Now, such an effort would be doomed to failure, without an extreme degree of subtlety, planning and preparation (even then, the likelihood of it having the same effect as The Blair Witch Project's campaign is slim to nil). This could only have occurred successfully at the time, of course (mid to late 1990s), when the internet was a less pervasive and naïve medium when its audience was of less critical and sophisticated nature. The commercial and artistic success of The Blair Witch Project largely relies upon the marketing campaign that preceded it: one that took full advantage of the then-putative internet to create false documentaries concerning the film's back mythology, news reports, police investigations, missing persons websites.feeding the pubic uncertainty and paranoia concerning the film, such that, for some years after, some still asserted that there was “genuine” footage intermingled with what the film makers had created.
Similarly, the relative success of any work of documentary horror relies even more profoundly on context than more traditional, narrative works: However, this phenomena is conflated to the power of N by documentary horror, the format itself immediately alienating entire sections of the audience, regardless of the relative quality or merit of the work, whereas others (again, such as myself) are ineffably engaged by the format. This is to be expected horror is, after all, as subjective in nature as comedy what some might find terrifying, others will respond to with boredom or even humour (I personally find The Exorcist, which many I have spoken with on the subject proclaim as the pinnacle of horror in their own experience, absolutely hilarious, largely due to the colourful and evocative cursing of the possessing demon).
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