厌恶的时间分散:或者，通过直接视频恐怖重新认识类型

IF 2.4 2区文学 Q1 COMMUNICATION

Television & New Media Pub Date : 2023-05-03 DOI:10.1177/15274764231171118

Caetlin Benson-Allott

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引用次数: 0

摘要

许多学者指出，20世纪80年代中期美国视频租赁热潮导致了恐怖片制作的激增，但很少有人承认这些特征实际上不是电影。《繁殖者——性侵犯》和《视频暴力》等直接视频恐怖电影不是为之制作的，也从未在影院上映，但它们一再被嘲笑为失败的电影。本文摒弃了数字电视电影将或应该遵循与电影相同的类型规范的先入为主的观念，认为数字电视恐怖电影展示了创作者对新媒介的探索和创造。20世纪80年代数字电视恐怖片的惯例与同时代的美国恐怖片不同，对比它们可以看出类型如何帮助数字电视创作者发展录像带的自动化，以及数字电视恐怖如何帮助学者识别当代点播文化的规范和逻辑。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Temporal Dispersions of Disgust: Or, Reconceiving Genre Through Direct-to-Video Horror

Many scholars have noted that the US video rental boom of the mid-1980s led to a surge in horror production, yet few acknowledge that these features were not in fact films. Direct-to-video (DTV) horror movies like Breeders–The Sexual Invasion and Video Violence were not made for and never received theatrical release, yet they were repeatedly pilloried as failed films. Dispensing with the preconception that DTV movies would or should follow the same genre norms as films, this essay argues that DTV horror movies demonstrate their creators’ exploration and creation of a new medium. The conventions of 1980s DTV horror are not the same as those of contemporaneous US horror films, and contrasting them shows how genre helped DTV creators develop the automatisms of videotape and how DTV horror can help scholars identify the norms and logic of contemporary on-demand culture.

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来源期刊

Television & New Media Multiple-

CiteScore

5.60

自引率

5.00%

发文量

期刊介绍： Television & New Media explores the field of television studies, focusing on audience ethnography, public policy, political economy, cultural history, and textual analysis. Special topics covered include digitalization, active audiences, cable and satellite issues, pedagogy, interdisciplinary matters, and globalization, as well as race, gender, and class issues.