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Grindhouse NostalgiaMemory, Home Video and Exploitation Film Fandom$
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David Church

Print publication date: 2015

Print ISBN-13: 9780748699100

Published to Edinburgh Scholarship Online: September 2015

DOI: 10.3366/edinburgh/9780748699100.001.0001

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Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
Grindhouse Nostalgia
Author(s):

David Church

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748699100.003.0007

Nostalgia grounds the subcultural ideologies and capitals that can unite and divide fans from each other as the shape of contemporary fandom grows more mobile and diffuse. Much as nostalgia allows past time periods to be envisioned like spaces that can be inhabited by fans, past spaces of exploitation film consumption can be nostalgically linked to particular time periods. Likewise, fandom itself can be envisioned as a particular space/time that arises as an object of nostalgia, especially when the acceleration of format transitions in the home video market has currently made exploitation films more culturally visible and accessible than ever before. Meanwhile, nostalgic cues have been increasingly coded into the remediated exploitation text as a buffer against perceived (sub)cultural and technological change, preserving the exploitation film's dominant association with pastness in a time of textual overabundance and fragmented taste micro-groups. Much as nostalgia's dialectical appraisal of the revalued past over the present can produce both ironic distance and heartfelt sincerity in the reception of historical exploitation texts, these multivalent responses echo the commingled irony and sincerity about fandom itself that can arise as the imagined shape of fandom becomes more nebulous.

Keywords:   Fandom, Nostalgia, Subcultures, Irony, Home video

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