It’s apparent that the nearly consistent 15 year long presence of “found-footage” and subjective camera POV visual aesthetics in film and television (FFSC from here out) has tapped into a certain type of audio-visual experience that connects with viewers. Though at first glance we could write off these stylistic techniques as cash-grabs it is surprising that the novelty of such techniques has continued to raise more eyebrows in curiosity rather than skepticism.
