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Media type:
E-Book
Title:
Grindhouse Nostalgia
:
Memory, Home Video and Exploitation Film Fandom
Contains:
Frontmatter
Contents
List of Figures
Acknowledgements
Introduction
1 A Drive-in Theatre of the Mind: Nostalgic Populism and the Déclassé Video Object
2 42nd Street Forever? Constructing ‘Grindhouse Cinema’ from Exhibition to Genre to Transmedia Concept
3 Paratexts, Pastiche and the Direct-to-video Aesthetic: Towards a Retrosploitation Mediascape
4 Dressed to Regress? The Retributive Politics of the Retrosploitation Pastiche
Conclusion
Appendix: Selected Filmography and Videography of Retrosploitation Media
Selected Bibliography
Index
Description:
An indispensable study of exploitation cinema’s continuing allureToo often dismissed as nothing more than ‘trash cinema’, exploitation films have become both earnestly appreciated cult objects and home video items that are more accessible than ever. In this wide-ranging new study, David Church explores how the history of drive-in theatres and urban grind houses has descended to the home video formats that keep these lurid movies fondly alive today. Arguing for the importance of cultural memory in contemporary fan practices, Church focuses on both the re-release of archival exploitation films on DVD and the recent cycle of ‘retrosploitation’ films like Grindhouse, Machete, Viva, The Devil’s Rejects, and Black Dynamite. At a time when older ideas of subcultural belonging have become increasingly subject to nostalgia, Grindhouse Nostalgia presents an indispensable study of exploitation cinema’s continuing allure, and is a bold contribution to our understanding of fandom, taste politics, film distribution, and home video.Key Features:The first in-depth critical examination of the recent and ongoing retrosploitation" cycleExpands a growing body of research on the importance of home video as containers of material historyUnites cultural memory studies and fan studies in productive ways for understanding a broad range of fan investmentsRestores questions of affect and non-ironic reception to understandings of exploitation cinema’s continuing appeal"