標題: Titlebook: Cult Media; Re-packaged, Re-rele Jonathan Wroot,Andy Willis Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 film.cinema.medi [打印本頁] 作者: 無法生存 時間: 2025-3-21 17:51
書目名稱Cult Media影響因子(影響力)
書目名稱Cult Media影響因子(影響力)學科排名
書目名稱Cult Media網(wǎng)絡(luò)公開度
書目名稱Cult Media網(wǎng)絡(luò)公開度學科排名
書目名稱Cult Media被引頻次
書目名稱Cult Media被引頻次學科排名
書目名稱Cult Media年度引用
書目名稱Cult Media年度引用學科排名
書目名稱Cult Media讀者反饋
書目名稱Cult Media讀者反饋學科排名
作者: 解決 時間: 2025-3-21 22:16
Jonathan Wroot,Andy WillisThe topics included in this collection represent current gaps in the field of film and media studies. Distribution and home media formats are under-represented and under-researched.Addresses the need 作者: chastise 時間: 2025-3-22 02:26 作者: overshadow 時間: 2025-3-22 08:12 作者: Ballad 時間: 2025-3-22 09:32
Masculinities in Early Hellenistic Athenslates how home media releases complicate definitions of cult, as demonstrated through case studies. The aim of the introduction is to show how the book intervenes and progresses debates and investigations of both cult film and home media research, as well as outlining summaries of the contributor’s 作者: 人類的發(fā)源 時間: 2025-3-22 13:35 作者: 人類的發(fā)源 時間: 2025-3-22 17:05 作者: 猛然一拉 時間: 2025-3-23 01:01 作者: 配置 時間: 2025-3-23 01:29 作者: 防止 時間: 2025-3-23 05:31 作者: leniency 時間: 2025-3-23 12:05
Masculinities in Early Hellenistic Athensopularity of live and immersive film-based events—a trend known as experiential cinema (Atkinson and Kennedy, 2016). Despite the apparent novelty of such events, this chapter explores how these immersive experiences can be situated within a deeper history of cult fandom. In particular, an emphasis i作者: bonnet 時間: 2025-3-23 17:36 作者: initiate 時間: 2025-3-23 19:13 作者: 外表讀作 時間: 2025-3-23 22:36
Masculinities in Early Hellenistic Athensruceploitation’. Achieving momentum in the 1970s and early 1980s, this industry mainly comprised independent producers that sought to posthumously exploit the stardom of Bruce Lee by producing films featuring look-a-likes of the late martial artist and actor. Through this research, we have discovere作者: 諂媚于人 時間: 2025-3-24 04:32
an attempt to combine an analysis of film texts with a consideration of how cultural, generic and industrial production beyond Hollywood can impact on how DVD technologies are used. I trace a particular historical period of transnational DVD production emanating from popular Hindi-language cinema i作者: Ligament 時間: 2025-3-24 09:30 作者: 無力更進 時間: 2025-3-24 12:29 作者: 任命 時間: 2025-3-24 16:28 作者: 厭食癥 時間: 2025-3-24 20:11
e under-represented and under-researched.Addresses the need .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 vivi作者: 虛弱的神經(jīng) 時間: 2025-3-25 02:21 作者: 迷住 時間: 2025-3-25 06:53
as a One-Film Franchise: Charting a Commercial Phenomenon Through Cult DVD and Blu-ray Releaseshave on cult and its various meanings. The film itself charts cult’s various meanings and definitions, as do its home media releases. In particular, the DVD distributors use cult in several ways, instead of using it as a fixed category to characterise and market films.作者: Concomitant 時間: 2025-3-25 10:07 作者: 舊石器時代 時間: 2025-3-25 14:43
On Vidding: The Home Media Archive and Vernacular Historiographyids are investigated from the VCR era, the antecedents of the current digital vid form, with particular focus on vids made of . and its spin-offs. Significantly, . vids which use clips from both the original series and the films point to an erasure of medium-specificity in a home media context.作者: 誘拐 時間: 2025-3-25 16:25
The Dragon Lives Again: Distributing ‘Bruceploitation’ via Home Entertainmentd that Bruceploitation provides an insight not only into the political, economic and cultural implications of satisfying demand for Bruce Lee films following his untimely death in 1973, but more importantly, the ongoing significance of exploitation as an economic model of film production and distribution.作者: 提煉 時間: 2025-3-25 22:46 作者: stratum-corneum 時間: 2025-3-26 02:15
The Sustained Popularity of ,: Cultural Consumption in Britain’s Reception Contextneseness”. Aided by a mobilisation of Wong Kar Wai’s auteur brand, this flexibility benefits from a dismissal of Hong Kong’s commercial film industry, suggesting a growing incompatibility between the expectations of Britain’s critical and commercial cultures with the contemporary practises of international film industries.作者: BLINK 時間: 2025-3-26 08:14 作者: projectile 時間: 2025-3-26 12:01
Masculinities in Early Hellenistic Athensan version (complete with newly dubbed English voices); the addition of new sound effects; or the introduction of exaggerated colour timings. This chapter charts these changes while considering the reactions of fans and consumers to these alterations.作者: iodides 時間: 2025-3-26 12:40
