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FMS 200 notes - Taught by Dr. Ron Wilson
Film And Media Aesthetics (University of Kansas)
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Aesthetics: An Introduction
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Aesthetics
○ Are they snobby?
○ Do aesthetics only matter when they are extreme or profound?
■ No to both
○ Aesthetic-Ancient Greek for “I perceive”
■ Beauty: balance, symmetry, harmony
■ Removed of utility and function
○ Utilities of Aesthetics
● Ex. Gauguin’s “When Will You Marry?”
■ Economic Utility
■ Educational Utility
■ Cultural Utility
○ Aesthetic Analysis
■ Study of form
■ Strategies of art + meaning
■ Image, sound, narrative, time, movement
■ Taste
■ Culturally determined
● Learned value
● Not universal
■ Aesthetic Value
● Technical + creative skill
● Message + ideology (Consider Auteur Theory for both)
○ That said, filmmaking is a collaborative effort (i.e.
scriptwriter, cinematographer, producer, etc.)
FMS 200
○ Assess the components of creation and systems of interpretation in visual media
■ Critcism + value judgments =/= analysis
○ Definitions
■ Framing
● I.e.”Citizen Kane” is known for “deep focus” shots in which the
foreground, background, and everything in between are in focus
■ Canted Angle (Dutch Angle)
● Christopher Nolan loves using these (see: “Inception”, “The Dark
Knight”
● Spike Lee is also a fan (see: “Do the Right Thing”)
● Terry Gilliam (“12 Monkeys”)
● Alfred Hitchcock (“The Birds”)
● Wes Craven (“Scream”)
● Carol Reed (“The Third Man”)
○ Crane shot from (I think season 1) Fargo
○ Dario Argento (“Suspiria”)-one of the last films to use
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Technicolor stock, so the color is really vibrant and it
conveys a lot of meaning
■ Sound is super important in this film too
○ Critically engage with definitions
○ Evaluate film and media aesthetic strategies
○ Analyze aesthetic meaning and significance
Mise-en-scène
○ Arrangement and interaction of components visible in the frame
■ Lighting
■ Setting
■ Composition
■ Movement
■ Actors
■ Costumes
■ Acting
■ Color
■ Make-up
■ Props
■ Decor
○ Pro-Filmic events (equate it with mise-en-scène)
○ Setting (Amadeus, Fargo, The Cabinet of Dr. Caligari, Beetlejuice, Ten [on
location])
■ Citizen Kane’s set were all built and use deep focus composition (more on
that later)
● Citizen Kane’s lighting is noteworthy as well (one scholar called it
“American Expressionism”, in line with German Expressionism)
○ Lighting (Fight Club, Casablanca, Chuck)
■ 3 Point lighting-a staple of classical Hollywood cinema
● Paramount complained that The Godfather was too dark, in that it
was not well lit (actually a purposeful decision by Francis Ford
Coppola)
■ One criticism of 3 point lighting is that it’s not super naturalistic, so avoid it
if you’re going for a realism effect
■ 3 point lighting is still a staple of TV
■ Chiaroscuro-dramatic contrast between light and dark (used beautifully in
Citizen Kane)
● High Key-low contrast, flat, even lighting (think comedic films and
sitcoms) (ex. Big)
● Low Key-high contrast, highly shadowed images (think dramas
like The Dark Knight)
○ Composition-staging (His Girl Friday, The Pianist, Alien, Legally Blonde)
■ Deep space composition-several planes within the frame are in focus
(Orson Welles loved this technique)
Cinematography
