Artist Spotlight: Isis Nicole Magazine!

The Isis Nicole Magazine (or IN Magazine for short, named after its founder) is unabashedly colorful, vibrant and glittery, often spotlighting women of color: think Tumblr come to life. The Chicago-based publication is the perfect blend of traditional print media and Internet age fervor. Isis and the other half of the magazine, Hannah Black, are not only creative partners but real life gal pals who always make sure to Snapchat each other about their days. The two tell ACRO what IN Magazine is all about and how they balance work and fun.

by B.C.

The Isis Nicole Magazine (or IN Magazine for short, named after its founder) is unabashedly colorful, vibrant and glittery, often spotlighting women of color: think Tumblr come to life. The Chicago-based publication is the perfect blend of traditional print media and Internet age fervor. Isis and the other half of the magazine, Hannah Black, are not only creative partners but real life gal pals who always make sure to Snapchat each other about their days. The two tell ACRO what IN Magazine is all about and how they balance work and fun: Continue reading “Artist Spotlight: Isis Nicole Magazine!”

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Weekly Dance Break: Safe (Dumbfoundead)

This video has been out for a minute, but since the issues it addresses have no end in sight (thanks, Hollywood!), I thought it’d be appropriate to remind everyone that it exists, and that it’s great. Dumbfoundead talks whitewashing, media stereotypes, and more while editing himself into some of the most iconic white movie roles of all time.

Project Spotlight: Driven Media

Today, we present our spotlight on a great journalism project: Driven Media. “Driven Media is a journalism startup that aims to help young women understand their lives and potential. We do this through multimedia stories about the lives, relationships and stories of real women. As young women, we really felt that gap and lack of representation of women in the media. When you are looking for inspiration and hope and just a good story that you can relate to, it just isn’t there. We wanted to change that, and felt like we had the skill set to, so we did.”

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Acro: First, please introduce yourselves.

I’m Samantha Harrington. I’m 22, originally from Wisconsin and I graduated with degrees in Journalism and Arabic from UNC in May 2015. I like sunflowers and Joan Didion and tea and good music and friends and talking and painting (in no particular order haha).

 

I’m Hannah Doksansky, a 21-year-old from Atlanta, Georgia, who will graduate in the spring from the University of North Carolina at Chapel Hill. I drink coffee by the gallon, spend many hours catching up on the phone with friends, and take the occasional photo to document everything.

 

Acro: Give us an intro to your project. What is it called, what do you do, and what was the inspiration for getting started?

 

Driven Media is a journalism startup that aims to help young women understand their lives and potential. We do this through multimedia stories about the lives, relationships and stories of real women. As young women, we really felt that gap and lack of representation of women in the media. When you are looking for inspiration and hope and just a good story that you can relate to, it just isn’t there. We wanted to change that, and felt like we had the skill set to, so we did. –sam

 

Our team consists of Sam and I, who rove down the east coast in a tiny green prius, and two women named Josie and Hrisanthi who create multimedia interactives for each story while also working full time at newspapers. We all met at an entrepreneurial journalism lab at UNC and knew from group projects that our skill sets could be combined to create better storytelling. (HD)

 

Acro: What are you hoping to achieve through Driven Media? Is there something about storytelling (and, in particular, mobile storytelling!) as a medium that’s particularly useful for achieving your goals?

 

I think we’re trying to achieve a world in which women can share stories and learn from one another. We’re just trying to be the platform that facilitates that learning. You can connect to anyone online that has access to internet. It lets us transcend physical and geographic space and limitations in an awesome way. And obviously mobile is super important. Our target audience is young women. Young people get a lot of their information on their phones (I know I do). So every story we do we want to make sure looks good on mobile. Surprisingly our analytics show that still like 70% of people are getting to our content on desktops, but I expect mobile will become a bigger and bigger thing for us. –sam

 

Acro: What is your method? How do you go about finding subjects and collecting stories?

