DOCSLIB.ORG

Prop Store's DREDD Prop & Costume Auction — a Case Study —

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prop Store's DREDD Prop & Costume Auction — a Case Study — Prop Store’s DREDD Prop & Costume Auction — A Case Study — [OVERVIEW] Overview fs one o the world’s leading vendors as well as the revenue potential of their A of collectible film memorabilia, we at material—and to propose an auction event Prop Store were very proud to partner with that would meet those goals. DNA Films to present an exciting auction sale event of production assets from the 2012 We launched the auction of 225 individual sale feature DREDD. Based on the popular 2000 AD lots shortly after DREDD’s home entertainment graphic novel series, the latest film incarnation release, in January 2013. eBay was selected as the developed a strong following with fans, and platform for the sale, due to the extensive organic recent home entertainment sales performance traffic it receives. The auction was a resounding has been impressive. success, with over 5,000 bids coming in from hundreds of participants around the world. The Having worked with DNA Films previously on prices achieved exceeded our expectations across titles such as SunShinE and 28 Weeks Later, the board, and DNA was very pleased with the we entered into discussions on the sale of the marketing exposure the event received via both assets while DREDD was still in the beginning print and web outlets. Our fee for conducting the stages of production. Our early involvement auction was based entirely on a split of the revenue gave us adequate time to assess DNA’s specific return, meaning DNA incurred no expenses in the goals—in maximizing the marketing exposure preparation of the sale. Hero Lawmaster Motorbike www.propstore.com 1 [PREPARATION] Preparation Asset Transportation & Storage pon wrap of DREDD’s principal photography Uin South Africa, all production assets were transported to London to be sorted, cataloged, and stored until DNA reached final decisions on what assets would be sold. With over 12,000 square feet of warehouse space in Prop Store’s London facility, we were able to securely store the sensitive assets and ensure they were not disturbed before the film’s release. As Prop Store covers all up-front costs relating to producing an asset sale, DNA saved significantly on the direct costs of asset transportation and storage. Asset Cataloging ince the assets arrived in the same condition Sthey left production, our first phase of the project was to sort and inventory the material. Based on our preliminary knowledge of the film and familiarity with the labeling used for the garments, we were able to assemble the wardrobe components into the most complete costume sets possible. Outfit completion for costumes weighs heavily with collectors, so it was important for us to ensure this process was done correctly. The props also had to be sorted as to whether they were used during filming, unfinished standby versions or prototypes. Each and every inventoried item was then described in-depth, down to the smallest piece (such as spare badges and belts). They were Complete Judge Dredd Costume then evaluated for production usage, condition, completeness, material construction and labeling. absolutely paramount for achieving the greatest Once collated, all data was logged into our inventory possible return on the material. We spent a database. Each description was composed by great deal of time preparing the costumes for one of our specially trained copywriters and later photography, as it was important that they look served as the basis for describing the item during as good in these images as they did in the film the sale. itself. A range of mannequins were used to With the cataloging of the material complete, all ensure that the costumes fit properly. Many of items were then transferred to our photography the items in the sale had more than 10 individual department. The significance of product photographs to accompany its sale listing. Each photography in asset memorabilia sales cannot photo was carefully composed, properly lit and be understated – professional photography is edited to ensure the best possible presentation. 