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Distance (example: 2001: A Space Odyssey)
■ Extreme long shot
■ Long Shot
■ Medium Shot
■ Close up
■ Extreme close up
Angle (example: Citizen Kane)
■ High angle
■ Low angle
Aspect ratio
■ Academy established a basic aspect ratio until the 1950s when
CinemaScope became a thing
● Hateful 8 and 2001: A Space Odyssey were filmed on 70mm,
which is super wide
■ Square frame (Mommy, Dolan 2014)
■ Canted frame (The Birds, Hitchcock)
Composition: a purposeful arrangement of elements within a frame
■ Balance
■ Contrast
■ Context
● Rule of Thirds-applies to basically all visually media
○ Breaking Bad, Mad Max: Fury Road, The Incredibles, Rear
Window
● Symmetry: Wes Anderson’s favorite (Life Aquatic with Steve
Zissou, Moonrise Kingdom, Fantastic Mr. Fox, The Grand
Budapest Hotel
Movement
■ Pan-side to side
■ Tilt-up and down
■ Follow-from behind (The Shining)
■ Tracking/Dolly-camera moves in
■ Zoom-lens movement
● The Blair Witch Project-nearly all handheld
■ Duration-long take (Touch of Evil, Rope, Russian Ark [digital film, all one
take!], Birdman [also one take])
Focus
■ Focal length
● Telephoto flattens
● Wide angle extends
■ Depth of field
● Shallow focus
● Deep focus
■ Focus pull (that shot in The Young Victoria with the glasses)
● Deep space composition
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Editing
○ Relationship between shots
■ Rhythmic
■ Graphic
■ Spatial
■ Temporal
● Match/Contrast
○ Continuity vs. Discontinuity
■ Continuity
● Invisible cuts
● Consistent space
● Consistent time
○ 180 degree rule-never put a camera on the other side of
the axis of action, it disorients the audience and makes it
look like the actors have repositioned
○ Establishing shot
○ Shot-reverse-shot
○ Re-establishing
● Match on action
● Eyeline match
● Crosscutting
○ Discontinuity editing
■ Associative edit
● Kuleshov effect
● Soviet montage
● Third Meaning
■ Nondiagetic Insert
■ Graphic Match
■ Jump Cut
● 30 degree rule
Sound
○ Texture
■ Pitch
■ Timbre
■ Loudness
■ Editing
● Diagetic vs. Nondiagetic-”Diegesis”
○ Nondiagetic: score, some sound effects, laugh track, inner
monlogue (voiceover)
○ Diagetic: Dialogue, music, sound effects
● Synchronous sound
● Sound fidelity
○ See Rene Clair’s “Le Million”: at one point a fight ensues,
and Clair cuts out the sound of the fight and in the sound
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of a soccer match to comedic effect (asynchronous sound
is usually used to comedic effect)
Sound bridge
Dialogue overlap-a very realistic style of dialogue
○ Example: “M” (Fritz Lang, 1931)
Breathless
○ Dialogue-was probably recorded in a sound studio, but it’s mixed to have this sort
of “voiceover” quality
■ If it looks/sounds/feels like a Tarantino movie, it’s because Jean-Luc
Godard heavily influenced Tarantino
● Think the dialogue thing-the scene in the girl’s apartment is akin to
the “Royale with Cheese” scene in Pulp Fiction (mostly improv,
unlike Tarantino)
○ Jump cuts are prominent in the editing
■ Implied temporal relation, informs Michel’s character because he’s not
goal-oriented and sort of drifts around, living from moment to moment
○ All shot on location, which became a motif of French New Wave Cinema
● Films the backs of his actors while they’re having a conversation,
which was atypical of French cinema at the time
Genre
■ French for “Type”
○ What is Film Genre?