 

We basically show up in a place and call everyone and anyone we can. We’re focusing on a series of stories this fall about immigration while traveling down the east coast. So that means we’re in a new place every two weeks and really have to start the discovery process all over again. Generally we start with organizations—cultural associations, resettlement agencies, restaurants, etc—but sometimes we turn to social media to find people. In West Virginia I searched Twitter for people who had tweeted, “West Virginia and Filipino,” and just tweeted back at them. It looked pretty desperate responding to like 3-year-old tweets, but almost everyone responded.  Once we’ve found people to talk to we do some like exploratory interviews to figure out what the story is. Then once we’re at that point we try to figure out the best way to tell it. Should this be an audio piece? Or is video or text better? Things like that. –sam

 

Acro: What are the particular challenges of your project, if any?

 

Oh, do we encounter challenges. Our biggest challenge is always money. We crowdfunded $50,000 to launch the company in August, which enabled us to make necessary investments like equipment and a car. But we know that Driven cannot continue to exist without a viable business model. We brainstorm often new ways to make money to sustain future tours. (HD)

Another challenge worth noting is that we are always on tour. Sam and I work very hard to make sure we maintain a balanced lifestyle because we can easily slip into a pattern where we work constantly. We try to see every place that we visit and explore a little bit. We found that our stories are better when we take a moment to breathe every once and awhile! (HD)

 

Acro: Where is the project going from here? Do you have plans to broaden it, and/or are you in the process of collecting more stories? What’s your vision for the project in the future?

 

We are releasing stories weekly but our fall tour will come to a close in December. In the spring, we are going to take a break so that I can graduate college and we can focus on the viability of the company. We are exploring many revenue models so that we can hit the road again in the summer. This fall we have told the stories of immigrant women in five cities, but we will most likely switch to a new, yet to be determined theme for future tours. Reach out if you have ideas for new topics! (HD)

 

Acro: What do you think it would take for women, and especially women of color, to have more meaningful representation in journalism and news media?

 

So I think the biggest way is just by getting more women (of all backgrounds) involved in producing media. It’s really hard because I feel like so much of media success is just being in the right place at the right time. But at the same time I also believe that just working hard and talking to everyone opens so many doors. If you have an idea, the worst thing you can do is keep it to yourself. Shout it out to mentors and friends and strangers alike. Ask them to introduce you to anyone who they think might be interested in what you want to do. You never know who you’ll meet and where they’ll lead you. And once you’re in a place where you’re producing content and you have an audience you have to continue to be firm and loud about what you want. Challenge traditional concepts of what kind of stories are important and how they should be told. –sam

 

 

Website: http://drivenmedia.org/

Facebook: https://www.facebook.com/Driven-Media-1445558525744107/?fref=ts

Twitter: https://twitter.com/media_driven

 

On Trans Ally-ship and the Ethics of Visibility: a conversation

Tyler is a lot of things: brilliant set designer and master carpenter, comrade-in-arms in various D&D campaigns, athlete and mentor-coach-athlete for the Special Olympics, dedicated employee and fiercely loyal friend. But last weekend, we sat down to talk specifically about allyship, his journey as a transman, and his role as an outspoken advocate for LGBTQA people everywhere.

Among the things to admire about Tyler is his iron-clad belief that his openness about his experience as a transman will make future transgender people’s lives a little easier. Two noble beliefs lie at the root of his advocacy strategies: 1) that when given the chance through education and dialogue, people are capable of being kind to and accepting of another and 2) that his willingness to discuss parts of his life outside of the realm of polite conversation will have real, tangible, positive consequences in the world. Tyler carefully considers the ethical dimensions of his decisions about his “outness” as he debates whether or not it’s “right” for him to stealth when he knows that his ability to pass as a man makes him less visible, which he recognizes is an option many transgender people, especially transwomen, don’t have.

Our conversation spanned a variety of topics but continually came back to the central theme of education and communication as ways, not to erase difference, but to render it at once more visible and more celebrated on all levels.

Tyler is a lot of things: brilliant set designer and master carpenter, comrade-in-arms in various D&D campaigns, athlete and mentor-coach-athlete for the Special Olympics, dedicated employee and fiercely loyal friend. But last weekend, we sat down to talk specifically about allyship, his journey as a transman, and his role as an outspoken advocate for LGBTQA people everywhere.

Among the things to admire about Tyler is his iron-clad belief that his openness about his experience as a transman will make future transgender people’s lives a little easier. Two noble beliefs lie at the root of his advocacy strategies: 1) that when given the chance through education and dialogue, people are capable of being kind to and accepting of another and 2) that his willingness to discuss parts of his life outside of the realm of polite conversation will have real, tangible, positive consequences in the world. Tyler carefully considers the ethical dimensions of his decisions about his “outness” as he debates whether or not it’s “right” for him to stealth when he knows that his ability to pass as a man makes him less visible, which he recognizes is an option many transgender people, especially transwomen, don’t have.

Our conversation spanned a variety of topics but continually came back to the central theme of education and communication as ways, not to erase difference, but to render it at once more visible and more celebrated on all levels.

On ally-ship and appropriate questions:

KS: So let’s cut to the chase: what’s an ally to you?

TR: I think for me allyship is about not judging and encouraging others not to judge. You don’t have to agree, you don’t have to have been there, just live and let live.

KS: Recently Kurt [my husband] read an article slamming Amy Schumer for an apparently insensitive interview with a transwoman. One summary cited her asking about physical anatomy which the author considered a rude question. But, as you know, cis people have questions about trans people that are not politically correct. Do you think there is any space for those questions in conversation?

TR: I hadn’t heard of that! Well, I would say that if you’re doing an interview with Amy Schumer you should probably know what you’re getting into [i.e., she’d probably ask overly personal questions of anyone]. I just wish that as a society we were more transparent to differences in general [and that it was okay] to ask about cultures, preferences, and misunderstandings without the perception of being racist and sexist. Like, I wish I could walk up to a Muslim and be like “So, Ramadan. Can you explain your holiday a little bit?” without it seeming like a rude question. Being afraid of offending someone and being easily offended closes the door to conversations. Openness leads to being accepted. [Tyler’s Note: After having watched the interview, I think that Schumer does show some of the kind of blind stumbling that a lot of cis people feel when trying to relate to trans people. What it comes down to however, is again, that need to educate. Bailey does just that a number of times. What bothers me more is the author’s problem with the way Bailey is presented, but nothing is mentioned about portrayal of transmen in similar situations. Take this January 2015 interview of Buck Angel, for example. He was asked similar “inappropriate” questions… how does he pee, about his sex life, sexual orientation. Where’s the frustration? Is it because transmen can choose to stealth much easier than transwomen? Is the assumption that all trans people are searching for invisibility or assimilation? Is it because it’s not offensive to ask men about their genitalia? They’re the questions that everyone want to know the answers to, and we’re only doing ourselves favors by being willing to talk.]

KS: How about questions surrounding a transgender person’s past? Off-limits?

TR: So that’s a really personal thing that’s different for every transperson. I will be able to “stealth”, which eventually hides my past [living as a woman]. But you have the opportunity to talk about your past [which can then open up more important conversations]. We can stealth if we want to, but that’s a decision. A lot of trans people don’t like talking about it…what they looked like, their birth name. It can trigger a lot of dysphoria. Simply put, it can make them feel really uncomfortable in their own skin again.

On gyms, bathrooms, and stealthing.

KS: What is “stealthing?”

TR: Stealthing is what some people call passing, but to take it one step further, it’s also the idea of not being out about being trans. Not necessarily closeted, but about not telling people.

KS: Are there places you want to do that more than others?

TR: The gym. I almost blew that the other day by dropping my ID on the floor. But I also recognize we live in a really liberal area and so it would probably be okay. But there was a transgender 17 year old killed in Alabama last week. Florida is considering legislation that makes it illegal to use bathrooms other than the one that corresponds with your birth-assigned gender.

KS: But how do they actually enforce that without violating your privacy?

TR: The short answer is they can’t.  I guess they could check your ID, but that won’t even work in all cases…my ID will reflect my new name and gender in a week. But it often constitutes illegal search and seizure like when Arizona was stopping anyone who looked hispanic to ask for papers. That begs the question….what does “transgender” look like? Being in a bathroom is not a crime until you start to do something creepy. You shouldn’t be able to legislate who can and cannot use a bathroom based on genitalia. On any given Saturday, I’m more likely to see naked coeds running down this street [we’re sitting at one of our old undergrad haunts] than I am in a men’s bathroom or locker room .

