Monday, 1 June 2015

Global Exploitation Cinemas Conference

Picture

I've just arrived back after attending the 2015 Global Exploitation Cinemas conference in Lincoln where I presented a paper (title and abstract below). The venue (The Ritz cinema) was fantastic, and the event ran really smoothly. It was great to catch up with colleagues and to meet some new faces. Hopefully the conference will run again next year.


My paper was based on a chapter in the forthcoming collection Grindhouse: Cultural Exchange on 42nd Street and Beyond (eds. Austin Fisher and Johnny Walker, 2016)

Here is the abstract:


Grindigital: The Ghost of Grindhouse Present
Despite the closure of virtually all original grindhouse cinemas, the 21st Century is hardly a ‘post-grindhouse’ era. As a concept, ‘grindhouse’ lives on, transcending the American cultural context out of which the term arose. The films once shown in grindhouses continue to find new audiences and ‘Grindhouse’ movies’ formal properties and themes have been emulated in contemporary films. However, tensions arise out of the transference from 42nd Street’s flea-pit cinemas to the consumption of ‘grindhouse’ – movies, associated paraphernalia, and literature about the era in which grindhouse cinemas flourished – in the home. As this paper will contend, the prevailing conceptualization of ‘grindhouse’ as a discourse about the past is problematized by the present confluence of ‘grindhouse films’ and ‘home-cinema’ technology (mainly oriented around DVD). In this context of a widening gap between the grindhouse context (‘past’) and the DVD/home-viewing context (present), fans and filmmakers have increasingly sought to preserve the ‘grindhouse.’ However, the world of the grindhouse is fast slipping away, becoming little more than a blurry set of tall-tales and faded phenomenal experiences. The prevailing reputation of ‘grindhouse’ as a discourse about the past omits the extent to which our understanding of grindhouse is subject to present-bias. The continuing usefulness of grindhouse-qua-concept requires that we pay more heed to the contemporary contexts in which ‘grindhouse films’ are consumed.

Sunday, 26 April 2015

Are We Really More Moral than Einstein and Virginia Woolf?

Over on Aeon Ideas, Nigel Warburton posted a link to an interesting article from Salon entitled "You would’ve hated your heroes: Why history’s great people seem so morally deficient". Drawing on a combination of Steven Pinker’s and Peter Singer’s work, the article proposes that we are getting morally better. It is an interesting proposal, but I have a few reservations with the notion that we are becoming more moral per se.
First, when famous people act in im/moral ways, their behaviours are highly visible. Since they are well known, their im/moral acts are of public interest, and frequently they are presented as im/moral exemplars. Accordingly, aspects of their im/morality may be hyperbolised to make the case. I have my doubts regarding the proposal that we draw direct correlations between those high-profile, possibly exaggerated incidents and the attitudes held by the populace more broadly.
Second, political correctness is the cultural norm (certainly in the UK), so it might be the case that our current generation of famous "heroes" – and the populace in general – harbour morally offensive attitudes, but simply know better than to express those attitudes publicly. That is, there is a difference between being moral and being seen to be moral.
Third, it might be the case that our cultural “heroes” are those who are (or are seen to) conform to the norm of politically correctness; i.e. we might reward individuals who are moral exemplars (with our attention), and punish those who fail to conform to the norm. Yet, that might not mean that the populace generally are morally good themselves. I suppose it could be argued that if the public acknowledge that the values represented by “heroes” are good, then members of the public hold those values themselves (or something to that effect). Yet, it could be the case that: i) a member of the public recognises that being morally good is praiseworthy; ii) he/she feels more morally good her/himself because he/she holds those values; but iii) he/she fails to perceive that her/his own behaviour is immoral because he/she thinks of her/himself as a “good person”, or iv) the individual does not feel pressure to be good at a personal level because the hero does the “being good” on his/her behalf, and so forth
Fourth, is it always so easy to spot when we are behaving immorally? I like to tell myself that I am not a moral “jerk”, but it is not clear to me that I can make an objective judgement about my “jerkdom”. Let us say that in the year 2050, I will look back on the attitudes I held, the expressions I used and so forth in the 2010s. Surely it is likely that in 2050 I will find at least some of the attitudes I held in 2015 to be questionable, if not morally suspect. The cultural climate may shift in ways that expose to me problems with some aspects of my current thinking.  That kind of shift seems inevitable to me. To mock past heroes for their moral failings while proclaiming that we are getting morally “better” strikes me as being arrogant at best, if not outright deluded about the impact ideology has on our ability to self-evaluate
One of the problems here is with the comparison between moral betterment and Pinker’s work on the decline of violence. Moral attitudes are not as easy to measure as violence insofar as Pinker can at least point to crime statistics, the number of deaths resulting from war and so forth to substantiate the argument that violence has declined. Moral attitudes cannot be recorded in the same ways. The article’s comparison highlights one of the flaws in Pinker’s argument; Pinker necessarily relies on recorded statistics, which themselves may be inaccurate estimations, doctored in the name of contemporaneous political spin, and so forth. Such evidence cannot capture private and unreported acts of violence. That is, the argument relies on visibility. Like morality then, perhaps it is the case that presently we are better at hiding (or worse at recognising) that which we find disquieting: we might be living in an era where we are so focused on visible violence and visible moral failings that we fail to spot systemic, invisible, private acts of violence or moral failures. This scenario might arise out of our current uses of technology, which have led to a state in which we expect that data about our indiscretions to be recorded, and in which we routinely expose ourselves to scrutiny.

