Cult cinema and technological change
Cult cinema and technological change
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邪教电影和技术变革
DOI：
10.1080/17400309.2014.989007
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发表时间：
2015
影响因子：
0.8
通讯作者：
Hills M
中科院分区：
文献类型：
--
作者：
Hills M
在这期《电影和电视研究新评论》的特刊中，我们汇集了一些论文，探讨了邪教电影和技术变革的身份和话语。电影本身是一种媒介，它经历了一系列具有历史意义的技术发展，例如向有声电影的过渡，屏幕“革命”以及向数字化的转变。邪教电影也一直对技术如何影响该领域感兴趣，尽管该领域大多数以技术为重点的研究倾向于反映新兴的技术发展;对技术变革的历史调查没有那么集中。因此，在这期特刊中，我们收录了一些以历史为重点的论文，以及对最近事态发展的反思。两个非常广泛的话题，吸引了邪教电影学者的注意力是家庭视频和互联网提供的增加网络机会。这两个领域都包含子类别：家庭视频，例如，包括录像带、DVD和蓝光，以及视频点播技术，仅举一些突出的例子;虽然联网技术支持大范围的活动和过程，以至于网络研究--本身只是互联网研究的一个子集--已经看到了“web 1.0”和“web 2.0”之间的分离，以标志着已经发生的重大变化。特别是粉丝研究见证了一系列关于使用社交媒体的“数字粉丝”活动的研究（参见Booth 2010; Duffett 2013），以及在Web 2.0时代如何将商品化的邪教品牌化，营销和在线销售（Geraghty 2014;步行者2014），如何始终在线，24/7媒体使新的球迷文化关系的时间性和'破坏者'（Gwynne 2014; Hills 2012），以及向Web 2.0的转变如何影响粉丝社区（班尼特2014; Hills 2013）。尽管这个词在历史上有一些使用，但邪教电影的现象可以说是在20世纪70年代成熟的，学术报道始于20世纪80年代（Austin 1981; Eco 1986）。早期对邪教电影的学术分析关注的是探索公共剧院重复表演的仪式性质，尽管这也是家庭录像起飞并开始开辟电影可以成为邪教的新途径的时期。视频文化改变了观众对电影产生依恋的方式：以前，人们往往会在剧院短暂地看到一部电影，但大多数观众无法将电影作为实物拥有（尽管他们可以拥有与电影相关的实物纪念品）。视频使人们能够q 2014泰勒和弗朗西斯
In this special issue of the New Review of Film and Television Studies we have brought together a number of papers that explore the identities and discourses of cult cinema and technological change. Cinema itself is a medium which has gone through a series of historically important technological developments, such as the transition to sound cinema, the widescreen ‘revolution’, and the move to digital. Cult cinema also has been marked by an interest in how technologies impact upon the field, though the majority of technology-focused research in the area has tended to reflect on emergent technological developments; historical investigation of technological change has featured less centrally. As a result, in this special issue we include a number of historically focused papers as well as ruminations on more recent developments. Two very broad topics that have captured the attention of cult cinema scholars are home video and the increased networking opportunities afforded by the Internet. These are both areas which contain sub-categories: home video, for example, includes video tape, DVD and Blu-ray, and video-on-demand technologies, to name some prominent examples; whilst networking technologies subsume a large range of activities and processes, so much so that web studies–itself only a subset of Internet studies–has already seen a separation between ‘web 1.0’and ‘web 2.0’to mark the significant changes that have taken place. Fan studies in particular has witnessed a range of research into the activities of ‘digital fandom’using social media (see, eg Booth 2010; Duffett 2013), as well as addressing how commodified cult has been branded, marketed, and sold online in the web 2.0 era (Geraghty 2014; Walker 2014), how always-on, 24/7 media have enabled new fan-cultural relationships to temporality and ‘spoilers’(Gwynne 2014; Hills 2012), and how the shift to web 2.0 has impacted on fan communities (Bennett 2014; Hills 2013). Despite some preceding historical uses of the phrase, the phenomenon of cult cinema arguably came of age in the 1970s, with academic coverage beginning in the 1980s (Austin 1981; Eco 1986). Early academic analyses of cult cinema were concerned with exploring the ritual nature of repeat performances in public theatres, though this was also a period in which home video was taking off and beginning to open up new ways by which films could become cultified. Video culture reconfigured the ways by which viewers could form attachments to films: previously, people tended to encounter a film fleetingly at the theatre, but most viewers were not able to own the film as a physical object (though they could possess physical memorabilia associated with a film). Video enabled people to q 2014 Taylor & Francis
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DOI：
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