KS: Yeah, for some reason we seem to think bathrooms are sexualized spaces.

TR: Yeah, just like breastfeeding a baby is not a sexual act…breastfeeding a 30 year old man, different story. People just want to use the bathroom—not ogle other people.

KS: Though, didn’t you say you got hit on at the gym the other week?

TR: More gay guys hit on me now. This one guy was doing bicep curls in the mirror while looking intensely at me [Tyler demonstrates this amusingly]. I think gay men are the all-knowers of the male body. They both have a male body and are attracted to a male body, so if I can pass for them, I’m doing well.

MJ: Does being hit on make you feeling weird?

TR: I milk it.

~~~

On supporting a person as they begin their transition:

KS: So starting from the beginning of the process…

TR: Yes, generally speaking, discussing [a person’s] reasons for transitioning are conversations to be held with close friends and therapists—it’s not an ally’s job. [The other thing to consider] is that if a transperson is coming out to you, it may be sudden for you, but it’s not sudden to them. I remember talking to you for the first time that time we were driving to [one of our college friend’s] house and almost died in the storm.

KS: Yeah, and that was what, [does a bunch of math revolving around which one of our friends has lived in which city for how long] a good two years before you started transitioning?

TR: Yeah, people do not throw themselves out against social norms willy-nilly. For example, for my dad [my transition] seems really sudden, but it’s actually not.

KS: Do you think it’s weird that society kind of expects you to “come out” even though it’s really no one’s business?

TR: Society wants to know when you’re “normal,” and right now cis-hetero behavior is the norm and they want to know when and why you’re doing other things. But I didn’t officially come out everywhere, like work for example. I told a manager and a few close coworkers, but everyone still “knows” (and is remarkably supportive). People will surprise you sometimes. I’m just like “I’m going to talk about my fiance like you talk about yours and the gender doesn’t matter”.

KS: Does coming out “officially” offer you anything [advantages]?

TR: My biggest hang up about it is that people feel like it’s their business [when it’s definitely not]. But I also know that it’s a chance to explain and open up a conversation which will hopefully help future generations avoid the struggles I go through. Also, for trans people, at least at the beginning of the process, it’s how you get called by your chosen name and pronouns. Now I can introduce myself to someone as Tyler and they never bat an eye, but I had to come out so that people knew I wanted to be called Tyler and he.

KS: Like, maybe someday there will be a point where trans people don’t have to come out?

TR: Yeah someday… but we can’t even get racism right [i.e. there’s still institutionalized racism]. There will always be somebody who will be a dick about it.

KS: Ugggh, so true.

~~~

Things allies can do to support transgender people:

KS: Okay, so what’s one really important thing that trans allies can do to support transgender people?

TR: With trans people allies need to be good about sticking to pronouns, to try to reinforce and be consistent. At the Special Olympics [Tyler and his fiancee are both volunteers], all of our team had a lot of issues with pronouns (probably also related to their own cognitive issues, to be fair.) Our regional team coordinator told the team (who had known me pre-transition) about what to call me and which pronouns to use. One of our players responded “So she’s transgender, so what?” and then did not get names or pronouns right the entire season [laughs]. Yeah, they messed up pronouns and messed up names—but they were really trying, and [regional coordinator and Tyler’s fiancee] were really consistent to try to reinforce it. But my players were higher functioning so they had some fear that I was going to get mad if they messed up my name. Melissa [Tyler’s fiancee] assured them that,  No I would not be mad about that.

KS: What should you do if you don’t know about someone’s pronouns?

TR: Ask! What are your preferred pronouns? One of the reasons I chose a really non-neutral name like Tyler when I could have been Chris is because I don’t want there to be the potential for ambiguity. Some people do. Also, the kind of things people will do when your name doesn’t match your voice [Tyler works at a place that requires him to answer the phone using his legal name which is in process of being changed, so luckily this is a temporary issue!] I answer [in my now deep voice] Christina and people say back Kevin, Tristan, Ricky, “you mean Christian,” or sometimes just “bud.” There’s one guy who will treat me completely differently when I answer and he catches that my name is Christina—he’s a lot more formal and his pleasantries are different. But if he doesn’t catch my name he just talks to me about sports and guy stuff and is less formal. And he wishes me happy father’s day. [A guy walks by with a fantastically well groomed beard]. Wait, I want my beard to look like that guy’s beard. Classy beard.

