Sarah Atkinson
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748693580
- eISBN:
- 9781474444668
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748693580.003.0001
- Subject:
- Film, Television and Radio, Film
The chapter provides a state-of-the field picture in 2012 – a moment where industry discourse was rife with representations and images of the impacts of digital technologies upon film production.
The ...
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The chapter provides a state-of-the field picture in 2012 – a moment where industry discourse was rife with representations and images of the impacts of digital technologies upon film production.
The chapter outlines the approach of the book – the undertaking of a ‘Digital Film Production Study’ – a theoretical and conceptual framework synthesizing Production Studies, Film Studies and Digital Humanities, in order to be able to grapple with this complex industry at a critical moment of transition.
The chapter outlines the methodology of the book - an examination of the people and processes involved in the entire lifecycle of one film – released under the title of Ginger & Rosa (Directed by Sally Potter) in October 2012. The chapter explains how it is emblematic of the transitional film-to-data period.
The chapter also provides an overview of Sally Potter’s work and her own interest in how digital innovations in filmmaking a definition of digital film.
It includes a review of production studies literature and an overview of the fields methods as well as outlines of the content and arguments of the books following six chapters.
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The chapter provides a state-of-the field picture in 2012 – a moment where industry discourse was rife with representations and images of the impacts of digital technologies upon film production.
The chapter outlines the approach of the book – the undertaking of a ‘Digital Film Production Study’ – a theoretical and conceptual framework synthesizing Production Studies, Film Studies and Digital Humanities, in order to be able to grapple with this complex industry at a critical moment of transition.
The chapter outlines the methodology of the book - an examination of the people and processes involved in the entire lifecycle of one film – released under the title of Ginger & Rosa (Directed by Sally Potter) in October 2012. The chapter explains how it is emblematic of the transitional film-to-data period.
The chapter also provides an overview of Sally Potter’s work and her own interest in how digital innovations in filmmaking a definition of digital film.
It includes a review of production studies literature and an overview of the fields methods as well as outlines of the content and arguments of the books following six chapters.
Robert Moses Peaslee and Robert G. Weiner (eds)
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462388
- eISBN:
- 9781626746831
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462388.001.0001
- Subject:
- Literature, Comics Studies
Along with Batman, Spider-Man, and Superman, the Joker is one of the most recognizable sequential art characters in popular culture. While there has been a great deal of scholarly attention on ...
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Along with Batman, Spider-Man, and Superman, the Joker is one of the most recognizable sequential art characters in popular culture. While there has been a great deal of scholarly attention on superheroes, very little has been done looking at the role of supervillains; The Joker: A Critical Study of the Clown Prince of Crime attempts to fill this gap. It is the first academic work to provide a comprehensive study of this character, asking the question, why, particularly today, is the Joker so relevant to audiences? Scholars from a wide array of disciplines look at the Joker through the lens of feature films, video games, comics, politics, magic and mysticism, psychology, animation, television, performance studies, and philosophy. This collection adds to our understanding of the role comic book and cinematic villains play in the world and the ways various media affect their interpretation. The Joker: A Critical Study of the Clown Prince of Crime will be useful for those scholars in Game Studies, Comic Studies, Graphic Narrative, Television and Film Studies.Less
Along with Batman, Spider-Man, and Superman, the Joker is one of the most recognizable sequential art characters in popular culture. While there has been a great deal of scholarly attention on superheroes, very little has been done looking at the role of supervillains; The Joker: A Critical Study of the Clown Prince of Crime attempts to fill this gap. It is the first academic work to provide a comprehensive study of this character, asking the question, why, particularly today, is the Joker so relevant to audiences? Scholars from a wide array of disciplines look at the Joker through the lens of feature films, video games, comics, politics, magic and mysticism, psychology, animation, television, performance studies, and philosophy. This collection adds to our understanding of the role comic book and cinematic villains play in the world and the ways various media affect their interpretation. The Joker: A Critical Study of the Clown Prince of Crime will be useful for those scholars in Game Studies, Comic Studies, Graphic Narrative, Television and Film Studies.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0002
- Subject:
- Film, Television and Radio, Film
This introduction offers an overview of relevant literature, a brief trajectory of the history of pornography before the video era, and an analysis of why the topic has not received much attention. ...
