Acknowledgements: Parts of my argument in this chapter first emerged in an online round-table published in La Furia Umana in 2011 in which Nicholas Rombes, Steven Shaviro, and I responded to one another and to thoughtful prompts from Therese Grisham, so I owe all three a debt of gratitude for such a rich and cooperative discussion in which I could test and develop my fledgling ideas about these films. The enthusiastic discussions that ensued after I presented drafts in lecture form at Edinburgh Napier University and Leibniz University of Hannover further contributed to the development of this chapter. Thanks are also due to Caetlin Benson-Allott, Shane Denson, Sarah Goodrum, Anne Schwan, Christopher Shore, and Tim Snelson for feedback and comments at various stages of development.

1. Raymond Williams coined this expression to describe emotions and perceptions common to a specific time and place and expressed in contemporaneous arts and other cultural forms. Steven Shaviro draws on this concept from Williams in his definition of post-cinematic affect. [return to text]

2. Thanks to Caetlin Benson-Allott for pointing this out.

3. I am currently co-editing, with Shane Denson, a collection of essays on this subject entitled Post-Cinema: Theorizing 21st-Century Film, which will be published as an open access e-book by REFRAME (http://reframe.sussex.ac.uk/). [return to page 2]

4. This Twitter account, like the franchise’s official Facebook page, is still active and is now publicizing Paranormal Activity 4 and upcoming productions. The original official website also still exists and publicizes the latest release, although currently doesn’t allow IP addresses outside the United States to view the site.

5. Thanks to Shane Denson for pointing me to Pasquinelli here.

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