Jonathan Wroot is a Lecturer at the University of Greenwich, UK. He teaches classes within film and media studies. His previous research concerns the distribution and marketing of Japanese cinema and he has published numerous journal articles on the topic in Arts and The Market, The East Asian Journal of Popular Culture, Frames, and Participations.Andy Willis is a Reader in Film Studies at the University of Salford, UK, and Senior Visiting Curator for Film at HOME, Manchester, UK. He is a co-author of The Cinema of Alex de la Iglesia (2007), and the editor of Film Stars: Hollywood and Beyond (2004). He is also the co-editor of Defining Cult Movies (2003), Spanish Popular Cinema (2004), East Asian Film Stars (2014), and Chinese Cinemas: International Perspectives (2016).

• 1. ​Introduction – Jonathan Wroot and Andy Willis.- 2. I – The Cult Business: Creating Consumption: Jonathan Wroot, ‘Battle Royale as a One Film Franchise: Charting a Commercial Cult Phenomenon through DVD and Blu-ray releases’.- 3. Mark McKenna, ‘Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution’.- 4. Matt Hills, ‘A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neocultural Capital’.- 5. Lee Broughton, ‘Restoration, Restoration, Restoration: charting the changing appearance of The Good, the Bad and the Ugly on British home video’.- 6. Katie Barnett, ‘It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks’.- 7. II – Cult Practices: The Consumption and Reception of Cult Media: E.W. Nikdel, ‘Cult Fandom and Experiential Cinema’.- 8. Virginia Crisp, ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’.- 9. E. Charlotte Stevens, ‘On Vidding: The Home Media Archive and Vernacular Historiography’.- 10. Oliver Carter and Simon Barber, ‘The Dragon Lives Again: Distributing “Bruceploitation” via Home Entertainment’.- 11. Rayna Denison, ‘Bollywood DVD: The Relationship between Distributive Technology and Content in Transnational Cinema’.- 12. Fraser Elliot, ‘The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context’.

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Jonathan Wroot is a Lecturer at the University of Greenwich, UK. He teaches classes within film and media studies. His previous research concerns the distribution and marketing of Japanese cinema and he has published numerous journal articles on the topic in Arts and The Market, The East Asian Journal of Popular Culture, Frames, and Participations.Andy Willis is a Reader in Film Studies at the University of Salford, UK, and Senior Visiting Curator for Film at HOME, Manchester, UK. He is a co-author of The Cinema of Alex de la Iglesia (2007), and the editor of Film Stars: Hollywood and Beyond (2004). He is also the co-editor of Defining Cult Movies (2003), Spanish Popular Cinema (2004), East Asian Film Stars (2014), and Chinese Cinemas: International Perspectives (2016).

• 1. ​Introduction – Jonathan Wroot and Andy Willis.- 2. I – The Cult Business: Creating Consumption: Jonathan Wroot, ‘Battle Royale as a One Film Franchise: Charting a Commercial Cult Phenomenon through DVD and Blu-ray releases’.- 3. Mark McKenna, ‘Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution’.- 4. Matt Hills, ‘A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neocultural Capital’.- 5. Lee Broughton, ‘Restoration, Restoration, Restoration: charting the changing appearance of The Good, the Bad and the Ugly on British home video’.- 6. Katie Barnett, ‘It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks’.- 7. II – Cult Practices: The Consumption and Reception of Cult Media: E.W. Nikdel, ‘Cult Fandom and Experiential Cinema’.- 8. Virginia Crisp, ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’.- 9. E. Charlotte Stevens, ‘On Vidding: The Home Media Archive and Vernacular Historiography’.- 10. Oliver Carter and Simon Barber, ‘The Dragon Lives Again: Distributing “Bruceploitation” via Home Entertainment’.- 11. Rayna Denison, ‘Bollywood DVD: The Relationship between Distributive Technology and Content in Transnational Cinema’.- 12. Fraser Elliot, ‘The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context’.

Select Guide Rating

Jonathan Wroot is a Lecturer at the University of Greenwich, UK. He teaches classes within film and media studies. His previous research concerns the distribution and marketing of Japanese cinema and he has published numerous journal articles on the topic in Arts and The Market, The East Asian Journal of Popular Culture, Frames, and Participations.Andy Willis is a Reader in Film Studies at the University of Salford, UK, and Senior Visiting Curator for Film at HOME, Manchester, UK. He is a co-author of The Cinema of Alex de la Iglesia (2007), and the editor of Film Stars: Hollywood and Beyond (2004). He is also the co-editor of Defining Cult Movies (2003), Spanish Popular Cinema (2004), East Asian Film Stars (2014), and Chinese Cinemas: International Perspectives (2016).

• 1. ​Introduction – Jonathan Wroot and Andy Willis.- 2. I – The Cult Business: Creating Consumption: Jonathan Wroot, ‘Battle Royale as a One Film Franchise: Charting a Commercial Cult Phenomenon through DVD and Blu-ray releases’.- 3. Mark McKenna, ‘Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution’.- 4. Matt Hills, ‘A “Cult-like” Following: Nordic Noir, Nordicana and Arrow Films’ Bridging of Subcultural/Neocultural Capital’.- 5. Lee Broughton, ‘Restoration, Restoration, Restoration: charting the changing appearance of The Good, the Bad and the Ugly on British home video’.- 6. Katie Barnett, ‘It’s Only Teenage Wasteland: The Home Media Revival of Freaks and Geeks’.- 7. II – Cult Practices: The Consumption and Reception of Cult Media: E.W. Nikdel, ‘Cult Fandom and Experiential Cinema’.- 8. Virginia Crisp, ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’.- 9. E. Charlotte Stevens, ‘On Vidding: The Home Media Archive and Vernacular Historiography’.- 10. Oliver Carter and Simon Barber, ‘The Dragon Lives Again: Distributing “Bruceploitation” via Home Entertainment’.- 11. Rayna Denison, ‘Bollywood DVD: The Relationship between Distributive Technology and Content in Transnational Cinema’.- 12. Fraser Elliot, ‘The Sustained Popularity of In the Mood for Love: Cultural Consumption in Britain's Reception Context’.

Select Guide Rating