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PHILOSOPHICAL
LITERARY
JOURNAL
ISSN 0869-5377
Author: Hills Matt

Hills Matt

PhD, Professor of Film & TV Studies at the Aberystwyth University. Address: Parry Williams Bldg, Penglais Campus, Aberystwyth, Ceredigion, SY23 3FL United Kingdom. E-mail: mjh35@aber.ac.uk.

Publications

Para-Paracinema: The Friday the 13th Film Series as Other to Trash and Legitimate Film Cultures / Logos. 2014. № 5 (101). P. 27-50
annotation:  Hills problematizes the opposition between “trash” and “legitimate” film cultures, a dichotomy which is standard for academia. In contrast to what is often believed, the concept of “trash” film is not founded on the inclusion of everything rejected or ignored by legitimate culture, but is constructed through the exclusion of certain kinds of film sleaze from the frame of two cultures. Hills uses the example of Friday the 13th to demonstrate how this exclusion is performed. The author employs criteria such as aesthetic recurrence in relation to the trash “canon,” mainstream character, commercial success, sexism, lack of an author-function. He notes that fans belonging to the field of academia, such as Hills himself, are the main source of trash revalorization and rehabilitation of excluded films.
Keywords:  legitimate/trash film culture, slasher, academic account, franchise, sleazy artistry

Hills Matt

PhD, Professor of Film & TV Studies at the Aberystwyth University. Address: Parry Williams Bldg, Penglais Campus, Aberystwyth, Ceredigion, SY23 3FL United Kingdom. E-mail: mjh35@aber.ac.uk.

Publications

Para-Paracinema: The Friday the 13th Film Series as Other to Trash and Legitimate Film Cultures / Logos. 2014. № 5 (101). P. 27-50
annotation:  Hills problematizes the opposition between “trash” and “legitimate” film cultures, a dichotomy which is standard for academia. In contrast to what is often believed, the concept of “trash” film is not founded on the inclusion of everything rejected or ignored by legitimate culture, but is constructed through the exclusion of certain kinds of film sleaze from the frame of two cultures. Hills uses the example of Friday the 13th to demonstrate how this exclusion is performed. The author employs criteria such as aesthetic recurrence in relation to the trash “canon,” mainstream character, commercial success, sexism, lack of an author-function. He notes that fans belonging to the field of academia, such as Hills himself, are the main source of trash revalorization and rehabilitation of excluded films.
Keywords:  legitimate/trash film culture, slasher, academic account, franchise, sleazy artistry
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