This volume brings together writing on the topic of home media, and in particular releases described as appealing to cult fans and audiences. Despite popular assumptions to the contrary, the distributors of physical media maintain a vivid presence in the digital age. Perhaps more so than any other category of film or media, this is especially the case with titles considered cult and its related processes of distribution and exhibition. The chapters in this collection chart such uses and definitions of cult, ranging from home media re-releases to promotional events, film screenings, file-sharing and the exploitation of established fan communities. This book will be of interest to the ever-growing number of academics and research students that are specializing in studies of cult cinema and fan practices, as well as professionals (filmmakers, journalists, promoters) who are familiar with these types of films.
| Introduction |
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1 | (10) |
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Part I The Cult Business: Creating Consumption |
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Battle Royale as a One-Film Franchise: Charting a Commercial Phenomenon Through Cult DVD and Blu-ray Releases |
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11 | (20) |
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Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution |
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31 | (18) |
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A "Cult-like" Following: Nordic Noir, Nordicana and Arrow Films' Bridging of Subcultural/Neocultural Capital |
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49 | (18) |
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Restoration, Restoration, Restoration: Charting the Changing Appearance of The Good, the Bad and the Ugly on British Home Video |
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67 | (18) |
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It's Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks |
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85 | (20) |
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Part II Cult Practices: The Consumption and Reception of Cult Media |
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Cult Fandom and Experiential Cinema |
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105 | (20) |
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Pirates and Proprietary Rights: Perceptions of `Ownership' and Media Objects Within Filesharing Communities |
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125 | (18) |
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On Vidding: The Home Media Archive and Vernacular Historiography |
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143 | (18) |
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The Dragon Lives Again: Distributing `Bruceploitation' via Home Entertainment |
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161 | (20) |
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Bollywood DVD: The Relationship Between Distributive Technology and Content in Transnational Cinema |
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181 | (20) |
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The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context |
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201 | (20) |
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| Index |
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221 | |
Jonathan Wroot is a Lecturer at the University of Greenwich, UK. He teaches classes within film and media studies. His previous research concerns the distribution and marketing of Japanese cinema and he has published numerous journal articles on the topic in Arts and The Market, The East Asian Journal of Popular Culture, Frames, and Participations.
Andy Willis is a Reader in Film Studies at the University of Salford, UK, and Senior Visiting Curator for Film at HOME, Manchester, UK. He is a co-author of The Cinema of Alex de la Iglesia (2007), and the editor of Film Stars: Hollywood and Beyond (2004). He is also the co-editor of Defining Cult Movies (2003), Spanish Popular Cinema (2004), East Asian Film Stars (2014), and Chinese Cinemas: International Perspectives (2016).
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