Cult Cinema

Mathijs, Ernest; Sexton, Jamie

doi:10.1002/9781444396447

Cited by 84 publications

(11 citation statements)

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“…[…] The internet massively increases the (virtual) public presence of film fans, many of whom leave online traces of their love for films via discussion forums, blogs, web sites, and social networking sites, to name some prominent examples. (2011: 64)…”

Section: Fans Non-fans and Binge-watchingmentioning

confidence: 99%

Binge-watching: Video-on-demand, quality TV and mainstreaming fandom

Jenner

2015

International Journal of Cultural Studies

166

104

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Abstract:This article explores the concept of the binge as viewing protocol associated with fan practices, industry practice and linked to 'cult' and 'quality' serialised content. Viewing binge-watching as an intersection of discourses of industry, audience and text, the concept is analysed here as shaped by a range of issues that dominate the contemporary media landscape. In this, factors like technological developments, fan discourses and practices being adopted as 'mainstream' media practice, changes in the discursive construction of 'television' and an emerging Videoon-Demand industry contribute to the construction of binge-watching as deliberate, selfscheduled alternative to 'watching TV'. Keywords:Binge-watching, Quality TV, Cult TV, Fan Studies, Video-on-Demand, DVD, Discourse 1 Theoretically, any text can be binge-watched, but these lists do specify serialised content, often explicitly mentioning Netflix as a means to watch it. And they do not focus on supposedly 'low-culture' reality formats, but texts that feature award-winning actresses like Madeline Stowe or have been nominated for prestige awards.Charlotte Brunsdon links the rise of bingeing DVD box sets with a shift in the perception of television:This new, good television, in contrast to old, bad, addictive television is not broadcast network television, but television which one either pays to see, or watches on DVD. Instead of being associated with housebound women, this new television is young, smart, and on the move, downloaded or purchased to watch at will. (2010, 65) As discussed in more detail later on, these texts are invested with more cultural acclaim than traditionally afforded to television texts. But they also encourage focussed, and self-scheduled binge-watching through complex narrative structures. Autonomous scheduling, as made possible through VHS, DVR, DVD or VOD, allows viewers to set aside time for the focussed and planned watching of content. As this suggests, the concept of binge-watching is understood here as discursive formation or an intersection of a variety of discourses. This study focusses on discourses of industry, text, and audience, though the latter point focusses on the figure of the fan and the mainstreaming of fandom rather than empirical audience research.

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Section: Fans Non-fans and Binge-watchingmentioning

confidence: 99%

Binge-watching: Video-on-demand, quality TV and mainstreaming fandom

Jenner

2015

International Journal of Cultural Studies

166

104

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“…When asked if they felt that Tartan's marketing of Asian Extreme films promoted negative stereotypes or gross misrepresentations of Asian culture, they all replied 'no' . 8 Their assessment of Tartan's brand mirrors the way in which a number of academics have analysed Asia Extreme as a successful marketing strategy for targeting a cult film enthusiast/'fanboy' formation (Dew 2007;Mathijs and Sexton 2011).…”

Section: Decoding the Asia Extreme Brandmentioning

confidence: 96%

Transnational cult paratexts: exploring audience readings of Tartan’s Asia Extreme brand

Pett

2016

Transnational Cinemas

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school of art, media and american studies, University of east anglia, norwich, UK ABSTRACT Recent scholarship on the branding of contemporary cult Asian cinema for western audiences has frequently drawn on Said's seminal treatise Orientalism as a means to critique sensationalist marketing materials. Whilst the excessive character of paratexts produced by film distributors such as Tartan clearly facilitates such readings, in this article I argue that this oft-repeated criticism becomes problematic when employed indiscriminately to theorise, by extension, the audiences for these films. Drawing on a recent empirical study of responses to Asian Extreme cinema and its distribution in the UK and North America, I offer an intervention in this debate by constructing a more nuanced interpretation of the ways in which cult audiences articulate their attraction to cinematic representations of cultural difference.

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“…Cultists not only champion undervalued aesthetic traditions, but are invaluable for the reception and afterlife of mainstream popular texts, queering them for cult consumption. Mathijs and Sexton describe the ‘queering’ of mainstream films as reading against the grain, by willfully looking for signs of homoeroticism and queerness which surface readings of films would not normally invite (Mathijs & Sexton, 2011, p. 116). In queering heterocentrist texts, cultists are involved in creative acts of making mainstream texts speak for marginal identities, thus giving them a sense of history and an archive of their own.…”

Section: Conclusion: Cult Cinephilia and Queer Futuresmentioning

confidence: 99%

“…Khan’s film can be read as a ‘postmodern cult pastiche’ (Mathijs & Sexton, 2011, p. 198) as well as a transnational adaptation of more popular American counterparts. In their study of transnational remakes, Iain Robert Smith and Constantine Verevis argue that the complexity of the transnational film remake lies in the unique place it has in its local culture as well within global cultural exchange (Smith & Verevis, 2017, p. 2).…”

Section: Introduction: Beyond the Remakementioning

confidence: 99%

Visions of Queer Anarchism: Gender, Desire, and Futurity in Omar Ali Khan’s Zibahkhana

Masood¹

2019

BioScope: South Asian Screen Studies

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Modelled upon American slasher film tropes, Omar Ali Khan’s Zibahkhana (2007) is more than a transnational remake. It is a vision of a queer revolution, and imagines queer futures brought about through rural anarchy and violent eroticism. This article reads the masked killer of Zibahkhana as a monstrous queer agency armed with a queer (zombie) militia prepared to consume and transform the heteronormative matrix. Offering an unprecedented and unapologetic representation of queer aggression onscreen, Khan’s indie slasher explores queer articulations of desire and anarchy in the figure of the killer, Baby, a queer woman and a murderous cannibal. With Baby, Zibahkhana offers a queer anti-hero, the first of its kind for Pakistani cinema, that challenges normative modes of being, belonging, and desiring. Thus Zibahkhana not only offers a welcome revision of Western slasher film tropes, it blazes a trail for transgressive and incendiary portrayals of queer embodiments and intimacies in Pakistani visual media.

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Cult Cinema

Cited by 84 publications

References 0 publications

Binge-watching: Video-on-demand, quality TV and mainstreaming fandom

Binge-watching: Video-on-demand, quality TV and mainstreaming fandom

Transnational cult paratexts: exploring audience readings of Tartan’s Asia Extreme brand

Visions of Queer Anarchism: Gender, Desire, and Futurity in Omar Ali Khan’s Zibahkhana

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