2 www.propstore.com [PREPARATION] Sale Recommendations acilitating a sale such as the DREDD Fauction is always a collaborative process. We had several discussions with DNA Films, which included our recommendations for the sale’s timing and format as well as the specific asset list that would comprise the event. The two major opportunities to capitalize on the interest in a film—and therefore the interest in collecting the assets— occur during the theatrical and home entertainment release periods. The latter tends to be a more comfortable time frame for us to work within, as it affords us the opportunity to view the film before we begin cataloging assets. DNA agreed that the ideal time to conduct the DREDD sale would be during the home entertainment release period. Reviewing the fully-cataloged asset list, DNA identified items that they wished to hold for their own archive or for other reasons. Prop Store made recommendations as to what pieces Prototype Judge Helmet would perform best in the sale and also suggested that a selection was held back for a possible secondary auction, or direct sale at a later date. As a result of these discussions, we were able to lock in the final sale list. DREDD inventory sample www.propstore.com 3 [SALE] Sale Auction Platform fter evaluating a number of online auction Aplatforms, including all of those used by our competitors within the market, we concluded that eBay was the best platform for this sale. Despite the numerous challenges eBay’s rules and regulations pose to professional retailers, we felt the organic exposure brought to the sale through this platform made it ideal. eBay is one of the top online retail websites in the world, and that exposure was one of DNA’s main targets in selling the assets. Above: Sample product auction listing from DREDD sale Right: DREDD custom auction template 4 www.propstore.com [SALE] DREDD auction launch page www.propstore.com 5 [SALE] Auction Format regular contact with eBay account managers to ensure that we operated within their policies and ne concern many of our clients have is an resolved every question to the best of our ability. Ouncertainty of the value of their assets. As props and costumes are as unique as the films Some of the more enthusiastic bidders requested they helped create, there is no standardized price to preview the items in person in our London guide available for them, and in some instances office. We accommodated a number of these there are very few directly comparable sale preview requests over the course of the sale. Past results. With DREDD being a brand new film, no experience has shown us that this level of service assets had ever sold previously. For this reason, entices people to go above and beyond what they we opted to begin each auction at £1.00, with might have been prepared to bid on an item. no reserve price. The bidders alone would set the final sale results, to the great delight of the Another ongoing task during the sale period was collecting community. verifying the identities of bidders with zero or private eBay feedback. One shortcoming of the A minimum of 20 new items were posted daily over eBay platform is the ease by which a user can a period of 10 working days, with each auction register and bid on items, and “zero-feedback” running for a seven day period. This resulted in a users may or may not be genuine bidders. If they total auction duration of three complete working are not genuine, their bids can be damaging as weeks, and the seven-day period on each auction they result in unpaid items, or they serve to run gave fans and collectors ample time to locate and up the price on genuine bidders, who then pick up bid on the items. on their tactics and lose faith in the validity of the As a special courtesy to our customers and an auction. We phoned every participant with zero incentive to promote bidding activity, we offered or low feedback, and if we were unable to verify winning bidders the option to pay for their material their identity, their bids were cancelled. over a period of three months. This payment plan is similar to a layaway option and allows customers Fulfillment to bid beyond what they are prepared to pay in a ith each item sold via the auction, we single installment. Wcalculated individual shipping costs and prepared final invoices for our winners. Uniquely Auction Maintenance serial numbered certificates of authenticity had s expected, offering 225 unique items for to be created for every asset and linked in our Asale on an international platform prompted a database to the customer who had purchased the tremendous number of customer inquiries. Over item. In an industry known for slow turnaround, the course of the three-week sale, our offices in we have always prided ourselves on speedy both London and Los Angeles fielded hundreds service, and this event was no exception. Our crew of questions via telephone, e-mail, and web worked overtime to carefully wrap and ship the discussion forums. Inquiries were made on the volume of packages without delay. All shipments items themselves as well as the post-sale logistics were sent via a fully-tracked service to ensure of item payment and delivery. We remained in proper delivery. 6 www.propstore.com [MARKETING] Marketing Print e prepared and executed Wa comprehensive printed media marketing campaign to promote the auction. All of the work on the design, coordination and execution of the campaign was handled in- house, with the exception of the DREDD film images and logos, which DNA provided to us and authorized us to incorporate.