■ Genre shapes a film’s subject matter, characters, narrative structure, and
style
○ Institutional use of genre
■ Filmmakers use genre as a means of minimizing the economic risk in
making films
■ Film distributors and exhibitors use genre as a means of advertising and
promoting films
■ Both depend on audiences’ foreknowledge and past experiences
○ Audience use of genre
■ Audiences use genre to give them predictable pleasures when
consuming/watching a film
■ Audiences use certain expectations of genre films
■ Audiences expect genre films to involve innovation, inflection (when
certain elements of the genre are highlighted)/subversion of the genre
conventions
○ Genre conventions
■ A film genre is defined by its conventions
■ These conventions must be present to make a film genre film but should
involve enough innovation, subversion/inflection (otherwise it becomes a
formula film)
○ Generic Conventions
■ Will vary from genre to genre but will usually involve such areas of
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repetition as
● Mise-en-scène
● Setting
● Visual style
● Themes
● Stars
● Ideology
● Character types (including stereotypes)
● Icononography
● Sound/Music
● Directors
Iconography
■ Images or image patterns with specific connotations or meaning
■ Tommy gun in a gangster movie
■ Spaceship in SciFi
■ John Wayne in a western
■ A kiss in a romcom
Generic formulas
■ Generic conventions that are put in motion as part of a plot
■ Narrative patterns in particular genres
● Romantic coupling through singing and dancing (musicals)
● Civilization vs Wilderness (westerns)
● Rise and fall of criminal (gangster)
Generic expectations
■ Describes the experience and knowledge that a viewer activates while
watching a film, so that he or she anticipates the meaning of particular
conventions or the direction of certain narrative formulas
■ Audiences expect the genre film to offer something familiar, but also they
demand fresh variations on it
■ The filmmaker may devise something mildly or radically different, but it
will still be based on convention
■ This interplay of convention and innovation, familiarity and novelty, is
central to the genre film
Local film genres
● Heimat (German family melodrama)
● Yakuza (Japanese gangster film)
● Wuxia (Chinese Martial Arts film)
● Giallo (Italian horror film)
● Indianerfilme (formerly East German [read: communist], “red
westerns”, Natives are usually the heroes)
● Because filmmakers play with conventions and iconography,
genres seldom remain unchanged for very long
● The broader, blanket genres such as thrillers, romances, and
comedies never go out of style, but a comedy from the 30s is very
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different from one released today
■ Example: It Happened One Night (1934) vs. Bridesmaids (2011)
○ Generic Constellation
■ Hybrid genres
■ Subgenres
○ Steve Neale on generic repetition and difference
■ “Genres are instances of repetition and difference”
■ “Difference is absolutely essential to the economy of genre”
○ What that means
■ Steve Neale is saying that a film and its genre is defined by how much a
film subverts the genre’s stereotypes and conventions
■ He says that a film must subvert these conventions
■ Texas Chainsaw Massacre vs Paranormal Activity
● Conforming to genre conventions vs Subverting Genres
○ Crime Films
■ Characters who live on the edge of society, mysterious/dangerous, either
criminals or individuals dedicated to crime detection
■ Plots of crime, increasing mystery
Composition
○ Purposeful arrangement of elements within the frame
■ Frame
■ Color
■ Darkness + Light
■ Headspace
■ Leadspace
■ Rule of thirds
■ Quadrant system
■ Geometric composition
■ Converging lines (lead lines)
■ Frame within a frame
■ Static composition
■ Balanced vs. Unbalanced
Television Narrative
○ Considering TV narratives
■ Narratology of television
■ Why is narratology of TV different?
● Open-ended, ongoing stories
● Episodic
○ Self-contained, with closure and equilibrium each episode
■ Family Guy, CSI, early episodes of The Office
● Serial
○ Accumulation of detailed story arcs that extend over
episodes and seasons
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○ Opening credits
○ Commercials
○ Set episode length
○ Season length
○ Sweeps
Time on Television
○ Story structure
■ A-story, B-story
Complexity
○ More popular in television
■ Episodic form under the influence of serial narration
● Dual demands
● Narrative enigma
○ Narrative elements that set up mysteries to pay out in later
episodes
● Narrative organization
○ Fractured + unpredictable
○ Disconnect between screen time and story duration
● Syuzhet =/= fabula
■ Intertextuality
■ Operational aesthetics
● Elaborate, spetacular storytelling strategies
● Thwarting of convention
○ I.e. manipulative editing in reality tv (Survivor)
● Speculating on mechanics of resolution
● Making overt the craft of storytelling
○ Narratology
■ Fabula
● Cause and effect order of events-story
■ Syuzhet
● Arrangement of story in the telling-plot
○ Narrative logic-assume relevance and significance
○ Space-location and spatial relationships
○ Time-order, duration, frequency
○ Gaps
○ Reorder
○ Repeat
○ Transparent
○ Forthcoming
○ Distort
○ Obscure
○ Restricted
○ Omniscent
○ Communicative, knowledgeability, self-awareness
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Plot structure
● 3 act structure
○ Setup (30 min)-complicating action (60 min)-climax (25
min)
● Goal-oriented (four-act) structure
○ Setup (goals)
○ Complications (goals revised)
○ Development (goals thwarted)
○ Climax
■ Film time
● Story time (Chekhov’s gun, if a gun is shown in the first act it must
be fired by the third act)
○ Time passing in fabula
● Discourse time
○ Time passing in syuzhet
● Narration time
○ Time taken in telling (screen time)
Television aesthetics
○ Aesthetics vs. style
■ Sitcoms
● How have aesthetic codes changed over time?
