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VHS. Home video cassette. At one point, nearly the whole world bought and rented tapes. The video store was king. Then, almost overnight, it crumbled. However, you can still find folks buying and collecting old tapes. Is it an obsession? Why do they lust after such an obscure and antiquated format? What was it about the video store and VHS that changed the way we consume entertainment altogether?This book serves as a deep dive into the world of videotape collecting. From the dawn of the video store to the tape hoarders that propagate its continued relevance, VHS collecting is much more meaningful than merely stowing away tapes in a basement!
"SOV horror can be as simplistic, challenging, or offensive as any audience perceives it to be. It can also be enlightening, terrifying, and revealing...These are films that compare to no others in existence, and for that reason alone it’s long past time to accord them some measure of serious consideration." Long considered the dead-end of genre cinema, Shot-On-Video (SOV) horror finally gets its due as a serious filmmaking practice. Using classic fanzines, promotional materials, and especially the theories of several important film scholars, Vincent Albarano brings SOV horror into critical focus for the first time in print. Prior to this moment, Video Violence, Twisted Issues, Alien Beasts, and more have never been mentioned in the same breath as André Bazin and Siegfried Kracauer, despite their common ground. AESTHETIC DEVIATIONS delves deep into the most famous SOV horror titles to give credit for their unique and singular contributions to independent genre cinema. Informed equally by a fan’s passion and the studied approaches of scholarly analysis, Albarano offers the first-ever detailed examination of the SOV horror cycle, proving that this strain of amateur filmmaking is deserving of proper appraisal. Sure to enlighten and provoke thought among fans and converts to the unique charms of SOV cinema, as well as inspire newcomers, Albarano’s book proves an invaluable resource for a neglected area of cinematic inquiry.
Adventures in VHS is a semi autobiographical journey through 60 of the films spawned by the dawn of home video. Featuring contributions from Lloyd Kaufman, Brian Yuzna, Jim Wynorski and many more, its a must read for cult movie fans who lived through the golden age of home video... as well as those who wish they had.
Video cover art is a unique and largely lost artform representing a period of unabashed creativity during the video rental boom of the 1980s to early 1990s. The art explodes with a succulent, indulgent blend of design, illustration, typography, and hilarious copywriting. Written and curated by Tom "The Dude Designs" Hodge, poster artist extraordinaire and VHS obsessive, with a foreword by Mondo's Justin Ishmael, this collection contains over 240 full-scale, complete video sleeves in the genres of action, comedy, horror, kids, sci-fi, and thriller films. It's a world of mustached, muscled men, buxom beauties, big explosions, phallic guns, and nightmare-inducing monsters. From the sublime to the ridiculous, some are incredible works of art, some are insane, and some capture the tone of the films better than the films themselves. All are amazing and inspiring works of art that captivate the imagination. It's like stepping back in time into your local video store!
Japanese Film and the Challenge of Video by Tom Mes Pdf
This book explores the phenomenon of V-Cinema, founded in Japan in 1989 as a distribution system for direct-to-video movies which film companies began making having failed to recoup their investment in big budget films. It examines how studios and directors worked quickly to capitalize on niche markets or upcoming and current trends, and how as a result this period of history in Japanese cinema was an exceptionally diverse and vibrant film scene. It highlights how, although the V-Cinema industry declined from around 1995, the explosion in quantity and variety of such movies established and cemented many specific genres of Japanese film. Importantly the book argues that film scholars who have long looked down on video as a substandard medium without scholarly interest have been wrong to do so, and that V-Cinema challenges accepted notions of cultural value, providing insight into the formation of cinematic canons and inviting us to rethink what is meant by "Japanese cinema".
Serious literary artists such as T.S. Eliot, James Joyce and Virginia Woolf loom large in most accounts of the literary art of the first half of the 20th century. And yet, working in the shadows cast by these modernists were science fiction, horror and fantasy writers like the "Weird Tales Three": H.P. Lovecraft, Clark Ashton Smith and Robert E. Howard. They did not publish in artistically ambitious magazines like Dial, The Smart Set and The Little Review but instead in commercial pulp magazines like Weird Tales. Contrary to the stereotypes about pulp fiction and those who wrote it, these three were serious literary artists who used their fiction to speculate about such philosophical questions as the function of art and the brevity of life.