KS: That’s a great beard. [discussion of Tyler’s impending beard, transitioning into a conversation of Halloween costumes for this year].

~~~

KS: What’s one issue that affects the trans community that cis people may not consider?

TR: [immediately] Healthcare. If you [indicating K.S.] bust your femoral artery, you’re probably going to expect to drop trou when you go to the doctor’s. Everyone in the operating room will cut off your clothes, expecting a vagina, and then seeing a vagina continue on with care. But for transpeople, [there’s a fear] that the doctor will be concerned about what’s between your legs [and whether or not it matches the expectation] rather than your femoral artery bleeding out. Like, I know of someone who identifies outside of the binary who had heart attack-like symptoms but delayed seeking care because they were worried about how they would be treated in the hospital [they were treated well]. Someone else I know who prefers male pronouns and is on the male end of androgynous went to the hospital and had no problems whatsoever after discussing his preferred name and pronouns.

KS: But stories about positive health care experiences aren’t the ones that are coming out in the trans community?

TR: No, people are just hearing about being denied care. Like, as a transgender person, or as a homosexual, or even as Puerto Rican, I understand that I can be denied service at certain places. But then I can choose not to buy the goods and services of those places and hopefully all of my friends will also refuse to go to those places. Those business have the right to not cater my wedding, but I have the right to lambast them. Medical professionals should not have the right to deny me care under their oath, and most understand that. I worry a little that we’re telling businesses that they can’t refuse our business through legislation.

KS: Because if we can legislate “morality” in one direction, we could also legislate it in another direction?

TR: Let’s be realistic: at some point I need to go back to my orthopedist. I haven’t been to him since I started testosterone, and he seems like a cool guy, but it is a concern that he won’t treat you again because of your change. We are lucky enough to live in a liberal area and I feel like if I had a medical emergency in Alabama, Texas….I’d probably venture somewhere above the mason-dixon [line] to get care because of concerns about quality.

The ethics of visibility (or how transgender people can be their own allies):

KS: You’ve told me that you’ve written about Caitlyn Jenner… [see Tyler’s post here]

TR: Caitlyn has done nothing to help other trans people. She was like “This is my Vanity Fair Cover. Deuces.” Aydian Dowling could have gone totally stealth and no one would have to know, but look what he’s done to stand up, draw us some positive attention and try to get things done for us.

KS: So do you think that celebrities who are transgender people have an ethical obligation to be advocates for the trans community?

TR: Caitlin has an ethical obligation to be aware of the way that her image affects other people. By putting themselves out there as celebrities, they accept a social responsibility. By putting herself out there, she’s got a social obligation not to make the rest of the community look worse. She makes it seem like [being transgender] is all about the attention and she has not addressed any [issue affecting the trans community] since her coming out. She makes it seem like it’s all about the attention: “hey everybody look at me,” [perpetuating the myth] that we all just want to be looked at. Also, she perpetuates an image of a transwoman that’s stealth, whereas transwomen have a lot more of a problem passing.

KS: So part of the problem is that she has not addressed the fact that her privilege, like her ability to get surgery to “feminize” her face is what allows her to stealth?

TR: And then it’s like “I guess if transwomen look like that it’s okay.”

KS: And the media just runs with that. Off topic, but apparently Rachel Dolezal came out as bisexual—which is fine—but it doesn’t excuse her from wearing tanning-salon blackface.

TR: What’s really interesting about that case is that people think about that in the same terms as trans people. If people can identify as a different gender than what they were born with, then people can identify with a different race than what they were born with. But to some extent, the LGBTQA and ally community has kind of brought that on itself by also refusing to recognize nuance and difference when they say things like “50 years ago it was illegal for a black man to marry a white man” as an argument for gay marriage. [Dolezal’s situation] raises a lot of interesting questions about feeling “what isn’t right.” I feel like I can’t say that she is wrong to feel like that [i.e. that she is actually black], but I can see where a lot of people are upset about that. We need to look as society at how we treat people different than us, instead of trying to say who can or cannot be different. Because, “Don’t shoot I identify white” isn’t going to work.