● Domestic entertainment
● Liveness
● Static camera vs. multi-cam
○ Aesthetic Principles
○ Style
○ Narrative
○ Genre
○ Quality television
■ Critical, academic, political distinction
● Criteria for classification
● Context-dependent
○ 1950s-Golden age of Television
○ 1970s-New golden age
○ 2000s-Present-Third Golden Age
■ Aspirational + Hierarchical
● Humanities academia is not sure if television is an art and should
be studied as such
● Contentious and highly problematic
● Quality =/= good
■ Aesthetic criteria
● Narrative
● Content
● Visuals
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● Context
Complexity
● Combination of episodic and serialized narrative, depth to
characters and events, structural (Buffy the Vampire Slayer)
Intertextuality
● Moving beyond reference; connection between texts makes
viewing more enjoyable (The Simpsons)
Social Relevance
● Content that speaks to tumultuous political climate; irony,
commentary address politically relevant issues (All in the Family)
Genre Mixing
● Pushing boundaries of form; novel, unexpected, or innovative
content, look, approach (Ally McBeal)
Cinematicness
● Visual-specific cinematography, composition, and mise-en-scene
that evokes film drama (Breaking Bad)
Branding
● Distribution avenues construct identities; networks, producers
brand themselves for quality (HBO)
Genre Quality
● Some genres have more assumed inherent quality; others
transcend or define its standards (Top Chef)
Quality Viewers
● “The lowest rated show to ever get renewed”; gritty look, serial
narratives, real stories- proto-contemporary (Hill Street Blues)
Audience Investment
● Narrative open for investigation, decoding, revision, and
involvement (Lost)
Auteurism
● Individualism (typically the showrunner) who are credited as
purveyors of quality; branding creativity to the individual (The
Sopranos)
Class
● Quality and aesthetics are specific to the times and place; prestige
is here and now, not universal
Thursday night: “The Best Night of Television on Television”
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Spreadability
○ Screening discussion
■ Cinematic qualities of “The Walking Dead”
● Frame within a frame
● Camera movement-more fluid
○ Durability
■ Fixed, “Top-down control over what information is preserved”
● Ex. books, film, records/casettes/CDs, television
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Mobility
■ Flexible, low-cost, “Quick and easy spread across a geographically
dispersed area”, decentralized communication
● Streaming
Stickiness vs. Spreadability
■ Spreadability: technical resources that make it easier to circulate some
kinds of content than others
● Centralized (stickiness) vs. Dispersed material (spreadability)
○ Stickiness wants you to stay at the site, spreadability wants
you to share it with others
● Unified vs. Diversified experiences
○ Stickiness wants a centralized brand to control content,
spreadability wants diversity in content
● Prestructured interactivity vs. open-ended participation
○ Sticky sites have games and polls and whatnot to hold
your interest, spreadable sites use content in unanticipated
ways to fit the contours of their community
● Attracting/holding attention vs. Motivating/Facilitating Sharing
○ Sticky sites want a passive audience, spreadable sites
want an active audience
● Scarce and finite channels vs. Myriad temporary (and localized)
networks
○ Stickiness maintains a “broadcast” mentality, spreadability
encourages circulation to grow the audience
● Separate + distinct roles vs. Collaboration across roles
○ In stickiness models, there are distinct roles for producers,
marketers, and audiences. In spreadable models, the lines
are more blurred and roles often collaborate
Produsage
■ A more fluid category of participation, undertaken by “produsers” through
collaborative processes of creation and re-creation. Focus on fluid roles
and shared rather than owned material
● Spreadable texts encourage active participation via curation and
circulation. Transmedia mobilization marks a transition from
content creation to aggregation, curation, remix, and circulation of
rich media texts through networked movement formations.
