Arriving on the cusp of a new millenium, _The Blair Witch Project_ has
inspired some controversy: praised by some for challenging conventional
Hollywood film techniques and employing internet technologies to advertise
its various "intertexts," it has been criticized by others for its
"unwatchability," its commerciality and manipulation through a myth of
authenticity.  What do the movie's innovations (or derivations) tell us
about millenial audiences and anxieties and the role of cinematic
narrative in the twenty-first century?

The editors of Critical Approaches seek proposals for academic essays on
the Blair Witch Project and its relationship to technology, audience,
film-making, the Gothic, horror, documentary genres, intertextuality,
aesthetic, "watchability," and contemporary culture more generally.
Comparison with other films and film genres are welcome.  Especially
welcome are analyses of the film as a "millenial" phenomenon.

1-2 page abstract submissions, (not full essays, yet) should be sent in
duplicate by June 15, 2000 to:

        Jeffrey Andrew Weinstock
        97 Stage Harbor Road
        Marlborough, CT 06447

Electronic submissions may be forwarded to Sarah Higley at

                [log in to unmask]

        ..if there are no attachments.  For electronic submissions
        with attachments, please forward to Sarah Higley at

                [log in to unmask]

Inquiries may be addressed to Jeffrey Weinstock at <[log in to unmask]>
or Sarah Higley at <[log in to unmask]>.

Sarah L. Higley                            [log in to unmask]
Associate Professor of English                office:  (716) 275-9261
The University of Rochester                   fax:     (716) 442-5769
Rochester NY, 14627
Py dydwc glein / O erddygnawt vein?
"What brings a gem from a hard stone?"               Book of Taliesin

Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: