Abstract
Recent scholarship on the branding of contemporary cult Asian cinema for western audiences has frequently drawn on Said’s seminal treatise Orientalism as a means to critique sensationalist marketing materials. Whilst the excessive character of paratexts produced by film distributors such as Tartan clearly facilitates such readings, in this article I argue that this oft-repeated criticism becomes problematic when employed indiscriminately to theorise, by extension, the audiences for these films. Drawing on a recent empirical study of responses to Asian Extreme cinema and its distribution in the UK and North America, I offer an intervention in this debate by constructing a more nuanced interpretation of the ways in which cult audiences articulate their attraction to cinematic representations of cultural difference
Original language | English |
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Pages (from-to) | 35-48 |
Number of pages | 14 |
Journal | Transnational Cinemas |
Volume | 8 |
Issue number | 1 |
DOIs | |
Publication status | Published - 28 Nov 2016 |
Bibliographical note
© 2016 The Author(s).Profiles
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Emma Jane Pett
- Theatre, Film, TV and Interactive Media - Lecturer in Creative Industries, Former employee
Person: Academic