Preserved for Posterity? Present Bias and the Status of Grindhouse Films in the “Home Cinema” Era

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Preserved for Posterity? Present Bias and the Status of Grindhouse Films in the “Home Cinema” Era. / Jones, Steve.

In: Journal of Film and Video, Vol. 70, No. 1, 01.04.2018, p. 3-16.

Research output: Contribution to journalArticle

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@article{4ae4d5635b26433093507a0d0cd3757f,
title = "Preserved for Posterity?: Present Bias and the Status of Grindhouse Films in the “Home Cinema” Era",
abstract = "Despite the closure of virtually all original grindhouse cinemas, {\textquoteleft}grindhouse{\textquoteright} lives on as a conceptual term. This article contends that the prevailing conceptualization of {\textquoteleft}grindhouse{\textquoteright} is problematized by a widening gap between the original grindhouse context ({\textquoteleft}past{\textquoteright}) and the DVD/home-viewing context (present). Despite fans{\textquoteright} and filmmakers{\textquoteright} desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which {\textquoteleft}grindhouse{\textquoteright} is evoked. ",
keywords = "movies, motion pictures, film criticism, film prints, entertainment, nostalgia, film editing, audiences, memory",
author = "Steve Jones",
year = "2018",
month = apr,
day = "1",
doi = "10.5406/jfilmvideo.70.1.0003",
language = "English",
volume = "70",
pages = "3--16",
journal = "Journal of Film and Video",
issn = "0742-4671",
publisher = "University of Illinois Press",
number = "1",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Preserved for Posterity?

T2 - Present Bias and the Status of Grindhouse Films in the “Home Cinema” Era

AU - Jones, Steve

PY - 2018/4/1

Y1 - 2018/4/1

N2 - Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked.

AB - Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked.

KW - movies

KW - motion pictures

KW - film criticism

KW - film prints

KW - entertainment

KW - nostalgia

KW - film editing

KW - audiences

KW - memory

U2 - 10.5406/jfilmvideo.70.1.0003

DO - 10.5406/jfilmvideo.70.1.0003

M3 - Article

VL - 70

SP - 3

EP - 16

JO - Journal of Film and Video

JF - Journal of Film and Video

SN - 0742-4671

IS - 1

ER -