Load more

Recommended publications
  • Brian Baker “Here on the Outside”: Mobility and Bio-Politics in Michael
    MOBILITY AND BIO-POLITICS IN CODE 46 115 Brian Baker “Here on the Outside”: Mobility and Bio-politics in Michael Winterbottom’s Code 46 This article takes as its focus the representation of mobility and bio-politics in contemporary sf cinema. Globalized networks of mobility in late capitalism have been haunted by the figure of the globally mobile terrorist and by the possibility of global pandemics such as the SARS epidemic of 2002-03 or the H1N1 swine flu panic of 2009 which resulted in the UK government stockpiling anti-viral drugs in case of the spread of a “killer virus.” In an increasingly mobilized world, anxieties about movement of people, transmission of data and disease, and terrorism produce systems for policing and regulating mobility. These anxieties are articulated in contemporary spy thrillers, zombie films, and outbreak or transmission narratives.1 In what follows, Michael Winterbottom’s Code 46 (2003) serves as a diagnostic text for the analysis of figurations of globalized mobility and bio-politics, and this article uses the work of Giorgio Agamben, Michel Foucault, and Hannah Arendt to investigate Code 46’s mapping of exclusion and inclusion, of the refugee and the citizen, within regulatory systems for the control of mobility in a near-future, post-catastrophic world of globalized capital. Code 46 begins with shots of the desert, of roads, and of dispersed settlements taken from a low-flying airplane. These vertical shots (desert analogues of the vertical shots of Manhattan or other North American cities that are a staple of contemporary crime film and television) render landscape as geometry, not as lived space from a human perspective (using perspective) but from an impersonal, “God’s eye” point of view.
    [Show full text]
  • Organisms and Human Bodies As Contagions in the Post-Apocalyptic State
    CHAPTER 1 Organisms and Human Bodies as Contagions in the Post-Apocalyptic State Robert A. Booth n this chapter, I show how discourses of contagion and pollution not only imbue many post-apocalyptic cinema and television narratives but also mirror public discourse about immigration. Further, I examine the often- I 1 racialized immigrant in post-apocalyptic film and television that is, in essence, a discourse on insider–outsider social divisions and relationships of power. Finally, I elucidate the argument that post-apocalyptic film and television rein- force the primacy of centralized political authority, namely the State, and post- 9/11 post-apocalyptic film in particular reinforces the hegemony of the State. The post-apocalyptic subgenre of science fiction and/or horror has become popular fodder for cinema and television. As Susan Sontag notes, “the science fiction film . is concerned with the aesthetics of destruction, with the pecu- liar beauties to be found in wreaking havoc, making a mess. And it is in the imagery of destruction that the core of a good science fiction film lies.”2 Portrayals of the post-apocalypse often index or echo visual memories of terrible societal traumatic events of the past.3 With the experience of the social, political, economic, and emotional trauma of the 9/11 attacks, one might reasonably assume that Americans would acquire a distaste for graphic destructive violence. Certainly, after the attacks, filmmakers occasionally felt pressured to remove images of the Twin Towers or to change content that might evoke the tragedy, such as planes crashing into skyscrapers. However, post-apocalyptic genres remain ever popular in American television and cinema.
    [Show full text]
  • ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
    ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship
    [Show full text]
  • Thematic Connections Between Western and Zombie Fiction
    Hang 'Em High and Bury 'Em Deep: Thematic Connections between Western and Zombie Fiction MICHAEL NGUYEN Produced in Melissa Ringfield’s Spring 2012 ENC1102 Zombies first shambled onto the scene with the release of Night of the Living Dead, a low- budget Romero film about a group of people attempting to survive mysterious flesh-eating husks; from this archetypical work, Night ushered in an era of the zombie, which continues to expand into more mediums and works to this day. Romero's own Living Dead franchise saw a revival as recently as 2004, more than doubling its filmography by the release of 2009's Survival of the Dead. As a testament to the pervasiveness of the genre, Max Brooks' zombie preparedness satire The Zombie Survival Guide alone has spawned the graphic novel The Zombie Survival Guide: Recorded Attacks and the spinoff novel World War Z, the latter of which has led to a film adaptation. There have been numerous articles that capitalize on the popularity of zombies in order to use them as a nuanced metaphor; for example, the graduate thesis Zombies at Work: The Undead Face of Organizational Subjectivity used the post-colonial Haitian zombie mythos as the backdrop of its sociological analysis of the workplace. However, few, if any, have attempted to define the zombie-fiction genre in terms of its own conceptual prototype: the Western. While most would prefer to interpret zombie fiction from its horror/supernatural fiction roots, I believe that by viewing zombie fiction through the analytical lens of the Western, zombie works can be more holistically described, such that a series like The Walking Dead might not only be described as a “show about zombies,” but also as a show that is distinctly American dealing with distinctly American cultural artifacts.
