Jonathan Wroot
University of Greenwich, Creative Professions & Digital Arts, Faculty Member
- Birmingham City University, Faculty of the Arts, Design and Media, Faculty MemberUniversity of East Anglia, Film, Television, and Media Studies, Graduate Student, and 2 moreadd
- Horror Film, Japanese Cinema, Manga and Anime Studies, East Asian Cinema, Contemporary Hollywood, Asian Film, and 29 moreFilm Remakes, DVD, Samurai films, Takeshi Kitano, Film Distribution, DVD EXTRAS, Dubbing, Subtitling, Reception Studies, Cult Movies, World Cinemas, Film Promotion And Marketing, Film Promotion and Marketing (Film Studies), Frames Cinema Journal, Media Industries, The Horror Film, British cinema, Film Censorship, Film Genre Study, Cult Film, Audience and Reception Studies, Fan Studies, Video and DVD Collecting Cultures, Film History, Cult Cinema, Film Studies, Media Studies, Film Genre, and Horror Cinemaedit
- https://orcid.org/0000-0002-6827-728X I am a Lecturer in Film and Media Studies at the University of Greenwich, as w... morehttps://orcid.org/0000-0002-6827-728X
I am a Lecturer in Film and Media Studies at the University of Greenwich, as well as being Programme Leader for Film Studies.
I have formerly taught at the University of Worcester, Birmingham City University, and UEA.
I have been reviewing DVD and Blu-Ray releases for NEO magazine since October 2015.
I have also assisted in the organisation of the MECCSA PGN conference at UEA, held in July 2013.
My PhD thesis examines the distribution and marketing of Japanese films on DVD in the UK - through two distributors in particular: 4Digital Asia and Third Window. This is in the format of a reception study, where the DVD releases' packaging, special features, trailers, and websites are closely analysed alongside reviews (of the films and their DVD extras and packaging). Such an approach reveals that the DVD labels highlight their own practices in bringing Japanese films to the UK for potential consumers. As a consequence, this greatly affects their reception, and suggests that the distribution of such media concerns DVD viewers as much as the titles and content of the films.
I am now pursuing the publication of similar research in relation to a greater number of case studies. Following a successful conference in May 2015, two edited collections have been proposed on the significance of Blu-Ray and DVD releases of media texts around the world. I am also looking to pursue similar research regarding the UK DVD label Arrow - as their distribution practices are now not only centred on DVD and Blu-Ray, but also on allocating certain colours and types of packaging to particular genres and other categorisations of films.
I have presented a variety of papers at several events - both to do with the topic of my thesis and other research interests. Some have been requested for publication. I have notes that can be read in conjunction with the slides and papers that have been uploaded - please send a request to me if you would like to view them.edit
Published in Participations, Vol. 12, Issue 1, May 2015. This article closely analyses the reviews for Asian films from the longest-running UK magazine that specialises in Asian media – NEO. The critical reception of Asian films has been... more
Published in Participations, Vol. 12, Issue 1, May 2015.
This article closely analyses the reviews for Asian films from the longest-running UK magazine that specialises in Asian media – NEO. The critical reception of Asian films has been investigated before, but what has not been realised is the significance of the DVD distributors in shaping these reviews. As a result of examining how influential the discs’ labels are on the review content, it becomes clear that the critics in NEO are assessing more than the film itself. The reviewers are evaluating the entire viewing experience that a home media format, such as DVD, can offer. This is important for Asian media as the NEO reviews illustrate how the discs are the primary means of accessing such films for UK audiences. The reviews also suggest that viewers are becoming aware, and have a substantial interest in, how distributors shape their viewing experience.
This article closely analyses the reviews for Asian films from the longest-running UK magazine that specialises in Asian media – NEO. The critical reception of Asian films has been investigated before, but what has not been realised is the significance of the DVD distributors in shaping these reviews. As a result of examining how influential the discs’ labels are on the review content, it becomes clear that the critics in NEO are assessing more than the film itself. The reviewers are evaluating the entire viewing experience that a home media format, such as DVD, can offer. This is important for Asian media as the NEO reviews illustrate how the discs are the primary means of accessing such films for UK audiences. The reviews also suggest that viewers are becoming aware, and have a substantial interest in, how distributors shape their viewing experience.
