However, I do remember being caught up in the marketing of the film, tangentially, because of all of the older people and friends I knew who saw it and earnestly believed the “true story “of three filmmakers mysteriously disappearing into those Maryland woods. I was fifteen at the time of The Blair Witch Project’s release so it was “legally” off limits to me and I doubt my parents would have taken me to see it either. Films are slated years in advance and most information can be looked up with a simple keyword search online.
The general trend has swung the pendulum from releases shrouded in mystery to a culture that thrives on anticipation. It is impressively difficult to pull the wool over peoples’ eyes like that in this day and age. However, in another way, it felt like the last gasp of an era a final celebration of pre-viral, pre-Google promotional marketing. Matter of fact, it may have been the perfect combination of the two: an immersive campaign of blurring the lines between reality and mythology and people getting physically ill during and after the film. The Blair Witch Project’s promotional attack in 1999, leading up to its July release, was a marvel on the levels of The Exorcist and The Texas Chain Saw Massacre.
0 kommentar(er)
