Cult Media [electronic resource] : Re-packaged, Re-released and Restored / edited by Jonathan Wroot, Andy Willis.
Erişim Adresi
ISBN
9783319636795
Dil Kodu
İngilizce
Yer Numarası
EK/5448
Basım Bildirimi
1st ed. 2017.
Yayın Bilgisi
Cham : Springer International Publishing : Imprint: Palgrave Macmillan, 2017.
Fiziksel Niteleme
XI, 227 p. 7 illus. in color. online resource.
İçindekiler Notu
1. Introduction – Jonathan Wroot and Andy Willis -- 2. I – The Cult Business: Creating Consumption: Jonathan Wroot, ‘Battle Royale as a One Film Franchise: Charting a Commercial Cult Phenomenon through DVD and Blu-ray releases’ -- 3. Mark McKenna, ‘Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution’ -- 4. Matt Hills, ‘A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neocultural Capital’ -- 5. Lee Broughton, ‘Restoration, Restoration, Restoration: charting the changing appearance of The Good, the Bad and the Ugly on British home video’ -- 6. Katie Barnett, ‘It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks’ -- 7. II – Cult Practices: The Consumption and Reception of Cult Media: E.W. Nikdel, ‘Cult Fandom and Experiential Cinema’ -- 8. Virginia Crisp, ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’ -- 9. E. Charlotte Stevens, ‘On Vidding: The Home Media Archive and Vernacular Historiography’ -- 10. Oliver Carter and Simon Barber, ‘The Dragon Lives Again: Distributing “Bruceploitation” via Home Entertainment’ -- 11. Rayna Denison, ‘Bollywood DVD: The Relationship between Distributive Technology and Content in Transnational Cinema’ -- 12. Fraser Elliot, ‘The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context’. .
Özet, vb.
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.
Konu
Motion pictures.
Television broadcasting.
Motion picture industry.
Communication.
Motion pictures __ Production and direction.
Film and Television Studies.
Film and Television Industry.
Media and Communication.
Film and Television Production.
Television broadcasting.
Motion picture industry.
Communication.
Motion pictures __ Production and direction.
Film and Television Studies.
Film and Television Industry.
Media and Communication.
Film and Television Production.
Diğer Yazarlar
Kurum Adı
Eseri Alıntıla
Referansları kullanmadan önce gözden geçirmeniz ve varsa gerekli düzeltmeleri yapmanız önerilir.
Dijital Kaynak
MARC Görünümü
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250 |a1st ed. 2017.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2017.
300 |aXI, 227 p. 7 illus. in color.|bonline resource.
336 |atext|btxt|2rdacontent
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505 0 |a1. Introduction – Jonathan Wroot and Andy Willis -- 2. I – The Cult Business: Creating Consumption: Jonathan Wroot, ‘Battle Royale as a One Film Franchise: Charting a Commercial Cult Phenomenon through DVD and Blu-ray releases’ -- 3. Mark McKenna, ‘Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution’ -- 4. Matt Hills, ‘A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neocultural Capital’ -- 5. Lee Broughton, ‘Restoration, Restoration, Restoration: charting the changing appearance of The Good, the Bad and the Ugly on British home video’ -- 6. Katie Barnett, ‘It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks’ -- 7. II – Cult Practices: The Consumption and Reception of Cult Media: E.W. Nikdel, ‘Cult Fandom and Experiential Cinema’ -- 8. Virginia Crisp, ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’ -- 9. E. Charlotte Stevens, ‘On Vidding: The Home Media Archive and Vernacular Historiography’ -- 10. Oliver Carter and Simon Barber, ‘The Dragon Lives Again: Distributing “Bruceploitation” via Home Entertainment’ -- 11. Rayna Denison, ‘Bollywood DVD: The Relationship between Distributive Technology and Content in Transnational Cinema’ -- 12. Fraser Elliot, ‘The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context’. .
520 |aThis 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.
650 0|aMotion pictures.
650 0|aTelevision broadcasting.
650 0|aMotion picture industry.
650 0|aCommunication.
650 0|aMotion pictures|xProduction and direction.
650 14|aFilm and Television Studies.
650 24|aFilm and Television Industry.
650 24|aMedia and Communication.
650 24|aFilm and Television Production.
700 1 |aWroot, Jonathan.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
700 1 |aWillis, Andy.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783319636788
776 08|iPrinted edition:|z9783319636801
776 08|iPrinted edition:|z9783319876122
856 40|uhttps://doi.org/10.1007/978-3-319-63679-5
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950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)
001 842221
003 TR_AnAIT
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008 171027s2017 sz | s |||| 0|eng d
020 |a9783319636795|9978-3-319-63679-5
024 7 |a10.1007/978-3-319-63679-5|2doi
041 |aeng
049 |aTürk Dil Kurumu Kütüphanesi
050 4|aPN1600-3307.2
072 7|aAP|2bicssc
072 7|aPER004000|2bisacsh
072 7|aAT|2thema
082 04|a791.4|223
090 |aEK/5448
245 10|aCult Media|h[electronic resource] :|bRe-packaged, Re-released and Restored /|cedited by Jonathan Wroot, Andy Willis.
250 |a1st ed. 2017.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2017.
300 |aXI, 227 p. 7 illus. in color.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
505 0 |a1. Introduction – Jonathan Wroot and Andy Willis -- 2. I – The Cult Business: Creating Consumption: Jonathan Wroot, ‘Battle Royale as a One Film Franchise: Charting a Commercial Cult Phenomenon through DVD and Blu-ray releases’ -- 3. Mark McKenna, ‘Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution’ -- 4. Matt Hills, ‘A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neocultural Capital’ -- 5. Lee Broughton, ‘Restoration, Restoration, Restoration: charting the changing appearance of The Good, the Bad and the Ugly on British home video’ -- 6. Katie Barnett, ‘It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks’ -- 7. II – Cult Practices: The Consumption and Reception of Cult Media: E.W. Nikdel, ‘Cult Fandom and Experiential Cinema’ -- 8. Virginia Crisp, ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’ -- 9. E. Charlotte Stevens, ‘On Vidding: The Home Media Archive and Vernacular Historiography’ -- 10. Oliver Carter and Simon Barber, ‘The Dragon Lives Again: Distributing “Bruceploitation” via Home Entertainment’ -- 11. Rayna Denison, ‘Bollywood DVD: The Relationship between Distributive Technology and Content in Transnational Cinema’ -- 12. Fraser Elliot, ‘The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context’. .
520 |aThis 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.
650 0|aMotion pictures.
650 0|aTelevision broadcasting.
650 0|aMotion picture industry.
650 0|aCommunication.
650 0|aMotion pictures|xProduction and direction.
650 14|aFilm and Television Studies.
650 24|aFilm and Television Industry.
650 24|aMedia and Communication.
650 24|aFilm and Television Production.
700 1 |aWroot, Jonathan.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
700 1 |aWillis, Andy.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783319636788
776 08|iPrinted edition:|z9783319636801
776 08|iPrinted edition:|z9783319876122
856 40|uhttps://doi.org/10.1007/978-3-319-63679-5
912 |aZDB-2-LCM
912 |aZDB-2-SXL
950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)
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