    [Show full text]
  • From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
    From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1.
    [Show full text]
  • Genre Hybridization in Shaun of the Dead
    Angles New Perspectives on the Anglophone World 1 | 2015 Brevity is the soul of wit Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Electronic version URL: http://journals.openedition.org/angles/2150 DOI: 10.4000/angles.2150 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Jean-François Baillon and Nicolas Labarre, « Things Are Going to Change: Genre Hybridization in Shaun of the Dead », Angles [Online], 1 | 2015, Online since 01 November 2015, connection on 02 September 2020. URL : http://journals.openedition.org/angles/2150 ; DOI : https://doi.org/10.4000/ angles.2150 This text was automatically generated on 2 September 2020. Angles. New Perspectives on the Anglophone World is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. Things Are Going to Change: Genre Hybridization in Shaun of the Dead 1 Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Page 1: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 2 Page 2: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Page 3: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 3 Page 4: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre.
    [Show full text]
  • Leap to Where You Are Faculty Dance Concert, P
    THE GRISTLE, P. 6 EXPLORATIONS ACADEMY, P. 10 RHINESTONE COWBOY, P.24 cascadia REPORTING FROM THE HEART OF CASCADIA 5/09/07 :: 02.19 :: FREE LEAP TO WHERE YOU ARE FACULTY DANCE CONCERT, P. 20 LAKE WHATCOM: DYING BEFORE ITS TIME, P. 6 BIG ROCK GARDEN: ART AND NATURE FOR MOM, P. 21 LOREENA MCKENNITT: MORE THAN A PRETTY VOICE, P. 22 39 | Food 30-38 eds | Classifi 26-29 | Film Bike Fun All Day: 22-25 • 7am Pancake Feed at | Music The HUB Co mmuni ty 21 Bike Shop | Art 20 • Noon Annual Tricycle Races at City Hall | On Stage 18 • 5pm Prize drawing at Boundary Bay | Words & Community 16 | Get Out 8-15 SSC Presents Celebration Stations | Currents Bike to Work Downtown Bellingham @ Railroad & Holly 6-7 The HUB Community Bike Shop and School Day Fairhaven Village, 11th Street & Finnegan | Views | Views WWU Red Square, Main Campus 4-5 WWU Recreation Center, South Campus Friday may 18, 2007 Sehome Village @ Bill M. Parkway Barkley Village @ Woburn Street | Letters Sunnyland Elementary on James Street 3 Bike or walk to work on May 18th and get Dupont & Broadway treats, food, and a chance to win great prizes. Guide Meridian & Birchwood Ave. Just stop by one of these Celebration Stations Do it N. Cascades Cardiology by St. Joeseph .07 between 6:30 and 9 am Whatcom Comm. College, Kellogg Rd. 09 Shuksan Mid. School @ NW & Alderwood 05. Carl Cozier Elem. @ Lakeway & Lincoln Port of B’ham on Roeder Ave. Public Market @ Cornwall & Lottie Southside Food Pavillion, Fairhaven Pkwy. Get More Details at www.