Masculinities in Early Hellenistic Athensandings of ownership become both complicated and conflicted. Thus, this chapter will examine how these file?sharers engage with these consumer film ‘products’ and how such actions are interconnected with their practices of intangible product piracy.作者: helper-T-cells 時間: 2025-3-26 17:44
Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Cilm Institute and The Criterion Collection, this chapter explores how distributors have both branded themselves and promoted their respective catalogues, while analysing the converging trajectories of high art and low culture.作者: 翻布尋找 時間: 2025-3-26 23:13
Restoration, Restoration, Restoration: Charting the Changing Appearance of , on British Home Videoan version (complete with newly dubbed English voices); the addition of new sound effects; or the introduction of exaggerated colour timings. This chapter charts these changes while considering the reactions of fans and consumers to these alterations.作者: Capture 時間: 2025-3-27 03:37 作者: 單調(diào)性 時間: 2025-3-27 09:17
It’s Only Teenage Wasteland: The Home Media Revival of ,of music used in the programme, and how crucial the music is to its construction, both aurally and narratively. It also examines how . offers audiences a glimpse ‘back in time’ to before the majority of its stars were famous, a time capsule of talent that would fully emerge during the 2000s.作者: 不足的東西 時間: 2025-3-27 10:53
Masculinities in Early Hellenistic Athenshave on cult and its various meanings. The film itself charts cult’s various meanings and definitions, as do its home media releases. In particular, the DVD distributors use cult in several ways, instead of using it as a fixed category to characterise and market films.作者: 厭惡 時間: 2025-3-27 17:14
Masculinities in Early Hellenistic Athenshe label needs to be theorised as multi-discursive in terms of its “cult positioning” (Mathijs and Sexton 2011: 238). Arrow’s championing of Nordic Noir can be read as a mode of “cult-art” TV that combines emergent cultural legitimacy and fan-cultural appreciation through distribution and branding, yet without clear subcultural capital.作者: 愛國者 時間: 2025-3-27 21:17
Masculinities in Early Hellenistic Athensids are investigated from the VCR era, the antecedents of the current digital vid form, with particular focus on vids made of . and its spin-offs. Significantly, . vids which use clips from both the original series and the films point to an erasure of medium-specificity in a home media context.作者: 情節(jié)劇 時間: 2025-3-28 00:53 作者: confederacy 時間: 2025-3-28 03:26
n order to chart how and where the distinctive traces of filmgoing and filmmaking practices from within that industry have impacted on its transnational dissemination. In doing so, I challenge the conceptualisations of genre and national cinema that have shaped the debates about DVD’s significance to the global film economy.作者: 改良 時間: 2025-3-28 08:08
neseness”. Aided by a mobilisation of Wong Kar Wai’s auteur brand, this flexibility benefits from a dismissal of Hong Kong’s commercial film industry, suggesting a growing incompatibility between the expectations of Britain’s critical and commercial cultures with the contemporary practises of international film industries.作者: 魔鬼在游行 時間: 2025-3-28 14:05
Book 2017te 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 c作者: Urgency 時間: 2025-3-28 16:15 作者: ASSAY 時間: 2025-3-28 22:10 作者: induct 時間: 2025-3-29 02:59 作者: 傳授知識 時間: 2025-3-29 03:54
t 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..978-3-319-87612-2978-3-319-63679-5作者: 頭腦冷靜 時間: 2025-3-29 08:36
Introduction,lates how home media releases complicate definitions of cult, as demonstrated through case studies. The aim of the introduction is to show how the book intervenes and progresses debates and investigations of both cult film and home media research, as well as outlining summaries of the contributor’s 作者: jovial 時間: 2025-3-29 14:20 作者: spinal-stenosis 時間: 2025-3-29 18:57
Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Cemselves with specific quarters of the industry, most visibly arising from cult and marginal film markets, or from prestige and art film markets. However, in recent years, there has been a blurring of these categories as both sectors extend their catalogue into what would have historically been unde作者: 反饋 時間: 2025-3-29 21:17
A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neoculturalribution of TV shows on DVD/Blu-ray. I will re-open the question of Arrow’s agency as a distributor (Wroot 2015), addressing how Arrow Films has sought to materially channel fan affects via Nordicana and DVD signings. Arrow’s involvement in Nordic Noir as well as B-movie/genre cinema suggests that t