~~~

TR: I haven’t made a decision whether or not I want to be out for the rest of my life or eventually go completely stealth. I will be more privileged and less visible [as a transman] as I continue to transition.

KS: Have you noticed any differences in the way you are treated yet?

TR: I’m gaining white male privilege: People stop talking when I talk, expect me to pick up checks, hold doors. I’m trying really hard to not take advantage of this, especially because many transgender people, especially transwomen who tend to be more visible experience the opposite, a denial of privileges once had.

KS: Oh my gosh, you can now be accused of mansplaining!

TR: What’s mansplaining?

KS: Remember that time when [name omitted] corrected me about my views on high heels?

TR: Oh yeah. As a transguy I have experiences with women things. But if I were to be a stealth transguy—[my opinions/advice] will still be my experience, but it will come off to some people as if I were mansplaining.

~~~

TR: What it boils down to is…stop judging. Stop judging transpeople, or feminists, or gay people, or even white middle class dudes. Just stop. Different does not equal wrong. Right now, I’m really caught up in the moral element of stealthing—is it fair for me to go back and forth between being out and being stealth. For example, there are some situations [like an upcoming wedding that we are going to]. It’s probably the best option and there will only be a couple people [at the event] who knew me before. Maybe that’s a bad example—weddings are a special circumstance and it’s rude to draw attention away from the couple, but I’m still thinking it through. Like, is it ethical for me to stealth when I know that others can’t?

~~~

Tyler can be found blogging at https://chivalrysundead.wordpress.com/.

Virtual Horror: Social Media, Found Footage, and Unfriended

Last month, The Feminist’s Guide to Horror took you into the world of body horror where films focus on the human form as a bloody, suffering spectacle–this month we’re taking a turn into the realm of Found Footage horror, which is all about the power of suggestion. Found Footage horror is the land of amateur documentarians in pursuit of a supernatural mystery. It privileges local narratives and urban legends told from the first-person perspective of those who are most invested in discovering the truth behind these phenomena.

Last month, The Feminist’s Guide to Horror took you into the world of body horror where films focus on the human form as a bloody, suffering spectacle—this month we’re taking a turn into the realm of Found Footage horror, which is all about the power of suggestion. Found Footage horror is the land of amateur documentarians in pursuit of a supernatural mystery. It privileges local narratives and urban legends told from the first-person perspective of those who are most invested in discovering the truth behind these phenomena.

 

Found footage movies often go something like this: skeptical young people decide to explore some kind of supernatural phenomenon (either an urban legend, or some paranormal activity they themselves are experiencing) and plan to document their efforts through the use of a video camera so that their discoveries can be compiled and shared with the world. Something goes awry, and all we have left to explain what happened to them is found in the reel of footage they leave behind. There are variations on this theme, but typically these films thrive on the conversion–and often possession–of the skeptical characters as their investigative efforts lead down a rabbit hole deeper and darker than they ever imagined.

 

Classic found footage: The Blair Witch Project
Classic found footage: The Blair Witch Project

 

Found Footage Forms

 

Though told from a first person perspective (or perspectives, if more than one character captures footage), our experience of the film is mediated through technology: we are self-consciously watching a film-within-a-film for the duration of the movie. In this way, found footage is unapologetically meta. These films rely on the fact that people are familiar with not only horror tropes, but the various devices used in horror cinematography. For example, as an experienced horror viewer, when I see a close-up shot of someone’s face directly followed by a camera pan to the left or right, I’m expecting there to be some sort of jump scare when the camera pans back to the actor’s face. Just  the expectation of that jump scare—a ghost in the corner moving swiftly towards the screen, a movement in a mirror, a sudden “bang” —is enough to keep me on the edge of my seat. In this way, much of the suspense of found footage films comes from the viewer having certain generic expectations about horror cinematography and then waiting in anticipation of seeing how those expectations play out.

