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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.

Cult films --- History and criticism. --- Cult classics --- Cult movies --- Motion pictures --- Mass media and culture. --- Mass media --- Collectors and collecting --- Television broadcasting --- Fans (Persons) --- Social aspects. --- Collectibles. --- Psychology. --- Motion pictures. --- Communication. --- Film/TV Technology. --- Film/TV Industry. --- Media Studies. --- Film and TV Production. --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Communication, Primitive --- Mass communication --- Sociology --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Performing arts --- Production and direction. --- Production and direction --- Direction --- History and criticism

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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.

Sociology of culture --- Film

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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.

Horror films --- History and criticism.