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

翻布尋找

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.

Capture

單調(diào)性

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.

不足的東西

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.

厭惡

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.

愛國者

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.

情節(jié)劇

confederacy

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.

改良

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.

魔鬼在游行

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