Qualities[ edit ] First and foremost, cyberculture derives from traditional notions of culture, as the roots of the word imply.
We also discuss reception practices, as well as the growing shift from physical to digital media, considering the state of the landscape at this current historical moment. I thoroughly enjoyed speaking with and learning from Caetlin about her research and moreand I hope readers enjoy our cult conversation too.
Or is your interest in the subjects you study purely an academic pursuit? I am certainly a fan of horror film and have been since junior high.
Romero, when I was about thirteen and she was maybe eight. Night of the Living Dead later became a cornerstone text for my first book, Killer Tapes and Shattered Screens, and it remains my favorite movie to this day—so much so that I rarely teach it.
So yes, I am a big fan. When did your journey begin? What were the first cults objects you recall encountering in personal terms? My journey began at a drugstore in my hometown of Lincoln, Massachusetts.
This little stop had one rack of VHS cassettes for rent for a dollar each, which is about how much money I usually had on hand from my allowance. I must have been no more than nine or ten when I started renting from them. When I was in high school, Lincoln finally got its own video store, and I started working my way through its genre shelves, in part because genre rentals were cheaper there than new releases.
As I recall, there was no rhyme or reason to what that store stocked; it seemed to follow the whims of its owners to an amazing degree. For these reasons, I consider videotapes my cult objects par excellence.
They were my way into loving and living film history, horror most of all. Apart from Night of the Living Dead, then, what did your adventures in video expose you to as a child? What are your memories of favourite films during the period?
The Wrath of Khan Nicholas Meyer,the Alien chestbuster solidified my association of videotape with horror and bodily abjection. Today I would argue that the breaching of bodily boundaries that I found so thrilling and terrifying in those films helped me make sense of and enjoy the penetration of illicit because violent rental cassettes into the domestic sphere, not to mention the VCR itself.
Evidently her mother considered that much murder, profanity, and abjection inappropriate for school girls! I knew nothing about film history or quality or genre. My initial understanding of who Peter Greenaway was and where he fit in international art cinema came from the poster, in other words, not the film itself.
Unfortunately, I was right, and, as my teacher put it, the Academy will always be Unforgiven [Clint Eastwood, ]. Video stores impressed upon me the importance of paratexts and material culture for understanding film culture and the vagaries of taste and value within it.
If you were to summarise your book, Killer Tapes and Shattered Screens: Or do you think that other film scholars may find it useful in general terms? Killer Tapes and Shattered Screens argues that video technologies have been the dominant platform of film spectatorship since the s and that horror films provide a rich set of case studies for understanding how filmmakers understood and adapted to video culture.
This may seem strange, but I never considered Killer Tapes and Shattered Screens to be about horror while I was writing it as a dissertation at Cornell University. Its working title was ImperioVideo, and I really thought it was about spectatorship theory and its failure to acknowledge home video.
It was only at my defence that my committee pointed out to me that 1 what I was writing was a history as much as a theory of video spectatorship and 2 it was very much a history of horror filmmaking as related to video cultures. Some people are just there for the technology, others for the genre study.
A few of us geek out on both. Direct-to-Video DTV horror is a fascinating subgenre with its own conventions and social critiques. For Killer Tapes and Shattered Screens, you endorse spectatorship theory as a theoretical frame.Sociolinguistics of Society. Language in culture is based on a number of contrasts.
For example, it is based on a set of rules according to a large culture, but that large culture contains within it subsets of language formed when certain aspects of language are applied to delineate a subcultures from the larger culture.
Within the Ph.D. in Social Science is an optional concentration in Mathematical Behavioral Sciences, supervised by an interdisciplinary group of faculty.. Within the M.A. in Social Science, students may apply directly to the concentration in Demographic and Social Analysis.
Published: Mon, 23 Jul Subculture refers to a small group of people who with different behavior and beliefs in a larger mainstream culture. Subculture does not only contain the values and concepts that similar as the main culture, but also their own unique values and concepts, and these values are scattered into all kinds of main cultures.
Cop confidential 2 UNIVERSITY OF ST. THOMAS, MINNESOTA COP CONFIDENTIAL: POLICE SUPERVISION AND SUB-CULTURE We certify that we have read . Published: Mon, 5 Dec “I believe otaku are a new breed born in the 20th century visual culture era.
In other words, otaku are people with a viewpoint based on . The dissertation utilized mixed method research combining both a quantitative and qualitative study with a triangulation of methods.
The quantitative study employed a sample of federal government employees and used hierarchical linear modeling techniques, multiple regression, hierarchical regression analysis, and independent T-test of.