Realism And Illusion In William Egginton's The Blair Witch Project

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William Egginton has given a comprehensive analysis of film in which he argues that “this thematic convergence is not new, but is rather the logical extension of a narrative trope whose history predates the invention of film and, in fact, reaches back to the invention of theater in the 16th century”.
William states that what film has brought into the picture at the end of this century is the possibility that the circle will become complete, that the represented reality will cross the threshold that constitutes it, thereby contaminating our reality.
Realism versus illusionism
To illustrate the distinction between Realism and Illusion, he uses the Blair Witch Project, which was released in the summer of 1999. In the film, terrified viewers believed
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Imagine a number of men living in an underground chamber, with an entrance open to the light, extending along the entire length of the chamber, in which they have been confined, from their childhood, with their legs and necks so shackled, that they are obliged to sit still and look straight forwards, because their chains render it impossible for them to turn their heads round: and imagine a bright fire burning some way off, above and behind them, and an elevated roadway passing between the fire and the prisoners, with a low wall built along it, like the screens which conjurors put up in front of their audience, and above which they exhibit their wonders… Now consider what would happen if the course of nature brought them a release from their fetters, and a remedy form their foolishness in the following manner. Let us suppose that one of them has been released, and compelled suddenly to stand up, and turn his neck round and walk with open eyes towards the light; let us suppose that he goes through all these actions with pain, and that the dazzling splendour renders him incapable of discerning those objects of which he formerly used to see the shadows. What answer should you expect him to make, if someone were to tell him that in those days he was watching foolish phantoms, but that now he is somewhat nearer to reality, and is turned toward things more real, and sees more correctly; above all, if he were to point out to him the several objects that are passing by, and question him, and compel him to answer what they are? Should you not expect him to be puzzled, and to regard his old visions as truer than the objects now forced upon his

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