Research Interests:
My report on the 2014 East Winds Asian cinema festival at Coventry University.
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Stage greetings are special features on DVDs of Japanese films which consist of promotional footage. They document a film’s premiere, press conference, or other similar event, and show the stars and audience who are in attendance. For... more
Stage greetings are special features on DVDs of Japanese films which consist of promotional footage. They document a film’s premiere, press conference, or other similar event, and show the stars and audience who are in attendance. For audiences outside of Japan, however, the most likely site for viewing such greetings is the extra features included on DVD releases, such as the 4Digital Asia disc for Death Note: L Change The World (dir. Nakata Hideo, 2008). The article will use the DVD releases from one particular sub-label as a case study. 4Digital Asia is no longer active within the operations of 4Digital Media (an independent UK DVD distributor), but from 2008 to 2010 it predominantly released Japanese films for consumption in the UK The DVDs were often the first, or the only, instances where these films were released for the English language market. Stage greeting footage frequently appears alongside the films on the DVDs – either as separate special features, or as part of interviews or making-of footage. 4Digital Asia was given exclusive license to distribute the extra material alongside its film releases. And later UK DVD releases of Japanese films, from other Asian film distributors, have contained special features similar to those found on 4Digital Asia’s discs. Specifically, the Death Note: L Change The World DVD is an illustrative example, both because of its extensive array of special features, and the various types of stage greetings that it includes.
It is undoubtedly the case that the stage greetings are re-circulated promotional material, and their basic characteristics can be seen as similar to existing special features (e.g. the cast and crew often discuss the making of the film, which is comparable to interviews that are often included in making-ofs). But what is not so clear from their inclusion on UK DVDs of Japanese films is who, or what, they are promoting. After investigating the stage greetings, it becomes clear that the footage does not promote the film alone
It is undoubtedly the case that the stage greetings are re-circulated promotional material, and their basic characteristics can be seen as similar to existing special features (e.g. the cast and crew often discuss the making of the film, which is comparable to interviews that are often included in making-ofs). But what is not so clear from their inclusion on UK DVDs of Japanese films is who, or what, they are promoting. After investigating the stage greetings, it becomes clear that the footage does not promote the film alone
Research Interests: Social Psychology, Moral Psychology, Audience and Reception Studies, Media Industries, Japanese Cinema, and 22 moreFan Studies, Film Promotion and Marketing (Film Studies), Film Censorship, Moral Philosophy, Film Distribution, British cinema, Superheroes, DVD, Cult Film, Anime, Good and Evil, Supervillains, Death Note, Desu nôto, Moral relativity, Light Yagami, Ryuk, Madhouse, Antiheroes, The Horror Film, Film Genre Study, and Video and DVD Collecting Cultures
Japanese cinema has tended to be broadly studied, through several films, or one or few choice examples. The aim of this kind of study is often to understand the film(s) within their original national context. While such research is... more
Japanese cinema has tended to be broadly studied, through several films, or one or few choice examples. The aim of this kind of study is often to understand the film(s) within their original national context. While such research is important, and is continuing, not all films are viewed exclusively within a Japanese context. More recent investigations of Japanese film reception in the UK show changes in this tendency. Critical reviews and marketing processes for films released by the Tartan Asia Extreme label have been explored in several studies over the last five years. But rather than simply adhering to the Tartan Asia model, the UK is now home to a range of distributors which bring in films from Japan and other countries. Two particular distributors provide an informative view of how Japanese films have recently been distributed and marketed in the UK. 4Digital Asia and Third Window are, respectively, a sub-label and an independent distributor – and both released Japanese films on DVD from 2008 to 2010. They form the basis of my own PhD research here at the University of East Anglia. Though my thesis focuses on DVD, a wealth of material generated by these releases can be charted and studied. This includes the DVD packaging, special features, film trailers, distributor websites and critical reviews. Such sources have only recently been included in published film research, and are rarely found in studies of Japanese film. My paper will briefly outline these sources in relation to my research, and propose how they can be studied. This will not aim to be definitive, but encourage the extension of further research into these areas, as well as new ways of examining Japanese cinema and the industries surrounding it.