New Blood by Eddie Falvey,Jonathan Wroot,Joe Hickinbottom Pdf
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 Routledge Companion to Cult Cinema by Ernest Mathijs,Jamie Sexton Pdf
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 photographic look into the world of vinyl record collectors—including Questlove—in the most intimate of environments—their record rooms. Compelling photographic essays from photographer Eilon Paz are paired with in-depth and insightful interviews to illustrate what motivates these collectors to keep digging for more records. The reader gets an up close and personal look at a variety of well-known vinyl champions, including Gilles Peterson and King Britt, as well as a glimpse into the collections of known and unknown DJs, producers, record dealers, and everyday enthusiasts. Driven by his love for vinyl records, Paz takes us on a five-year journey unearthing the very soul of the vinyl community.
More Than Illustrated Music by Kathrin Dreckmann,Elfi Vomberg Pdf
The genre of the video clip has been established for more than thirty years, mainly served by the sub genres of video art and music video. This book explores processes of hybridization between music video, film, and video art by presenting current theoretical discourses and engaging them through interviews with well-known artists and directors, bringing to the surface the crucial questions of art practice. The collection discusses topics including postcolonialism, posthumanism, gender, race and class and addresses questions regarding the hybrid media structure of video, the diffusion between content and form, art and commerce as well as pop culture and counterculture. Through the diversity of the areas and interviews included, the book builds on and moves beyond earlier aesthetics-driven perspectives on music video.
The decade of 1988-1998 was the Golden Age of VHS, a time when anybody with a pulse, a camcorder, and a few bucks could market a video. Comedy writers Joe Pickett and Nick Prueher have spent the last 20 years collecting the best odd and unintentionally hilarious videotapes ever produced. Since 2004, they've resurrected them for sold-out audiences across the country as part of their touring show, the Found Footage Festival. Now, for the very first time, they've collected the greatest VHS covers into one handsome compendium—along with their priceless snarky commentary throughout.
What do digital platforms mean for cinema studies in Canada? In an era when digital media are proliferating and thousands upon thousands of clips are available online, it seems counter-intuitive to say that audio-visual history is quickly disappearing. But the two processes are actually happening in tandem. Adopting a media-archaeological approach to the history of cinema, contributors to Cinephemera cover a wide range of pressing issues relating to Canadian cinema's ephemerality, including neglected or overlooked histories, the work of found footage filmmakers, questions about access and copyright, and practices of film archiving. Spurred by rapid changes to technologies of production, viewing, and preservation, this collection showcases both leading and emerging scholars grappling with the shifting meaning of cinema as an object of study. Film historians are put in conversation with experimental filmmakers and archivists to provide renewed energy for cinema studies by highlighting common interests around the materiality and circulation of films, videos, and other old media. Considering a wide range of cases from the earliest days of silent film production to the most recent initiatives in preservation, Cinephemera exposes the richness of moving image production in Canada outside the genres of feature length narrative fiction and documentary - a history that is at risk of being lost just as it is appearing. Contributors include Andrew Burke (Winnipeg), Jason Crawford (Champlain), Liz Czach (Alberta), Seth Feldman (York), Monika Kin Gagnon (Concordia), André Habib (Montreal), Randolph Jordan (SFU), Peter Lester (Brock), Scott Mackenzie (Queen's); Louis Pelletier (Montreal), Katherine Quanz (WLU), Micky Story (New College), Charles Tepperman (Calgary), Jennifer VanderBurgh (Saint Mary's), William C. Wees (McGill), Jerry White (Dalhousie), and Christine York (Concordia).
Author : Charles R. Acland Publisher : U of Minnesota Press Page : 438 pages File Size : 53,5 Mb Release : 2007 Category : Social Science ISBN : 0816644721
In a society that awaits 'the new' in every medium, what happens to last year's new? From player pianos to vinyl records, and from the typewriter to the telephone, 'Residual Media' is an innovative approach to the aging of culture and reveals that, ultimately, new cultural phenomena rely on encounters with the old.