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This introduction offers an overview of relevant literature, a brief trajectory of the history of pornography before the video era, and an analysis of why the topic has not received much attention. Additionally, it offers one of the central arguments in the book, that the industry’s quest for respectability by foregrounding quality (both aesthetically and narratively) had critical ramifications in terms of gender and sexuality—particularly for women—that have been previously overlooked.Less
This introduction offers an overview of relevant literature, a brief trajectory of the history of pornography before the video era, and an analysis of why the topic has not received much attention. Additionally, it offers one of the central arguments in the book, that the industry’s quest for respectability by foregrounding quality (both aesthetically and narratively) had critical ramifications in terms of gender and sexuality—particularly for women—that have been previously overlooked.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0003
- Subject:
- Film, Television and Radio, Film
Chapter one examines the early history of adult video from a variety of technological, cultural, and industrial perspectives beginning with the Panoram, a device invented in the 1940s and completely ...
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Chapter one examines the early history of adult video from a variety of technological, cultural, and industrial perspectives beginning with the Panoram, a device invented in the 1940s and completely unintended for pornography. Following is an analysis of the adult motel landscape of Southern California, an early site of adult video distribution. The chapter concludes with a history of the early pioneers of adult video, including George Atkinson, who created the first video rental store in the United States.Less
Chapter one examines the early history of adult video from a variety of technological, cultural, and industrial perspectives beginning with the Panoram, a device invented in the 1940s and completely unintended for pornography. Following is an analysis of the adult motel landscape of Southern California, an early site of adult video distribution. The chapter concludes with a history of the early pioneers of adult video, including George Atkinson, who created the first video rental store in the United States.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.001.0001
- Subject:
- Film, Television and Radio, Film
Smutty Little Movies traces the adult film industry’s transition from celluloid to home video beginning in the late 1970s alongside an examination of the cultural and legal efforts to regulate, ...
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Smutty Little Movies traces the adult film industry’s transition from celluloid to home video beginning in the late 1970s alongside an examination of the cultural and legal efforts to regulate, contain, limit, or eradicate pornography. Drawing on a wide variety of materials, Smutty Little Movies de-centers the film text in favor of industrial histories and contexts. In doing so, the book argues that the struggles to contain and regulate pleasure represent a primary entry point for situating adult video’s place in a larger history, not just of pornography, but media history as a whole.Less
Smutty Little Movies traces the adult film industry’s transition from celluloid to home video beginning in the late 1970s alongside an examination of the cultural and legal efforts to regulate, contain, limit, or eradicate pornography. Drawing on a wide variety of materials, Smutty Little Movies de-centers the film text in favor of industrial histories and contexts. In doing so, the book argues that the struggles to contain and regulate pleasure represent a primary entry point for situating adult video’s place in a larger history, not just of pornography, but media history as a whole.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0004
- Subject:
- Film, Television and Radio, Film
Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or ...
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Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or Hollywood Reporter. In its attempts to provide a more sophisticated, nuanced, and professional set of discourses for adult video, AVN represents a major turning point in this history, focusing on the industry as an industry, rather than merely as content made by unseen, hidden forces. Additionally, AVN repeatedly emphasized and encouraged the creation of quality material as a strategy to gain the respectability that would lead to greater acceptability and profits, a stance it also replicated within its own pages and editorial practices. Ultimately, AVN crafted something new: a space in which to promote, sell, and celebrate adult video.Less
Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or Hollywood Reporter. In its attempts to provide a more sophisticated, nuanced, and professional set of discourses for adult video, AVN represents a major turning point in this history, focusing on the industry as an industry, rather than merely as content made by unseen, hidden forces. Additionally, AVN repeatedly emphasized and encouraged the creation of quality material as a strategy to gain the respectability that would lead to greater acceptability and profits, a stance it also replicated within its own pages and editorial practices. Ultimately, AVN crafted something new: a space in which to promote, sell, and celebrate adult video.
James Wicks
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9789888208500
- eISBN:
- 9789888313204
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208500.001.0001
- Subject:
- Film, Television and Radio, Film
Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted ...
