Kate Egan

Trash or Treasure: Censorship and the Changing Meanings of the Video Nasties

Herausgeber: Jancovich, Mark; Schaefer, Eric

• Gebundenes Buch

Produktbeschreibung

Trash or treasure is a wide-ranging historical study of the British circulation of the video nasties - a term that was originally coined in order to ban a group of horror videos in Britain in the 1980s. Through an exploration of the range of historical materials, the book examines how this unusual genre category was formulated in a particular context and then used (for different reasons) by moral campaigners, distributors, critics and fans. By examining the discourses that inform the circulation of a group of banned films, the book argues that censorship is not just about rules and regulations, but also about the discourses that generate censorship, and the cultural and commercial consequences of a censorship act or law. The book will be of great interest to lecturers and students of film and popular culture, as well as enthusiasts of horror films and those interested in film censorship debates.

Produktdetails

• Inside Popular Film
• Verlag: Lund University Press
• Seitenzahl: 288
• Erscheinungstermin: November 2007
• Englisch
• Abmessung: 224mm x 144mm x 29mm
• Gewicht: 490g
• ISBN-13: 9780719072321
• ISBN-10: 0719072328
• Artikelnr.: 22895845

Autorenporträt

Kate Egan is lecturer in Film and TelevAcademics, postgrads, undergrads and enthusiasts of Film and Cultural studies, British cultural history, Media studies, studies of Material Culture and cultural anthropologision Studies at the University of Wales, Aberystwyth

Inhaltsangabe

Introduction: the video nasties and the consequences of censorship.
Producing the nasties 1. The British art of policing cultural boundaries:
the legacy of British horror film reviewing 2. Reconsidering 'the plague
years': the marketing of the video nasties 3. A 'real horror show': the
video nasty press campaign. Cults, collectors and cultural memory 4.
Mapping out the territory of a fan culture: video nasties and the British
horror magazine 5. Facts, lists and memories: 'masculine' identities and
video nasty websites 6. The celebration of a 'proper product': exploring
video collecting through the video nasties Re-releases and re-evaluations
7. Previously banned: remarketing the nasties as retro products 8. Low or
high? Film Four, film festivals and the nasties Conclusion: the nasties,
British film culture and cross-cultural reception