 

So many places for a demon to appear!: Paranormal Activity 2
So many places for a demon to appear!: Paranormal Activity 2

 

In that way, horror aficionados are ideal viewers for films like the Paranormal Activity series because though the writer and  director sets up these kind of jump scares in all the of the ways one can (plenty of mirrors, corners, furniture where people can pop out of, etc.), they deliver that scare such a small percentage of the time that you’re on the edge of your seat the entire movie.

 

Because of this, watching found footage films in the theater with a bunch of other people enhances the experience. I always try to see a new found footage film on opening weekend because I love the camaraderie that builds in the audience as we are collectively “faked-out” and respond to the intensifying suspense with increasing verbality; the premature screams of other viewers can cause me to jump even when the movie does not create that effect. As the small child approaches the closed closet door rattling on its hinges, reaching out his hand to reveal what’s inside, you better believe I’m mumbling “Don’t open the door, don’t open the door” under my breath.

 

Is Found Footage Connected to Other Genres?

Some trace found footage films’ narrative strategies back to the epistolary novel, where the plot is relayed through a series of correspondence or diary entries. Typically, the constraints of the “film-within-a-film” form forces the narrative to unfold chronologically as the camera-operator follows the rest of the group. Flashbacks are all but unavailable unless they occur though a verbal narration of past events by a character on screen. However, as begin to see in films like the Paranormal Activity series or, most recently in Unfriended, the ability for flashback can be recuperated if that flashback is achieved through use of another technological means (i.e., someone taping someone else while they are watching surveillance footage of the ghost’s nightly activities.)

 

 

Found footage horror is also connected to the documentary film form. Often the premise of the film is an investigative enterprise and filmmakers strive for a high degree of verisimilitude. For example, the actors in The Blair Witch Project and Paranormal Activity used their real names as their character’s names. Often, the filmmakers will attempt to mimic the amateur filmographer, as is done in the sci-fi found footage thriller Cloverfield (Robert Ebert apparently called this style,  “shaky-cam”— Paranormal Activity mostly gets around this problem by having characters place cameras on tripods).These kind of cinematic choices serve as a kind of Barthesian “reality effect”, letting us know that we should believe the film takes place in the real world. One of the most impressive feats of a found footage movie is when it does not break its frame: every sound and picture is completely organic and can be derived from the scene itself (i.e., there are no shots taken outside of the perspective of the in-film camera operator).

cloverfield-2-1024

 

Almost all of the found footage films that have been widely popularized deal with supernatural subjects, mainly ghosts or demons. Perhaps some of the scary appeal of these films comes from the possibility of seeing unbelievable things in a form that is completely bound to reality: if the ghost shows up, embodied, on camera, it’s harder to dispute. If the filmmakers achieve verisimilitude in their film-making, they build credibility, so that when the audience sees something bizarre on their film, it seems more real.

 

In the most successful movies of this genre, the film patiently allows viewers to be confronted with weird sounds and movements without clue-ing them in on their source. The climax of the movie is usually quite an intense—though often still suggestive—encounter with the entity that may include a few moments of bizzarity or violence, but this is typically not sustained. Fear is primarily created and sustained by the power of suggestion.

 

Because the genre depends more on narrative creativity and convincing special effects than makeup, gore, and post-production effects, these films often cost a fraction of a typical  Hollywood budget to produce, making it an accessible genre for amateur filmmakers. (Notable examples are The Blair Witch Project  which was made for an estimated $60,000 and  Paranormal Activity which was made for about $15,000.)

 

Unfriended as Social Media Horror

 

When I went to see Paranormal Activity 4, I was impressed by how the filmmakers managed to shoot the film through a video chat between a teenager and her boyfriend with occasional help from an Xbox Kinect, and another camera. The people at Paranormal Activity know what’s up: they were able to angle the main character and her laptop in ways that set up scares and their use of the Xbox and Macbooks for surveillance didn’t break the frame for me.

 

 

After that film, I was just itching for someone to push that concept the to the next level, and Unfriended, released widely last weekend,  did not disappoint.

 

The real art of the film is its form (the plot itself can be summarized surprisingly accurately by this Knife Party song). The film focuses on a group of teenagers on the one-year anniversary of the death of their “friend” Laura Barnes, who committed suicide after being horrifically cyberbullied  following the release of a humiliating video of her at a party. The group of teenagers gear up for what seems like a fairly normal group chat on Skype. Their easy camaraderie is interrupted by the presence of an unwanted, unknown interloper in their Skype conversation.