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Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan’s position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity. This cross-disciplinary study adopts a transnational approach which presents Taiwan’s film industry as one that is intertwined with that of mainland China, challenging previous accounts that present the two industries as parallel yet separate. The book also offers productive comparisons between Taiwan films and contemporary films elsewhere representing the politics of migration, and between the antecedents of new cinema movements and Taiwan New Cinema of the 1980s.Less
Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan’s position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity. This cross-disciplinary study adopts a transnational approach which presents Taiwan’s film industry as one that is intertwined with that of mainland China, challenging previous accounts that present the two industries as parallel yet separate. The book also offers productive comparisons between Taiwan films and contemporary films elsewhere representing the politics of migration, and between the antecedents of new cinema movements and Taiwan New Cinema of the 1980s.
Rupert Cox, Andrew Irving, and Christopher Wright (eds)
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780719085055
- eISBN:
- 9781526109958
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719085055.001.0001
- Subject:
- Anthropology, Social and Cultural Anthropology
Beyond text?: Critical practices and sensory anthropology addresses a series of questions concerning the relationship between anthropological understandings of the world, sensory perception and ...
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Beyond text?: Critical practices and sensory anthropology addresses a series of questions concerning the relationship between anthropological understandings of the world, sensory perception and aesthetic practices. The book suggests that if different sensory experiences embody and facilitate different kinds of knowledge, then we need to develop new methods and more appropriate forms of representation that are not based simply in text, writing or correspondence theories of truth. As such, Beyond Text: Critical Practices and Sensory Anthropology brings together leading figures in anthropology, visual, sound and film studies to explore how knowledge, sensation and embodied experiences can be researched and represented by combining different visual, aural, and textual forms—for example text and image, image and sound, body and voice. What—we ask—is the relationship between the interiority of a person’s experience and its exteriority that is present to the eye, the ear and other sense organs that make the experience ‘open’ to anthropological forms of documentation, theorisation and representation? We argue that there is a necessary, critical development in our ways of knowing that must take place not merely at the level of theory and representation but also through innovative fieldwork methods and media practices. The collected papers and audio-visual materials presented on a DVD, explore the potential for a more sensorially-grounded, critically aware and creative approach to cultural analysis, media production and field research.Less
Beyond text?: Critical practices and sensory anthropology addresses a series of questions concerning the relationship between anthropological understandings of the world, sensory perception and aesthetic practices. The book suggests that if different sensory experiences embody and facilitate different kinds of knowledge, then we need to develop new methods and more appropriate forms of representation that are not based simply in text, writing or correspondence theories of truth. As such, Beyond Text: Critical Practices and Sensory Anthropology brings together leading figures in anthropology, visual, sound and film studies to explore how knowledge, sensation and embodied experiences can be researched and represented by combining different visual, aural, and textual forms—for example text and image, image and sound, body and voice. What—we ask—is the relationship between the interiority of a person’s experience and its exteriority that is present to the eye, the ear and other sense organs that make the experience ‘open’ to anthropological forms of documentation, theorisation and representation? We argue that there is a necessary, critical development in our ways of knowing that must take place not merely at the level of theory and representation but also through innovative fieldwork methods and media practices. The collected papers and audio-visual materials presented on a DVD, explore the potential for a more sensorially-grounded, critically aware and creative approach to cultural analysis, media production and field research.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0001
- Subject:
- Film, Television and Radio, Film
In this prologue, I describe my own background in relation to this topic, particularly important given my religious family upbringing describe the book’s guiding questions, and set the stage for the ...
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In this prologue, I describe my own background in relation to this topic, particularly important given my religious family upbringing describe the book’s guiding questions, and set the stage for the rest of the book.Less
In this prologue, I describe my own background in relation to this topic, particularly important given my religious family upbringing describe the book’s guiding questions, and set the stage for the rest of the book.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.001.0001
- Subject:
- Film, Television and Radio, Film
Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British ...
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Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.Less
Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0005
- Subject:
- Film, Television and Radio, Film
Chapter three contrasts a pair of case studies involving the challenges faced by the women whose performances helped build the adult video industry, and particularly the significance of the means of ...
