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

迷住

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.

Concomitant

舊石器時(shí)代

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.

誘拐

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.

提煉

stratum-corneum

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.

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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.

iodides

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.

helper-T-cells

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.