    [Show full text]
  • Students Enrolled in Literature and Cinema From: Mrs. Mcvcrry Re: Summer Viewing Requirement
    To: Students Enrolled in Literature and Cinema From: Mrs. McVcrry Re: Summer Viewing Requirement Welcome to Literature and Cinema! This letter is to inform you of the viewing requirements for our semester course. In addition, you will find explicit instructions for an assignment that is due the first day of regular classes. You are required to view two films over the summer. One film MUST be a foreign film; the other film is from the genre (i.e, action/parody/drama) of your choice. For the films that may be unfamiliar to you, I have included a very brief synopsis. HORROR: The Shining (19S0): Directed by Swnky Kurbrkk Eased upon the novel by Stephen King. Follows one man's destructive descent into madness in a haunted Coiarado hotel. A modem aJlegorv for the effects of alcoholism on the family dynamic, .4n .American Haunting (2005): Starring Sissy Spacek and Donald Sutherland. Twin stories, one set in colonial times the other set in the present, interrwine in the tradition of American Romanticism. A young woman is relentlessly attacked by an evil spirit, but the explanation for the haunting may have more human origins. Scream (1996): Written and directed by Kevin Williamson. The "horror" movie that challenged the conventions of the American horror genre. .Also starring Neve Campbell, Counney Cox .Arquette, and David .Arquette. Brief cameo by Drew Barrymore. The Others (2001).- Produced by Tom Cruise and starring Nicole Kidman. Inspired by European Gothic storyielling, one woman contends with the seemingly supernatural possession of her children and home; a haunting, she feels, may be the work of the estate's staff Poltergeist (1982); Starring Tom Skerriit: The film that inn-oduced the poltergeist phenomenon to the American public.
    [Show full text]
  • File06.Moore and Schroeder.Qxp Layout 1
    “Zombies in the classroom….and no, we are not referring to our students” R. Scott Moore and Steven Schroeder Often, a school is your best bet – perhaps not for educa- tion but certainly for protection from an undead attack. (Max Brooks, The Zombie Survival Guide) Zombies, walkers, creepers, shamblers, and biters. No matter what term is used to describe the concept of reanimated corpses who share their semi-terminal infection with living humans by biting them in their quest for brains and human flesh, these threats to human ex- istence have fascinated people throughout history. While the public’s fascination with zombies and the apocalyptic threat they represent for modern culture has grown slowly since the release of George Romero’s Night of the Living Dead in 1968, it has only been since the 2003 publication of The Walking Dead comic book series cre- ated by Robert Kirkman and Tony Moore that zombies truly arose and entered the mainstream. In the last few years there has been an veritable explosion in zombie related items in all possible media forms: from books (World War Z, Day By Day Armageddon, Adrian’s Undead Diaries); to television series (AMC’s Walking Dead, SciFi’s Z Nation, BBC’s In the Flesh); to video games for all video game plat- forms (The Last of Us, Resident Evil, and Red Dead Redemption); to movies (Dead Snow 2: Red vs Dead, Resident Evil, 28 Weeks Later, Zombieland); and even a reality show about the filming of a zombie movie (Town of the Living Dead) and a upcoming game show (I Sur- vived a Zombie Apocalypse) presented by the BBC online.
    [Show full text]
  • 15 Film Titles That Describe Life in Lockdown
    15 Film Titles That Describe Life In Lockdown There’s something about how humour can lighten uncertain situations and make them feel a little less terrifying. So, with that in mind, the Learning Curve have put together a list of 15 film titles that relate to how our lives have changed or how we may be feeling during lockdown. So sit back, relax and choose a great movie from our round-up of lockdown-related film titles. We hope they put a smile on your face! The Mask (1994) Director: Chuck Russell Stars: Jim Carrey, Cameron Diaz, Peter Riegert Storyline Stanley Ipkiss (Jim Carrey) is a bank clerk that is an incredibly nice man. Unfortunately, he is too nice for his own good and is a pushover when it comes to confrontations. After one of the worst days of his life, he finds a mask that depicts Loki, the Norse night god of mischief. Now, when he puts it on, he becomes his inner, self: a cartoon romantic wild man. However, a small time crime boss, Dorian Tyrel (Peter Greene), comes across this character dubbed "The Mask" by the media. After Ipkiss's alter ego indirectly kills his friend in crime, Tyrel now wants this green-faced goon destroyed. Five Feet Apart (2019) Director: Justin Baldoni Stars: Haley Lu Richardson, Cole Sprouse, Moises Arias Storyline Seventeen-year-old Stella spends most of her time in the hospital as a cystic fibrosis patient. Her life is full of routines, boundaries and self-control all of which get put to the test when she meets Will, an impossibly charming teen who has the same illness.
