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Selling the Splat PackThe DVD Revolution and the American Horror Film$
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Mark Bernard

Print publication date: 2014

Print ISBN-13: 9780748685493

Published to Edinburgh Scholarship Online: September 2015

DOI: 10.3366/edinburgh/9780748685493.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 25 September 2021

Seriality, Subjectivity and New Media

Seriality, Subjectivity and New Media

Consuming the Saw Series

(p.142) 7. Seriality, Subjectivity and New Media
Selling the Splat Pack

Mark Bernard

Edinburgh University Press

This chapter examines the Saw films as they appear on DVD and how they differ from other horror films. American journalists often included the creative minds of the Saw series — James Wan, Leigh Whannell and Darren Lynn Bousman — in the Splat Pack. Any analysis of the Splat Pack and its relation to media industries would be incomplete without a consideration of the Saw films because, out of all the films in the Splat Pack cycle, they are the most concerned with media. The Saw films are designed to resemble interactive, new media products that encourage audience interaction, employing storytelling techniques shaped by new media. Yet these films are uniquely suited for the DVD platform, where their cyberintimations are given full digital expression. The chapter considers how the Saw films are plugged into two new media iterations of Tom Gunning's idea of a ‘cinema of attractions’: the DVD as ‘digital theme park’ and YouTube as a digital cinema of attractions.

Keywords:   horror films, Saw films, James Wan, new media, DVD, Tom Gunning, cinema of attractions, YouTube, digital cinema, Splat Pack

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