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Chapter three contrasts a pair of case studies involving the challenges faced by the women whose performances helped build the adult video industry, and particularly the significance of the means of production and control. First, Ginger Lynn and Vivid Video, the first company to recognize the potential of the shot-on-video format. Lynn was the centerpiece in a new, aggressive marketing strategy that sought widespread public acceptance but did not hold an ownership stake in the company, and thus represents the limitations of performance success. Second is Candida Royalle, a performer in the 1970s who founded Femme Productions in 1984 with the goal of creating adult films for women, which she did as writer, director, producer, and owner. While similar to Vivid in terms of the desire for economic success with particular demographics, Royalle’s overt politics, feminist strategies, marketing discourses, and narrative and visual content set Femme in radically different territory.Less
Chapter three contrasts a pair of case studies involving the challenges faced by the women whose performances helped build the adult video industry, and particularly the significance of the means of production and control. First, Ginger Lynn and Vivid Video, the first company to recognize the potential of the shot-on-video format. Lynn was the centerpiece in a new, aggressive marketing strategy that sought widespread public acceptance but did not hold an ownership stake in the company, and thus represents the limitations of performance success. Second is Candida Royalle, a performer in the 1970s who founded Femme Productions in 1984 with the goal of creating adult films for women, which she did as writer, director, producer, and owner. While similar to Vivid in terms of the desire for economic success with particular demographics, Royalle’s overt politics, feminist strategies, marketing discourses, and narrative and visual content set Femme in radically different territory.
Matthew Carter
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780748685585
- eISBN:
- 9780748697038
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748685585.001.0001
- Subject:
- Film, Television and Radio, Film
What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs ...
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What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs towards the frontier? Is there still a place for the genre in light of revisionist histories of the American West? Myth of the Western re-invigorates the debate surrounding the relationship between the Western and frontier mythology, arguing for the importance of the genre's socio-cultural, historical and political dimensions. A number of critical-theoretical and philosophical approaches are applied to prominent forms of frontier historiography. The book also considers the historiographic element of the Western by exploring the different ways in which the genre has responded to the issues raised by the frontier. Deconstructing the division of the genre into classical, revisionist, and post Westerns, this book argues that the genre has – and continues to reveal – the complexities and contradictions at the heart of US society. With its clear analyses of and intellectual challenges to the film scholarship that has developed around the Western over a 65-year period, Myth of the Western adds new depth to our understanding of specific film texts and of the genre as a whole – a welcome resource for students and scholars in both Film Studies and American Studies.Less
What is the nature of the relationship between the Hollywood Western and American frontier mythology? How have Western films helped develop cultural and historical perceptions, attitudes and beliefs towards the frontier? Is there still a place for the genre in light of revisionist histories of the American West? Myth of the Western re-invigorates the debate surrounding the relationship between the Western and frontier mythology, arguing for the importance of the genre's socio-cultural, historical and political dimensions. A number of critical-theoretical and philosophical approaches are applied to prominent forms of frontier historiography. The book also considers the historiographic element of the Western by exploring the different ways in which the genre has responded to the issues raised by the frontier. Deconstructing the division of the genre into classical, revisionist, and post Westerns, this book argues that the genre has – and continues to reveal – the complexities and contradictions at the heart of US society. With its clear analyses of and intellectual challenges to the film scholarship that has developed around the Western over a 65-year period, Myth of the Western adds new depth to our understanding of specific film texts and of the genre as a whole – a welcome resource for students and scholars in both Film Studies and American Studies.
Gary Bettinson
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9789888139293
- eISBN:
- 9789888313082
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139293.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong’s filmmaking techniques uses a poetics approach to examine how ...
