Cinema-going at the Southampton Odeon: Exhibition Data and Popular Taste

Cinemagoing data from the 1970s. A case study of the data from the Southampton Odeon

Retro, faux-vintage, and anachronism: When cinema looks back at Its Analogue Past

This article explores the definition of ‘vintage cinema’ and specifically re-evaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: the faux-vintage, the retro and the anachronistic and by illustrating their overlapping and discrepancies, it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism and unravel the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).

Streaming Italian horror cinema in the UK: Lovefilm Instant.

This article investigates the distribution of Italian horror cinema in the age of video streaming, analyzing its presence and categorization on the platform Lovefilm Instant UK, in order to investigate the importance of ‘niche’ in what is known as the long tail of online distribution and the online availability of exploitation films. I argue that looking at the streaming presence of Italian horror and comparing it to its prior distribution on home video formats (in particular VHS and DVD) we can grasp how distribution and access have shaped the understanding of the genre. In particular, I address the question of the categorization of the films made by the S-VOD services and the limits of streaming distribution, such as lack of persistency in availability and the need of enhanced curatorship.