The article considers the ways in which the meanings of film consumption are shaped by their timing or scheduling within people's lives. It begins by considering the ways in which these meanings are ...shaped in relation to historical time, and how the meanings of film consumption change over time. It then moves on to consider the ‘life course’, or the ways in which meanings of film consumption are affected by the different stages that people pass through across a lifetime. Finally, the article considers more cyclical patterns and routines such as those of the year, week and day. In the process, it seeks to demonstrate that film consumption is about much more than the interpretation of individual programs, and involves a series of social activities that are meaningful within broader social contexts.
Using the work of Pierre Bourdieu and Sara Thornton, the paper investigates the problems of 'writing as a fan' through an analysis of cult movie fandom. It starts out from a critique of Jeff Sconce's ...work which claims that he fails to question the subcultural ideology through which fan cultures produce a sense of identity through their supposed difference from the 'mainstream'. It then moves on to an analysis of fan writing on the 'cult movie', which examines not only the complex and contradictory strategies through which these writings produce a sense of subcultural identity, but also the extent to which these writings seek to construct identities through the construction of an inauthentic Other. The next section examines both exhibition practices and intellectual trends to illustrate the ways in which cult movie fandom emerged not as a reaction against the market or the academy,but rather through their historical development. Finally,the paper looks at the role of mass, niche and micro media within the production and maintenance of the scene and at the functions of rarity and exclusivity within it. In the process, the essay explores the contradictory and problematic nature of the concept of 'mainstream, commercial cinema', and the ways in which it is produced as the other of supposedly radical and alternative taste cultures, whether subcultural or academic.
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Room at the Top was released in the United Kingdom only two years after Curse of Frankenstein (1957) from the British production company Hammer. The former was the first film in a “‘new wave’ of ...working class realism” (J. Hill, Sex 2), which is often seen as one of the major aesthetic achievements of British cinema, and the latter enjoyed phenomenal commercial success and established a new British horror cinema. Given the virtual coincidence between these two cinematic events, it seems strange that these events are rarely discussed in relationship to one another in histories of British cinema. For example, John Hill’s Sex, Class and Realism makes only two references to the Hammer horror films or horror more generally, and neither David Pirie’s A Heritage of Horror nor Chibnell and Petley’s British Horror Cinema engages with this relationship, even though the latter features an article on The Innocents (1961), a horror film that was directed by Jack Clayton immediately after Room at the Top. Much the same is also true of Rigby’s account of the British horror film, which makes repeated references to isolated moments of interconnection but does not bring these together in a larger argument. Murphy’s Sixties British Cinema is even structured as if to isolate these events from one another, so that working-class realism is contained within chapter 1, the popular horror films of Hammer and others are dealt with in chapter 8, and chapter 4 is given over to “the possibility of constructing a tradition of ‘art cinema’ from among British films” (5), a discussion that includes many of the films that could demonstrate overt crossover or traffic between realism and horror, films such as The Innocents, The Servant (1963), Night Must Fall (1964), and Repulsion (1965).
If his love is initially illicit, he proves his worthiness in the end when he "dies on a muddy battlefield" during World War I and then makes "a ghostly return to encourage Marguerite his lover to ...fulfil her duty to her now blind husband" (Studlar 170). ...rather than being "a shocking spectacle of difference" (Studlar 241), Chaney's performances often illustrated that things were not how they appeared: that his monsters might be visually marked as other but that their physical appearance was deceptive, a theme that brings us back to ethnicity in various ways. The basis of this success was the company's initial strategy of targeting areas such as North Lawndale in Chicago; as the 1920 census demonstrated, 75 percent of the population were "Russian Jews who had come to America in the 1880 and 1890s and settled in the neighbourhood around Hull House (Maxwell Street)" but had then "moved to North Lawndale in order to prove that they had 'made it'" (Gomery, Shared 44). The buildings were designed lavishly so that they "spelled opulence to the average Chicago moviegoer" (Gomery, Shared 47), while service workers were on hand to treat "the movie patron as a king or queen" (Gomery, Shared 47).
Special Issue: ‘Lonely Are the Brave’ Bacon, Helena; Jancovich, Mark
European journal of American culture,
09/2023, Letnik:
42, Številka:
2-3
Journal Article
Recenzirano
The Western has been seen as a key genre for understanding both the American national character and the particulars of Hollywood, but there are now very few contemporary studies of this once ...foundational genre. The articles in this Special Issue, coming out of the
Lonely Are the Brave
conference of 2021, aim to revisit the Western, and the post-war Western specifically, in order to revive scholarship surrounding these texts, to interrogate existing models of understanding the history of the genre, and to examine how the genre treats ideas connected to time and its passing as attached to the American west and its depictions on-screen.
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An examination of 'horror' in the silent period, one of many genres that is only supposed to have emerged in the 1930s. Through an analysis of press coverage, the article examines a clear vocabulary ...that was used to describe a specific 'type' of film at the time. It also illustrates that 'horror' was explicitly used as a generic noun to name this 'type' but that, given that 'horror' was also a negative term used in censorship campaigns, this term was often avoided, except when 'horror' was clearly understood as a 'hot' genre. Consequently, this genre was more commonly described as 'mystery,' a term that included both 'horror' and 'detective stories,' terms that were largely seen to be indistinguishable in the period, when both were understood as featuring investigations into the 'mysterious,' 'strange' and 'eerie.' In other words, 'mystery' staged a confrontation between rationality and irrationality and in a way that negotiated the perceived transitions from Victorianism to Modernity at the time.
Although science fiction of the Golden Age in the 1940s and the 1950s is often associated with narratives of progress, this article demonstrates that there was a fascination within this period with ...narratives of cyclicality, rather than progress, narratives in which social and scientific
systems collapse back into new dark ages and/or re-emerge out of such new dark ages. Furthermore, the article explores how these narratives were mobilized in relation to the Cold War and particularly the ways in which nationalist agendas were seen as repressing the international exchange of
ideas that many science fiction writers regarded as central to science. However, these stories did not simply oppose politics with science so that the former was associated with ignorance and repression and the latter with knowledge and liberation. On the contrary, these stories were preoccupied
with conceptual crises, in which one system of thought was overthrown by another. In other words, these were stories of scientific revolution rather than linear progress and they often presented all systems of thought as potentially restrictive. In short, these cyclical narratives were a reminder
of a challenge from which many science fiction writers believed that science could not escape, a challenge that would therefore continually reassert itself: the narratives demonstrated that scientists not only needed to take responsibility for their discoveries but also to recognize that the
advancement of science did not inevitably lead to (or even go hand in hand with) social, political or cultural enlightenment.
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