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The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong’s filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre, and other artistic elements work together to produce certain effects on audiences. Bettinson argues that Wong’s films are permeated by an aesthetic of sensuousness and “disturbance” achieved through techniques such as narrative interruptions, facial masking, opaque cuts, and other complex strategies. The effect is to jolt the viewer out of complete aesthetic absorption. Each of the chapters focuses on a single aspect of Wong’s filmmaking. The book also discusses Wong’s influence on other filmmakers in Hong Kong and around the world. The Sensuous Cinema of Wong Kar-wai will appeal to all who are interested in authorship and aesthetics in film studies, to scholars in Asian studies, media and cultural studies, and to anyone with an interest in Hong Kong cinema in general, and Wong’s films in particular.Less
The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong’s filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre, and other artistic elements work together to produce certain effects on audiences. Bettinson argues that Wong’s films are permeated by an aesthetic of sensuousness and “disturbance” achieved through techniques such as narrative interruptions, facial masking, opaque cuts, and other complex strategies. The effect is to jolt the viewer out of complete aesthetic absorption. Each of the chapters focuses on a single aspect of Wong’s filmmaking. The book also discusses Wong’s influence on other filmmakers in Hong Kong and around the world. The Sensuous Cinema of Wong Kar-wai will appeal to all who are interested in authorship and aesthetics in film studies, to scholars in Asian studies, media and cultural studies, and to anyone with an interest in Hong Kong cinema in general, and Wong’s films in particular.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0002
- Subject:
- Film, Television and Radio, Film
Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be ...
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Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be viewed as constituting a distinctive aspect of contemporary British cinema. I discuss the establishment of the UK Film Council (UKFC) in 2000 and contextualise the contemporary British horror film in the international film marketplace, drawing parallels between British horror and British film production more broadly, British horror and international horror production, and the audience demographics targeted by distributers and film production companies. This involves examining British horror’s shift from a theatrical genre to one associated primarily with the home video and online market.Less
Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be viewed as constituting a distinctive aspect of contemporary British cinema. I discuss the establishment of the UK Film Council (UKFC) in 2000 and contextualise the contemporary British horror film in the international film marketplace, drawing parallels between British horror and British film production more broadly, British horror and international horror production, and the audience demographics targeted by distributers and film production companies. This involves examining British horror’s shift from a theatrical genre to one associated primarily with the home video and online market.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0001
- Subject:
- Film, Television and Radio, Film
Contemporary British Horror Cinema: Industry, Genre and Society charts the rebirth of the British horror film in the twenty-first century, paying close attention to both the cultural and economic ...
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Contemporary British Horror Cinema: Industry, Genre and Society charts the rebirth of the British horror film in the twenty-first century, paying close attention to both the cultural and economic factors that contributed to the horror genre’s buoyancy amid UK film production. Using primary research – including data from funding institutions and primary interview material with key industry players – and detailed film analysis, this book will show in what ways horror offered a significant contribution to British film production post-2000, and how it evidenced diversity across a broad spectrum of filmmakers, industrial trends, technologies and social issues.Less
Contemporary British Horror Cinema: Industry, Genre and Society charts the rebirth of the British horror film in the twenty-first century, paying close attention to both the cultural and economic factors that contributed to the horror genre’s buoyancy amid UK film production. Using primary research – including data from funding institutions and primary interview material with key industry players – and detailed film analysis, this book will show in what ways horror offered a significant contribution to British film production post-2000, and how it evidenced diversity across a broad spectrum of filmmakers, industrial trends, technologies and social issues.
Peter Alilunas
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520291706
- eISBN:
- 9780520965362
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291706.003.0006
- Subject:
- Film, Television and Radio, Film
The final chapter examines traditional forms of regulation, focusing on the community protests, anti-pornography feminist movements, national efforts by conservative groups, and other attempts to ...
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The final chapter examines traditional forms of regulation, focusing on the community protests, anti-pornography feminist movements, national efforts by conservative groups, and other attempts to contain the efforts by the adult video industry to find widespread public acceptance and economic success. I argue that a panic, traceable to the move of sexually explicit films from public to private spaces, resulted in a major shift in the cultural understanding of sexuality, pleasure, and pornography. Part of this panic is visible in the Meese Commission’s investigation in 1986, which aligns with the period in which the adult film industry completed the transition from celluloid to magnetic tape-based production and distribution. I conclude the book with an analysis of the mainstream video rental’s decision to stop carrying adult video in the wake of the Meese Commission and gesture toward the further regulatory actions of the 1990s.Less
The final chapter examines traditional forms of regulation, focusing on the community protests, anti-pornography feminist movements, national efforts by conservative groups, and other attempts to contain the efforts by the adult video industry to find widespread public acceptance and economic success. I argue that a panic, traceable to the move of sexually explicit films from public to private spaces, resulted in a major shift in the cultural understanding of sexuality, pleasure, and pornography. Part of this panic is visible in the Meese Commission’s investigation in 1986, which aligns with the period in which the adult film industry completed the transition from celluloid to magnetic tape-based production and distribution. I conclude the book with an analysis of the mainstream video rental’s decision to stop carrying adult video in the wake of the Meese Commission and gesture toward the further regulatory actions of the 1990s.