Transmedia mobilization takes advantage of the community’s
latent communications capabilities
■ Elements that increase spreadability:
● Shared fantasies
● Humor/irony
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● Parody and references
● Unfinished/reusable content
● Mystery
● timely/controversy relevance
■ Culture Jamming (genre)
● Heterotopia: creates alternative spaces and opportunities for new
ways of seeing culture-as-usual from a different point of view
● Irony and subcultural literacy: leading to mainstream recuperation
and reverse jamming
○ Recuperation involves 1. The conversion of subcultural
signs (dress, music, etc.) into mass-produced objects (i.e.
the commodity form) 2. The “labeling” and re-definition of
deviant behavior by dominant groups-the police, the
media, the judiciary (i.e. the ideological form)
The Documentary genre
○ Origins & Style
■ Origins
● John Grierson used the term to describe “Moana” (not the disney
version) by Robert Flaherty in 1926. Flaherty is mildly
controversial for his documentary work now
■ Modes of Documentaries
● Expository
○ Associated with the classic documentary, based on
illustrating an argument using images
○ Almost always uses continuity editing
○ A rhetorical rather than an aesthetic mode, aimed directly
at the viewer using text titles or phrases to guide the image
and to emphasize the idea of objectivity and logical
argument (Victory at Sea, Shock of the New)
● Observational mode
○ Allows the director to record reality without becoming
involved in what people were doing when they were not
explicitly looking into the camera
○ Enabled a different approach to the subject matter and the
directors prioritized a spontaneous and direct observation
of reality (Gimme Shelter, High School)
■ Cinéma Veríté vs Direct cinema: Direct Cinema is
best understood as “fly on the wall” cinema, CV can
use talking head interviews and the like and it is
best used in ethnographic movies (think Paris is
Burning)
● Participatory mode
○ This mode presents the relationship between the filmmaker
and the filmed subject. Makes the director’s perspective
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clear by involving them in the discourse
○ The director becomes an investigator and enters unknown
territory, participates in the lives of others and gains direct
and in-depth experience and reflection from the film
(SuperSize Me, Man with a Movie Camera)
● Reflexive mode
○ Raises the audience’s awareness of the means of
representation itself and the devices that have given it
authority
○ The film is not considered a window on the world, but is
instead considered a construct or representation of it
(Waiting for Fidel)
● Poetic Mode
○ Aims to create a specific mood and tone rather than to
provide the viewer with information
○ Origin is linked to the emergence of artistic avant-gardes in
cinema; uses many of the devices typical of other arts
(fragmentation, subjective impressions, etc.) (Rain, NY,
NY)
● Performance mode
○ Focuses interest on expressiveness, poetry, and rhetoric,
rather than on the desire for realistic representation.
○ The emphasis is shifted to the evocative
Documentary modes: Characteritics and deficiencies
● The expository
○ Directly address issues in the historical world
■ Overly didactic
● Observational
○ Observes things as they happen
■ Lack of history, context
● Participatory
○ Interview or Interact with subjects
■ Excessive faith in witnesses naive history too
intrusive
● Reflexive
○ Questions documentary form and defamiliarizes the other
modes
■ Too abstract, loses sight of actual issues
● Poetic
○ Reassembles fragments of the world poetically
■ Lack of specificity, too abstract
● Performative
○ Stresses subjective aspects
■ Loss of emphasis on objectivity; excessive use of
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Paratexts
○ “Tell us what to expect..they shape the reading strategies that we will take with us
‘into’ the text…”
○ “Marks those elements which lie on the threshold of the text and which help to
direct and control the reception of a text by its readers.”
