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Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties (Inside Popular Film): Censorship and the Changing Meanings of the Video Nasties (Inside Popular Film)
 
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Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties (Inside Popular Film): Censorship and the Changing Meanings of the Video Nasties (Inside Popular Film) [Hardcover]

Kate Egan

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Kate Egan
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Product Description

Product Description

Trash or treasure is a wide-ranging historical study of the British circulation of the video nasties - A term that was originally coined to ban a group of horror videos in Britain in the 1980s but which continues to have cultural resonance in Britain up to the present day. The book is divided into three secionts, which represent the key periods of existence of the nasties category - The formation of the term in the 1980s, the fan culture that formed around the nasties subsequent to their banning under the video recordings act and the DVD and theatrical re-release of some of the nasty titles from 1990 onwards. Through an exploration of a range of relevant historical materials (from film reviews to fan websites, to video advertising materials) the book examines how this unusual, historically-specific genre category was formulated in a particular context, and then used (for different reasons) by moral campaigners, distributors, critics and fans.By examining the discourses that informthe circulation of a group of banned fils (including the growth of DVD, the internet and the academic rehabilitation of horror films), the book argues that censorhsip is not just about rules and regulations, but also about the material, cultural and commercial consequences of a censorhsip act of law.By focussing on this illuminating case study, this book intersects with a range of areas within film studies (including film censorship, film history and reception studies, video and fan cultures and horror and genre study) and will be of great interest to lecturers and students of film, popular culture and the mdeia, as well as enthusiasts of horror films and those interested in film censorhsip debates.

About the Author

Kate Egan is lecturer in Film and Television Studies at the University of Wales, Aberystwyth

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