    [Show full text]
  • ALLEGHENY COLLEGE GAME ROOM ALPHABETICAL MOVIE LIST As of July 9, 2019 TITLE TYPE GENRE
    ALLEGHENY COLLEGE GAME ROOM ALPHABETICAL MOVIE LIST As of July 9, 2019 TITLE TYPE GENRE DVD'S 300 DVD Action 1408 DVD Horror (500) Days of Summer DVD Comedy 12 Years a Slave DVD Action 127 Hours DVD Adventure 17 Again DVD Comedy 2 Guns DVD Action 21 Jump Street DVD Action 28 Days Later DVD Action 28 Weeks Later DVD Drama 3 Days to Kill DVD Action 40 Year Old Virgin, The DVD Comedy 50 First Dates DVD Comedy 50/50 DVD Comedy 5ifth Estate, The DVD Biography 8 Mile DVD Drama Abraham Lincoln Vampire Hunter DVD Action Accountant, The DVD Action Ace Ventura, Pet Detective DVD Comedy Act of Valor DVD Action Adjustment Bureau DVD Thriller Age of Adeline DVD Drama Aliens DVD Action Allegiant (The Divergent Series) DVD Action Allied DVD Action Almost Famous DVD Comedy Aloha DVD Comedy American Hustle DVD Drama American Made DVD Action American Pie DVD Comedy American Pie 2 DVD Comedy Anchorman DVD Comedy Anchorman 2 DVD Comedy Angels and Demons DVD Drama Animal House, National Lampoon's DVD Comedy Anna Karenina DVD Drama Annie DVD Family Annie (with Quvenzhane Wallace/Jamie Foxx) DVD Family Apocalypse Now Redux DVD Action Apollo 13 DVD Drama TITLE TYPE GENRE ARGO DVD Drama Aristocats, The DVD Family Army Of Darkness DVD Action Arrival DVD Drama Artist, The DVD Drama August Rush DVD Drama Austin Powers, Goldmember DVD Comedy Austin Powers, International Man Of Mystery DVD Comedy Avatar DVD Action Avengers, The DVD Action Back To The Future I DVD Action Back to the Future II DVD Action Back to the Future III DVD Action Bad Boys DVD Action Bad Boys
    [Show full text]
  • Genre, Culture and the Semiosphere New Horror Cinema and Post-9/11
    International Journal of Cultural Studies 1–17 © The Author(s) 2014 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1367877914528123 ics.sagepub.com Article Genre, culture and the semiosphere New Horror cinema and post-9/11 Angela Ndalianis University of Melbourne, Australia Abstract What has been labelled ‘New Horror’ cinema has opened up its boundaries to incorporate signs specific to social and political events that accompanied and followed the events of 9/11. The reality of terror is transported into the fictional universe of horror. This article presents an interpretation of New Horror cinema using Yuri Lotman’s theory of the semiosphere and Wilma Clark’s extension of his theory in order to engage in a critical rethinking of how genres intersect with culture. The primary focus is on contemporary horror films that function as allegories that address post-9/11 and, in turn, to apply Lotman’s theory of the semiosphere and the concept of cultural ‘explosions’ to account for the generic shifts that have transformed the structure of the horror genre. Keywords 9/11, allegory, cultural explosions, genre theory, horror cinema, Yuri Lotman, semiosphere, terror, torture porn, zombies The semiosphere, genre and post-9/11 In the wake of the terror attacks that took place on 11 September 2001 film critics have commented on the increasing popularity of a new kind of horror film that is not only dark and vicious in the worlds it depicts but which is also socially aware and critical of the cultural context that gave birth to it. What has been labelled ‘New Horror’ cinema has opened up its boundaries to incorporate signs specific to social and political events that accompanied and followed the events of 9/11.
    [Show full text]