■ “Threshold of the text”
● Look at what *constructs* the text
● Literature: preface, epigraph, cover, advertising, distribution,
intertexts, book reviews, etc.
● Film: Trailer, ads (movie poster, banner ad online, word of mouth
[social media], reviews,
○ Paratextuality
■ Text: a cultural object or media artifact that meaning can be extracted
from
■ Intertextuality: an intertext is one or more texts which the reader must
know in order to understand a work of literature in terms of its overall
significance
■ Intertexts are works which inform or help construct a text. They can be
from any medium but the main text relies on them to help construct
meaning
■ Intertextuality was first coined by the post-structuralist Julia Kristeva in the
late 1960s
■ The intertext connects the studied text to media as a whole and stops the
text from being an island
■ Paratexts create an area of “transition” or “transaction” in the text’s
reception. It is closely linked to areas of “social texts”
● Paratexts help to “brand” a film and as Gray (2009) suggests, give
depth to a film’s meaning
○ Ex. Director’s commentaries-authorial vision to the film,
that is worthy of study
○ Other DVD special features
○ Director’s cuts
○ Merchandise (in a big way)
● Speculative consumption
○ Where do you want to spend your time, money, attention?
● Entryway paratexts
○ How did you arrive at this show, this film, this option out of
all the options?
● In media res paratexts
○ What gaps can you fill, what textual readings can you
enforce?
■ Extended “minisodes”, deleted scenes, concept art,
spin-offs (especially comic books)
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Transmedia
○ Multiple platforms, multiple entry points
Industry-generated paratexts
○ Created by industry for marketing, promotion, and framing
User-generated paratexts
○ Created by audiences for celebration, critique, analysis
■ Fan edits, fanfiction, fan art
Participatory culture
○ Producers+Consumers are combined (Produsage)
■ “Fans embrace an understanding of intellectual
property as ‘shareware’, something that accrues
value as it moves across different contexts”
■ Fan films
○ Derivative works
○ Transformative works
Taste + Paracinema
○ High Culture + Popular Culture
■ Herbert Gans-a distinction updated
● High culture
● Upper-middle culture
● Lower-middle culture
● Low culture
● Quasi-folk low culture
■ Taste culture
● Analytic aggregates of similar values, choices, and content
■ Taste public
● People who are joined together by similar aesthetic practices
○ *Constructs*
○ Trashing the Academy
■ Paracinema-cultural detritus
● Instructional videos
● Educational films
● Gov’t hygiene films
● Elvis flicks
● Soft-core pornography
● Japanese Monster movies
● Beach party films
● Bootlegged training films
● Box office bombs
● Camp classics
● Subversive media
● Foreign commercial reels
○ Anything in opposition to the status quo and cultural elites
■ Paracinema + counter-aesthetic
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“The paracinematic audience promotes their tastes and textual
proclivities in opposition to a loosely defined group of cultural and
economic elites, those purveyors of the status quo who not only
rule the world, but who are responsible for making the
contemporary cinema, in the paracinematic mind, so completely
boring.” -Sconce
Paracinema
■ Embraces trash aesthetics
■ Low brow
■ fringe/counterculture
■ Against canon
Academia
■ Embrace elite aesthetics
■ High-brow
■ mainstream/high culture
■ Establish canon
● Both cater to white, educated, middle-class males and have high
cultural capital
■ Paracinema “renders the bad into the sublime”
● What are the aesthetics of “bad films”? In what ways do bad films
deviate from aesthetic conventions? Did the bad film try to be
good and fail? Or is it trash cinema?
○ The Room
○ Cult media-Rocky Horror Picture Show, anything Chuck
Norris has been in. RHPS got big because of midnight
screenings
○ Exploitation films-cheap, fast, taboo. Faster, Pussycat, Kill!
Kill!, Foxy Brown, Blood Feast
○ Camp films-”so bad it’s good”, styled excess. Barbarella:
Queen of the Galaxy, Mannequin, anything John Waters
has made
○ Trash TV: Sharknado, Jersey Shore, Jerry Springer
● Who says what’s high and low culture?
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