Tuesday, 24 March 2015

15 Second Review: Five Across the Eyes (2006)

With a budget of only $4000 I was not expecting a great deal in terms of production value, but I am still struggling to work out why Five Across the Eyes cost even that much to make. The film genuinely looks like it was shot on a smartphone. Virtually every shot is framed far too close to its object. The camerawork is so unstable that it is virtually unwatchable: there is a difference between a "movie" and a "shaky". Frequently, it is impossible to tell what is supposed to be happening to the "characters". In sum, the shooting technique alone renders Five Across the Eyes devoid of purpose since it actively obstructs the viewer's ability to see the action. The characters are also so poorly established that the movie is a real test of compassion. Given how little interest the filmmakers have in encouraging the audience to develop any emotional connection with the characters, the ninety minutes we spend watching them scream and cry is a marathon. I only paid 50 pence for the DVD, and I still feel ripped off. This is the kind of film that gives microbudget horror a bad name. I'll give it this much: the cover art captured how I felt by the end of the film.

Sunday, 22 March 2015

Offscreen Festival



I've been quiet on here recently, mainly because teaching has been hectic but also because I have been involved in various scholarly activities (such as reviewing manuscripts). One such activity that is worth documenting is my recent trip to the Offscreen Festival in Brussels. I presented a paper entitled "Hard Body, Cold Heart: The Body in 80s Cinema" as part of the festival's symposium on Reaganite Cinema. 


Here I am outside the Cinema Nova with fellow speakers Alison Peirse, Russ Hunter and Jonathan Mack. The photo was taken by Sarah Ralph who was presenting on female action stars (including one of my favourites, Cynthia Rothrock).


The Cinema Nova is a fantastic location, and the organisers (most of whom are volunteers) were so welcoming and knowledgeable. Many thanks to everyone who attended and offered us such thoughtful questions on our papers. 

Friday, 20 March 2015

PhD Studentship Opportunity: Extreme Media

The Department of Media and Communication Design at Northumbria University is currently advertising PhD studentships in the following areas:

  • African social media
  • Extreme media
  • Gender and media
  • Industrial contexts of horror cinema
  • Italian film genres

Details are available at: https://www.northumbria.ac.uk/research/postgraduate-research-degrees/research-degrees/

The extreme media scholarship is begin offered by me - see advert below:

Dept / School / Faculty:
Department of Media and Communication Design | Northumbria University

Project Title:
New Theoretical Approaches to “Extreme” Media (ADSS/DRFMED7P/61878)
Project Supervisor(s):
Dr S Jones  (email: steve.jones@unn.ac.uk)  


Application Deadline:
31 March 2015




A growing number of scholars have addressed the notion of “extremity” in recent years, leading to exciting new developments in the fields of film studies and cultural studies. However, there is still much work to be done not only in developing our understanding of “extremity” as a concept, but also in critically engaging with the enormous variety of media texts that have been commonly understood as “extreme”. This PhD project will contribute to this emergent area of scholarship by developing new theoretical approaches to the examination of “extreme” media texts and/or the concept of “extremity” itself. Applications are invited on any aspect related to the topic, including (but not limited to) the following indicative themes: 

• Representations of violence in, for example, contemporary action or horror film 

• Moral/ethical theory and controversial subject matters 

• Taboo subject matter in, for example, “gross-out” comedy 
• “Extreme” bodies 
• Atrocity imagery 
• Genre-blurring and extremity 
• Issues relating to offence and regulating taste in the social sphere 
• Legislating and censoring “extreme” media 

Enquiries regarding this studentship should be made to: Dr Steve Jones, Steve.jones@northumbria.ac.uk, 0191 227 4036 

For further details of how to apply, entry requirements and the application form, see 
Please ensure you quote the advert reference above on your application form.


Funding Notes:
The full-time studentship provides full support for tuition fees, and an annual tax-free stipend at RCUK rates (for 2015/16 this is £14,057 p.a.)

Relevant publications by Steve Jones: 

  • Torture Porn: Popular Horror after Saw. Basingstoke: Palgrave-Macmillan, 2013 
  • Zombies and Sexuality: Essays on Desire and the Living Dead. Jefferson: McFarland, 2014 
  • “Gender Monstrosity: Deadgirl and the Sexual Politics of Zombie-Rape”, Feminist Media Studies, 13:4, 2013 
  • “No Pain, No Gain: Strategic Repulsion and The Human Centipede”, Cine-Excess Journal Launch Issue - Subverting the Senses: The Politics and Poetics of Excess, 2013 
  • “Torture Born: Representing Pregnancy and Abortion in Contemporary Survival-Horror”, Sexuality & Culture., 2015

Tuesday, 10 March 2015

Incredible Meshuggah Cover

Gotta hand it to these kids, they've got this down

Thursday, 5 February 2015

Presentation at University of Sunderland, 9th February


I will be presenting a paper based on my recent Sexuality and Culture journal article at the University of Sunderland on 9th February.

Centre for Research in Media and Cultural Studies
The Barbour Room (233)
The Media Centre St Peter's Campus
5.30-7.00pm

Here is the abstract for the paper:

Torture Born: Representing Pregnancy and Abortion in Contemporary Survival-Horror

In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This paper charts ways in which that increase manifests in contemporary survival-horror. This paper contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with abortion as an individual, emotional matter, rather than treating abortion solely as a matter of political principle. This paper will posit that survival-horror—a genre that has been roundly disparaged by critics—makes an important contribution to sexual-political discourse: these films use horror to articulate “the things we cannot say” about abortion.