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A synopsis of a research paper I presented at the 'Contemporary Debates in Martial Arts Cinema Symposium. This was held at Birmingham City University, on 01/04/2016.
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Zatoichi is one of the longest running chanbara media franchises. It began as a film franchise in 1962, became a TV series from 1974 to 1979, and then carried on as a film franchise until 2010. No matter its incarnation, the premise of... more
Zatoichi is one of the longest running chanbara media franchises. It began as a film franchise in 1962, became a TV series from 1974 to 1979, and then carried on as a film franchise until 2010. No matter its incarnation, the premise of the story has always remained the same – a master swordsman wanders the roads of medieval Japan alone, and he is also blind. As a result of its longevity, and the many actors and filmmakers involved in its films, the series charts a comprehensive view of the chanbara genre, Japanese exploitation cinema, and the Japanese film industry in general. The later history of the films also signifies how reflected developments in the genre’s traits, and the impact that they were having outside of Japan.
Specifically, the franchise got bloodier as it went along, with the 1989 film having the highest body count in the series. Takeshi Kitano’s 2003 remake would not top this, and nor would later entries. 1989 would also see the appearance of similar violence and iconography into Hollywood productions, such as the Zatoichi remake Blind Fury (1989); The Punisher (1989); and Robocop 3 (1993). This is several years before the introduction of similar imagery in Quentin Tarantino’s Pulp Fiction (1994) and then Kill Bill (2003 and 2004) – where Shogun Assassin (1980) is shown as being one of the director’s favourite films. However, it has been the blind swordsman who has been revisited the most in later Japanese film releases – both in terms of remakes and home media re-releases. Though the last official Zatoichi film was released in 2010, his popularity endures across the world. Shogun Assassin has an infamous reputation in global film history, but a re-examination of the history of the Zatoichi franchise seriously questions the former’s significance.
This paper is being developed into a chapter for an upcoming monograph on the Zatoichi film franchise. Therefore, only the slides have been uploaded. Please contact me if you would like to learn more about the research and the paper that was given.
Specifically, the franchise got bloodier as it went along, with the 1989 film having the highest body count in the series. Takeshi Kitano’s 2003 remake would not top this, and nor would later entries. 1989 would also see the appearance of similar violence and iconography into Hollywood productions, such as the Zatoichi remake Blind Fury (1989); The Punisher (1989); and Robocop 3 (1993). This is several years before the introduction of similar imagery in Quentin Tarantino’s Pulp Fiction (1994) and then Kill Bill (2003 and 2004) – where Shogun Assassin (1980) is shown as being one of the director’s favourite films. However, it has been the blind swordsman who has been revisited the most in later Japanese film releases – both in terms of remakes and home media re-releases. Though the last official Zatoichi film was released in 2010, his popularity endures across the world. Shogun Assassin has an infamous reputation in global film history, but a re-examination of the history of the Zatoichi franchise seriously questions the former’s significance.
This paper is being developed into a chapter for an upcoming monograph on the Zatoichi film franchise. Therefore, only the slides have been uploaded. Please contact me if you would like to learn more about the research and the paper that was given.
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Introduction to a symposium about home media formats, held at the University of Worcester on 23rd May 2015.
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Creativity and originality are often given heavy praise within the film industry, especially within the processes of story development, production and post-production. Within my own PhD research, which focused on independent UK... more
Creativity and originality are often given heavy praise within the film industry, especially within the processes of story development, production and post-production. Within my own PhD research, which focused on independent UK distributors of Asian cinema, I discovered that creativity and originality was needed to make distribution and marketing strategies unique for DVD and Blu-Ray releases. Now, as exhibition and revenues are increasingly divided between different formats, creativity and originality are essential for distribution and marketing processes. In my paper, I will demonstrate how a pattern can be identified from the earlier actions of companies such as 4Digital Asia and Third Window from 2008 onwards. Now, these DVD labels have more of a presence on social media sites than their own websites, but common traits can still be found between the two. Furthermore, the companies’ actions are often received and commented on within review sources. While such media sources cater to niche audiences (e.g. fans of Asian media), there are some similarities found within mass-produced home media releases, which demonstrate how prolific distribution and marketing strategies are becoming. Overall, the creativity and originality needed for these practices mean, and the attention they receive, mean that they should be examined closely and thoroughly.
