The Routledge Companion to Cult Cinema offers an overview of the field of cult cinema - films at the margin of popular culture and art that have received exceptional cultural visibility and status mostly because they break rules, offend, and challenge understandings of achievement (some are so bad they're good, others so good they remain inaccessible). Cult cinema is no longer only comprised of the midnight movie or the extreme genre film. Its range has widened and the issues it broaches have become battlegrounds in cultural debates that typify the first quarter of the twenty-first century. Sections are introduced with the major theoretical frameworks, philosophical inspirations, and methodologies for studying cult films, with individual chapters excavating the most salient criticism of how the field impacts cultural discourse at large. Case studies include the worst films ever; exploitation films; genre cinema; multiple media formats cult cinema is expressed through; issues of cultural, national, and gender representations; elements of the production culture of cult cinema; and, throughout, aspects of the aesthetics of cult cinema - its genre, style, look, impact, and ability to yank viewers out of their comfort zones. The Routledge Companion to Cult Cinema goes beyond the traditional scope of Anglophone and North American cinema by including case studies of East and South Asia, continental Europe, the Middle East, and Latin America, making it an innovative and important resource for researchers and students alike.

Throughout its history, British television has found a place, if only in its margins, for programmes that consciously worked to expand the boundaries of television aesthetics. Even in the present climate of increased academic interest in television history, its experimental tradition has generally either been approached generically or been lost within the assumption that television is simply a mass medium. Avaible for the first time in paperback, Experimental British television uncovers the history of experimental television, bringing back forgotten programmes in addition to looking at relatively more privileged artists or programme strands from fresh perspectives. The book therefore goes against the grain of dominant television studies, which tends to place the medium within the flow of the 'everyday', in order to scrutinise those productions that attempted to make more serious interventions within the medium. -- .

The Routledge Companion to Cult Cinema offers an overview of the field of cult cinema - films at the margin of popular culture and art that have received exceptional cultural visibility and status mostly because they break rules, offend, and challenge understandings of achievement (some are so bad they're good, others so good they remain inaccessible). Cult cinema is no longer only comprised of the midnight movie or the extreme genre film. Its range has widened and the issues it broaches have become battlegrounds in cultural debates that typify the first quarter of the twenty-first century. Sections are introduced with the major theoretical frameworks, philosophical inspirations, and methodologies for studying cult films, with individual chapters excavating the most salient criticism of how the field impacts cultural discourse at large. Case studies include the worst films ever; exploitation films; genre cinema; multiple media formats cult cinema is expressed through; issues of cultural, national, and gender representations; elements of the production culture of cult cinema; and, throughout, aspects of the aesthetics of cult cinema - its genre, style, look, impact, and ability to yank viewers out of their comfort zones. The Routledge Companion to Cult Cinema goes beyond the traditional scope of Anglophone and North American cinema by including case studies of East and South Asia, continental Europe, the Middle East, and Latin America, making it an innovative and important resource for researchers and students alike.

A low-budget breakout film that wowed critics and audiences on its initial release, Stranger than Paradise would prove to be a seminal film in the new American independent cinema movement and establish its director, Jim Jarmusch, as a hip, cult auteur. Taking inspiration from 1960s underground filmmaking, international art cinema, genre cinema, and punk culture, Jarmusch's film provides a bridge between midnight movie features and a new mode of quirky, offbeat independent filmmaking. This book probes the film's production history, initial reception, aesthetics, and legacy in order to understand its place within the cult film canon. In examining the film's cult pedigree, it explores a number of threads that fed into the film - including New York downtown culture of the early 1980s and Jarmusch's involvement in music - as well as reflecting on how the film's status has developed alongside Jarmusch's subsequent output and reputation.

Freak Scenes explores the increased licensing of indie music and representation of indie music cultures within American independent cinema since the 1980s. Indie music has, since the 2000s, become highlighted in some indie films as an attraction, but this book probes how the appeal of indie music stretches back to the late 1970s, when punk music made its impact on filmmaking. Sexton looks at a range of issues where indie music and indie film intersect, including commercial concerns, the growth of niche marketing, the increased employment of popular music in cinema and questions of authenticity, as well as the fraught tensions between commercial and artistic concerns. Case studies include: sonic authorship and indie music, representations of punk and indie scenes on screen, and an exploration of how racial and gender issues inform the representation and reception of indie cultures on film

In the first book-length study to concentrate specifically on Britain, Jamie Sexton examines the rise of avant-garde and experimental film-making between the wars. The book provides a detailed view of how modernist and anti-mainstream currents emerged in the film industry in Britain. Alternative Film Culture in Inter-War Britain is the first book-length study of a number of currents which opposed mainstream filmmaking and which championed film as an intellectual, modern art. It traces the growth of new approaches to film through exhibition and writing on cinema, and looks at how this cultural formation shaped certain areas of filmmaking. As such, it takes an interdisciplinary approach in which a study of independent filmmaking in this era is firmly placed within a cultural context, linking the ways in which films were presented, received and produced.This is the first in-depth look at 'alternative film culture' in Britain between the wars will excite many in the film, and film studies, worlds. It combines the history with analysis of the films themselves, and of their reception. It looks at the operations of a key contemporary institution, the original Film Society.

This is the News Chris Morris is one of the most singular and controversial figures in recent UK media, at one point being described as the 'most hated man in Britain' for his corrosive media satire. With shows such as the notorious spoof Brass Eye, this writer, performer, DJ and director has not only pushed boundaries of taste and acceptability, but altered perceptions of current affairs broadcasting, moral panics and celebrity culture. At the same time, cult programmes such as Blue Jam, Jam and Nathan Barley have pushed conventional formats such as sketch comedy and sitcom to the limits of possibility.
In the first full-length scholarly book on the comedy of Chris Morris, writers discuss his early DJ career, his pioneering radio satire, his television mockumentary, his experimental black comedy and his more recent move into film-making. No Known Cure approaches the work of Chris Morris from a diverse range of perspectives in order to fully grapple with his wide-ranging, groundbreaking media output.