Renovating<i>The Room</i>: audience reception and paratextual intervention

Middlemost, Renée

doi:10.1080/19392397.2018.1492429

Cited by 2 publications

(1 citation statement)

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“…To date, Wiseau's legal action has prevented A Room Full of Spoons from any further screenings and this forms part of a broader attempt by Wiseau to evade questions surrounding his age, the source of his money and, most notably, his country of birth. According to Renee Middlemost, this is a deliberate strategy to maintain some level of mystique given that the 'future of The Room as a cult text is bound to the maintenance of Wiseau's persona, and his tight policing of paratexts threatening full disclosure is his method of maintaining this cult status' (Middlemost 2018). Of course, this strategy of evasion is met with an ever-increasing number of articles and videos that profess to reveal the truth of Wiseauas exemplified by features like Vulture magazine's 'Everything We Definitely Know About The Room's Tommy Wiseau' (Bramesco 2017).…”

Section: Discussionmentioning

confidence: 99%

So ‘foreign’ it’s good: the cultural politics of accented cult cinema

Smith

2019

Continuum

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Section: Discussionmentioning

confidence: 99%

So ‘foreign’ it’s good: the cultural politics of accented cult cinema

Smith

2019

Continuum

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The Puzzle of Good Bad Movies

Tooming¹

2020

Journal of Aesthetic Education

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There are bad movies, and there are movies that are so bad that they are good. So-called good bad movies have received a lot of attention from critics and moviegoers in recent years. Many people, including those with good taste, are willing to invest their time and resources in watching and discussing them. In this paper, I will argue that the fact that aesthetically competent consumers of cinema are engaging with good bad movies challenges an intuitive assumption according to which a film merits appreciation qua film only if it manifests artistic competence. I will argue that we should weaken this assumption. Good bad movies do merit appreciation because they are unique in instantiating artistic possibilities that are out of reach of competent filmmakers. I conclude the paper by comparing and contrasting my account with a recent view of good bad art, suggested by John Dyck and Matt Johnson.

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RenovatingThe Room: audience reception and paratextual intervention

Cited by 2 publications

References 15 publications

So ‘foreign’ it’s good: the cultural politics of accented cult cinema

So ‘foreign’ it’s good: the cultural politics of accented cult cinema

The Puzzle of Good Bad Movies

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