 

This film makes an important contribution to the found footage genre because it represents an attempt to contend with the ways that we are also now, in part, virtual selves. The identities that we cultivate online, our loose personage constructed from our search histories, is the consciousness that this film engages. It is entirely mediated through virtual reality. For the entire film we are bound to the laptop screen of one of the teenagers, Blaire.

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Unfriended solved the problem of how to handle flashbacks in the found footage narrative. As the film opens, we see that  Blaire is watching youtube videos (we watch them with her) of Laura’s suicide (apparently taped on a crappy cell phone camera and uploaded), and then begin to watch what we would see later in full: the infamous video that eventually caused Laura’s suicide. By being able to use social media platforms like YouTube, or features like Facebook’s photo-albums, Blaire can show us the past while effortlessly keeping the film firmly rooted in the present.

 

As Blaire’s keystrokes lead us through the landscape of her iOS system we learn about her and as the plot heats up, we see her try to mediate between various entities—herself, her boyfriend, her friends, the ghost in the machine—through technological means. The negotiation between the virtual self and actual self is a key component of the film. As the movie progresses, Blaire and her friends’ physical bodies are punished for the sins of their virtual selves (a fitting reverse: the humiliating state of Laura’s physical body was ephemeral until it became virtualized in the form of the viral video).

 

The filmmakers also smartly make use of the technical foibles of social media platforms to create suspense. Using the annoying noise that Skype makes when it’s trying to recapture a lost call,  we never know when the video screen will flash on and the noise we hear in the background will also yield to a violent, graphic image. That device itself was really effective in creating and maintaining suspense.

 

Impressively, the film almost never breaks its frame.This made it even more disappointing when the frame did break, which happened in two ways a handful of times throughout the film. Occasionally, Blaire would minimize the Skype conversation to look something up and the volume of her friends who were still talking  would fade out without us seeing her adjust the volume on her laptop. This seems like a minor break to me, meant to refocus our attention on reading the important correspondence occurring on screen. The second and more egregious break occurred when a deep bass note began to play under the more suspenseful scenes. This use of bass note is a time-honored technique in horror; however, in a film that is so delightfully well-wrought in every other way, the presence of a sound that is unaccounted for within the iOS system, seems out of place and highly noticeable.

 

 

Throughout the course of film we learn much about the questionable behavior of this group of teenagers including their use of illegal drugs, drinking habits, cavalier sexual encounters, and lies, but those moral infractions (if you can call them that) are not why the teenagers are possessed and then punished in the film: they are punished as revenge for the way that they bullied one of their peers.

 

Other possession narratives often leave the audience feeling immune from the possibility of the events in the film ever happening to them: for example,“Well, this could never happen to me because I don’t play with Ouija boards,” or “If I found a creepy box like that, I wouldn’t make the mistake of opening”. Unfriended does not leave viewers this same kind of escape because so many of us are terrible internet citizens. The kind of mean-spirited trolling that led to Laura Barnes’ fictional death in the movie actually leads to death in real life. Even if the ghost in Unfriended is a fantasy, the premise for the haunting is all too real.

 

I’ve purposely focused this review on the structure of the film because I don’t want to spoil the plot for those who are going to see the movie this weekend. Ultimately, this is one of the first horror movies that tries to engage with the way that we are becoming virtual selves and negotiate the way that our virtual actions have consequences in the actual world. This is an important direction for film, and it’s exciting to see horror filmmakers leading the way.

 

Found Footage Watchlist:

  • Cannibal Holocaust (1980): Often considered the “original” found footage film, a film crew is found dead in the Amazon, and the only evidence of their discoveries are captured on film…
  • The Blair Witch Project (1999): Three student filmmakers disappear after investigating the legend of the Blair Witch…
  • Paranormal Activity (2007): A couple start to hear noises in their house and set up a camera to investigate…(I’d also recommend Paranormal Activity 4, if Social Media horror is of interest to you)
  • V/H/S (2012): A group of guys run into a stash of found footage way creepier than they bargained for…
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