Pop goes the canon

Grixti, Joe

doi:10.1177/1367549409342512

Cited by 4 publications

(1 citation statement)

References 13 publications

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“…Film attracts a wide range of audiences and is one of the main cultural activities that most people engage in (Northern Alliance and Ipsos MediaCT, 2011). Film is both commercially and artistically driven, has both popular and artistic aesthetics, and has a differentiated internal market of large-scale, big-budget blockbusters, small-scale, director-led, art-house films, and feel-good, middlebrow films (Durgnat, 1971;Grixti, 2009;Higson, no date). For many people film is accessible via television, online services and cinemas, and its genres offer choices that serve a variety of consumer tastes.…”

Section: Film and Consumptionmentioning

confidence: 99%

Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK

Hanchard,

Merrington,

Wessels

et al. 2019

EOR

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This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

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Section: Film and Consumptionmentioning

confidence: 99%

Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK

Hanchard,

Merrington,

Wessels

et al. 2019

EOR

View full text Add to dashboard Cite

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The Mystery of a Hansom Cab, the Classic Adaptation and the Australian Canon

Louttit¹

2015

ADAPTA

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Since it burst onto the literary scene in 1886, the reception history of Fergus Hume'sThe Mystery of a Hansom Cab has been uneven. Initially a huge success with readers, the text also strongly influenced Australian crime fiction in the 1880s and 1890s. As the twentieth century wore on, however, its critical reputation fell away, only to re-cover more recently as attention returned to popular crime fiction. As a result, the novel might not seem an obvious, straightforwardly canonical, source for a major adaptation produced by the national broadcaster. This essay argues, however, that as a text poised between the classifications of 'popular bestseller' and 'classic', The Mystery of a Hansom Cab was a surprisingly attractive proposition as a new classic adaptation for the adapters who produced it for the ABC in 2012. The essay explains why this was the case, analysing the meanings and effects of the telemovie in relation to several different frames, including recent developments in the contextualisation of the classic adaptation genre, the production context of Australian television drama in this period, and other generically similar historical series screened just before it. In this particular case study, the adaptation's relationship with these cultural and generic networks is shown to be more significant than the status of the source text.

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Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK

et al. 2019

View full text Add to dashboard Cite

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow ‘feel good’ movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who ‘prefer’ arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

show abstract

Pop goes the canon

Cited by 4 publications

References 13 publications

Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK

Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK

The Mystery of a Hansom Cab, the Classic Adaptation and the Australian Canon

Exploring contemporary patterns of cultural consumption: offline and online film watching in the UK

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