Sarah Atkinson
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748693580
- eISBN:
- 9781474444668
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748693580.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal ...
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This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices.
This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft.
The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.Less
This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices.
This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft.
The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British ...
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This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British horror cinema could – or, indeed, should – take in the future. It is hoped that this chapter will provide a springboard for further scholarship that will be as dynamic as the films themselves.Less
This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British horror cinema could – or, indeed, should – take in the future. It is hoped that this chapter will provide a springboard for further scholarship that will be as dynamic as the films themselves.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0003
- Subject:
- Film, Television and Radio, Film
Chapter 3, in light of the broader international concerns outlined in the previous chapter, works towards locating cultural specificities within British horror at a time when it has drifted from its ...
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Chapter 3, in light of the broader international concerns outlined in the previous chapter, works towards locating cultural specificities within British horror at a time when it has drifted from its better known ‘English’ heritage. By considering the social and historical context during which many contemporary filmmakers grew up (namely, the late 1970s and 1980s), I reassess how recent British horror’s ‘heritage’ may be more immediate than we initially presume. To do this, I argue that several films responded to the typically negative British critical response to horror cinema (Petley 2002a), and, through textual analysis, argue that such films are products inspired by nostalgia for the video nasties panic of the 1980s. Through doing so, I consider how cultural specificity can be extracted from films by directors who not only have a passion for the horror film (that is, are self-confessed fans of the genre), but are also aware of how British horror (and horror in Britain) has been figured and derided within British culture.Less
Chapter 3, in light of the broader international concerns outlined in the previous chapter, works towards locating cultural specificities within British horror at a time when it has drifted from its better known ‘English’ heritage. By considering the social and historical context during which many contemporary filmmakers grew up (namely, the late 1970s and 1980s), I reassess how recent British horror’s ‘heritage’ may be more immediate than we initially presume. To do this, I argue that several films responded to the typically negative British critical response to horror cinema (Petley 2002a), and, through textual analysis, argue that such films are products inspired by nostalgia for the video nasties panic of the 1980s. Through doing so, I consider how cultural specificity can be extracted from films by directors who not only have a passion for the horror film (that is, are self-confessed fans of the genre), but are also aware of how British horror (and horror in Britain) has been figured and derided within British culture.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0004
- Subject:
- Film, Television and Radio, Film
In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of ...
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In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of horror-comedy hybrids. Through acknowledgement of the ways in which cult film fandom has traditionally been gendered as ‘male’, and often as immature, crude and boyish, I draw parallels between recent horror-comedies that use these stereotypes as ironic self-critiques of the filmmakers’ themselves and their desired audience. I ultimately locate these films within discourses surrounding ‘New Lad’ culture of the 1990s, which has similarly been linked to contemporary cult film fandom (Hollows 2003; Read 2003). Through a discussion of themes, industry statistics and textual analysis, I show how films such as Shaun of the Dead, Doghouse and Lesbian Vampire Killers satirise the social marginality of laddish behaviour by placing fannish ‘New Lad’ types within a horror film environment, thus literalising many of the stereotypes that have figured within contemporary academic writing on cult film audiences. Less
In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of horror-comedy hybrids. Through acknowledgement of the ways in which cult film fandom has traditionally been gendered as ‘male’, and often as immature, crude and boyish, I draw parallels between recent horror-comedies that use these stereotypes as ironic self-critiques of the filmmakers’ themselves and their desired audience. I ultimately locate these films within discourses surrounding ‘New Lad’ culture of the 1990s, which has similarly been linked to contemporary cult film fandom (Hollows 2003; Read 2003). Through a discussion of themes, industry statistics and textual analysis, I show how films such as Shaun of the Dead, Doghouse and Lesbian Vampire Killers satirise the social marginality of laddish behaviour by placing fannish ‘New Lad’ types within a horror film environment, thus literalising many of the stereotypes that have figured within contemporary academic writing on cult film audiences.
