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This book demonstrates, in contrast to statistics that show
declining consumption of physical formats, that there has not been
a mass shift towards purely digital media. Physical releases such
as special editions, DVD box-sets and Blu-Rays are frequently
promoted and sought out by consumers. And that past formats such as
VHS, Laserdisc and HD-DVD make for sought-after collectible items.
These trends are also found within particular genres and niche
categories, such as documentary, education and independent film
distribution. Through its case studies, this collection makes a
distinctive and significant intervention in highlighting the ways
in which the film industry has responded to rapidly changing
markets. This volume, global in scope, will prove useful to those
studying the distribution and exhibition of films, and the
economics of the film industry around the world.
This volume brings together writing on the topic of home media, and
in particular releases described as appealing to 'cult' fans and
audiences. Despite popular assumptions to the contrary, the
distributors of physical media maintain a vivid presence in the
digital age. Perhaps more so than any other category of film or
media, this is especially the case with titles considered 'cult'
and its related processes of distribution and exhibition. The
chapters in this collection chart such uses and definitions of
'cult', ranging from home media re-releases to promotional events,
film screenings, file-sharing and the exploitation of established
fan communities. This book will be of interest to the ever-growing
number of academics and research students that are specializing in
studies of cult cinema and fan practices, as well as professionals
(filmmakers, journalists, promoters) who are familiar with these
types of films.
The taste for horror is arguably as great today as it has ever
been. Since the turn of the millennium, the horror genre has seen
various developments emerging out of a range of contexts, from new
industry paradigms and distribution practices to the advancement of
subgenres that reflect new and evolving fears. New Blood builds
upon preceding horror scholarship to offer a series of critical
perspectives on the genre since the year 2000, presenting a
collection of case studies on topics as diverse as the emergence of
new critical categories (such as the contentiously named
‘prestige horror’), new subgenres (including ‘digital folk
horror’ and ‘desktop horror’) and horror on-demand
(‘Netflix horror’), and including analyses of key films such as
The Witch and Raw and TV shows like Stranger Things and Channel
Zero. Never losing sight of the horror genre’s ongoing political
economy, New Blood is an exciting contribution to film and horror
scholarship that will prove to be an essential addition to the
shelves of researchers, students and fans alike.
The Paths of Zatoichi charts the history and influence of the
Japanese film and television franchise about Zatoichi the blind
swordsman. The franchise is comprised of 29 films and 100 TV
episodes (starring the famous Shintaro Katsu, who starred in 26 of
the 29 feature films). They all follow the adventures of a blind
masseur in medieval Japan, who wanders from village to village and
often has to defend himself with his deadly sword skills. The first
film was released in 1962 and the most recent in 2010. These dates
demonstrate how the franchise can be used as a means of charting
Japanese cinema history, via the shifts in production practices and
audience preferences which affected the Zatoichi series and
numerous other film and TV texts. Zatoichi signifies a huge area of
Japanese film history which has largely been ignored in much
existing scholarly research, and yet it can reveal much about the
appeal of long-running characters, franchises, and their constant
adaptation and influence within global popular culture.
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