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Paracinema

  • Why Call Them

    Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK

  • Television Sharknados and Twitter Storms

    Television Sharknados and Twitter Storms

  • It Is the Paper Published As

    It Is the Paper Published As

  • Foundation Review of Science Fiction 125 Foundation the International Review of Science Fiction

    Foundation Review of Science Fiction 125 Foundation the International Review of Science Fiction

  • Film Outside Cinema

    Film Outside Cinema

  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005

    Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005

  • A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY

    A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY

  • Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies

    Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies

  • Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin

    Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin

  • Argento's Aesthetic Alignments

    Argento's Aesthetic Alignments

  • Abstract Cult Movies Are a Collection of Movies So Poorly Defined That It Is

    Abstract Cult Movies Are a Collection of Movies So Poorly Defined That It Is

  • Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St

    Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St

  • The Critical-Industrial Practices of Contemporary Horror Cinema

    The Critical-Industrial Practices of Contemporary Horror Cinema

  • Conference Reports

    Conference Reports

  • Buzz Bombs: the Room, Snakes on a Plane and Cult Audiences in the Internet Era

    Buzz Bombs: the Room, Snakes on a Plane and Cult Audiences in the Internet Era

  • Copyrighted Material

    Copyrighted Material

  • Video Nasties’: Economics, Marketing

    Video Nasties’: Economics, Marketing

  • Mapping Informal Film Distribution

    Mapping Informal Film Distribution

Top View
  • Streaming Italian Horror Cinema in the United Kingdom: Lovefilm Instant1
  • Nobody Likes Movies Like Teenagers from Outer Space Or Wrestling Women Vs
  • Grindhouse Nostalgia Memory, Home Video and Exploitation Film Fandom
  • Paracinema, Orientalism and the "Fannish Enthusiasm" of the Academy - And- Censorship, Classification and Economic Control: Systems of Regulating Film in Canada
  • Grinding out the Grindhouse
  • World Horror Cinema and the US: Bringing It All Back Home
  • Towards an Understanding of Australian Genre Cinema and Entertainment : Beyond the Limitations of ‘Ozploitation’
  • Retrograde Technicity and the Cinematic Avant-Garde: Towards a New Dispositif of Production Gabriele Jutz
  • Curriculum Vitae
  • Cult Cinema Is a CULT Wildly Popular Film Culture That Blurs Genres, Crosses Boundaries, and Defies Easy Categorization
  • The Implementation and Emulation of Cult Movie Marketing
  • Evaluating Troma Entertainment As Paracinema
  • Cult Films and Film Cults: from the Evil Dead to Titanic
  • The Cinema of Stasis Justin Remeselnik Wayne State University
  • Space for Vhs: Agfa and the Preservation of Genre Film Access Copies
  • Dr. Jonathan Walley Associate Professor and Chair Department of Cinema Denison University Granville, Ohio 43023 [email protected]
  • Ritgerð Til Extreme Horror and the Extremely Horrifying
  • Intertextuality, Cybersubculture, and the Creation of an Alternative Public


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