The affective approach accommodates nicely Kevin Donnelly's, Michel Chion's and Elizabeth Weis's analyses of film music and sound.

Drawing on Jenefer Robinson and Stephen Davies's respective accounts of music and emotion, I advance an affective approach to horror soundtracks that encompasses music and ambient sounds. The account illuminates the potency of aural elements in horror cinema to engage spectator's body in the light of a philosophical framework of emotion, namely, the affective (embodied) appraisal theories of emotion.

This paper investigates the emotive potency of horror soundtracks. As Jeff Smith (2009) laments, only a only a handful of philosophers (including Peter Kivy, NoГ«l Carroll and Jerrold Levinson) have tickled the issues of music and sound in horror. Informed by the cognitive theories of emotion, these philosophical accounts tend to focus on the monsters, themes, plot/narrative or visual images and underappreciate the power of horror film sound and music in inducing emotions. Yet it still receives relatively scare attention in the philosophical accounts of film music and cinematic horror. The significance of aural elements in horror cinema has been gaining recognition in film studies. Text Matters: A Journal of Literature, Theory and Culture, (10), 223-235. Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk DelabastitaвЂ™s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. The narrative frame offered by purported textual artifacts has always aligned well with the genreвЂ™s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre.

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