexical reference to a factual situation: John Waters' Pink Flamingos (1972) and Ruggero Deodato's Cannibal Holocaust (1980). I consider Hideshi Hino's Flower of Flesh and Blood (Ginî piggu 2: Chiniku no hana, 1985) as an initial example of purely fictional film violence. I am particularly concerned with the presence of material bodies in the performing arts. In this article I discuss a few ethical and semiotic problems related to reality's ability to actually take place within, and break through, fictional representations.
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