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Promotional material is becoming increasingly discussed in academia, as well as becoming more prolific in the public sphere. The content in trailers and DVDs is often explained as part of promotional extra-texts that exist in relation to... more
Promotional material is becoming increasingly discussed in academia, as well as becoming more prolific in the public sphere. The content in trailers and DVDs is often explained as part of promotional extra-texts that exist in relation to a specific film. However, these materials are produced by specific industries and institutions. Therefore, should they not be discussed as individual media texts? Rather than argue for this statement from a conceptual perspective, this papers seeks to present evidence through the actions of the UK distributor, Arrow Video. Throughout 2013, the label posted trailers online that coincided with its latest DVD re-releases of certain films. These were not just trailers for the films (ranging from Black Sabbath (1963) to Blow Out (1981)), as they also detailed the new content on each DVD release (such as the film’s picture quality, packaging for the disc, and newly recorded interviews with the cast and crew). Moreover, the trailers are categorised as part of the “Arrow Video Story”, and so do not simply act as advertising for the latest ancillary products related to specific films. These trailers are emphasised as individual texts to be watched both individually and as part of a particular distributor’s activities. They also emphasise the DVDs as new texts to be enjoyed. Therefore, the paper will present evidence arguing that if distribution companies are treating ancillary material, such as trailers and DVDs, as singular media texts, surely academic research should do the same.
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These are the presentation slides for a paper that was presented at the November 2012 Study at UEA, entitled 'Selling The Screen'. This research has now been published in the May 2013 issue of the free online journal, Frames
Research Interests: Marketing, Social Psychology, Moral Psychology, Brand Management, Advertising, and 31 moreAudience and Reception Studies, Product Design, Japanese Cinema, Fan Studies, Social Media, Consumer Behavior, Marketing Research, Film Promotion and Marketing (Film Studies), Film Censorship, Moral Philosophy, Promotions, Branding, Film Distribution, British cinema, Superheroes, DVD, Cult Film, Anime, Good and Evil, Supervillains, Death Note, Desu nôto, Moral relativity, Light Yagami, Ryuk, Madhouse, Antiheroes, The Horror Film, Film Genre Study, Video and DVD Collecting Cultures, and Outdoor Media
This paper is the basis for an article which is currently being adapted for publication. "This paper stems from an article written by Laurie Cubbison, titled ‘Anime Fans, DVDs, and the Authentic Text.’ In this piece, she states that... more
This paper is the basis for an article which is currently being adapted for publication.
"This paper stems from an article written by Laurie Cubbison, titled ‘Anime Fans, DVDs, and the Authentic Text.’ In this piece, she states that fans of Japanese animation pressured distributors to use the DVD medium to its potential. This meant providing the choice of viewing anime with either a dubbed soundtrack or subtitles. However, certain choices by the distributors can still affect how anime is viewed outside of Japan. The paper will focus on these choices by looking at the extra features on anime DVDs – specifically using the Death Note TV series as a case study. Very few of the series’ DVD special features refer explicitly to the Japanese origins of the story. Interviews and making-ofs are included, as is the case with many anime DVDs. But the Death Note series extras mostly illustrate the work of the cast and crew that construct the dubbed soundtrack. Such material does not just provide an intriguing insight into the voice-recording process (for the TV series, as well as dubbing in general). It encourages viewers to see the value and work behind the dubbed version; meaning that the distributors are not just providing a choice of viewing options.
"
"This paper stems from an article written by Laurie Cubbison, titled ‘Anime Fans, DVDs, and the Authentic Text.’ In this piece, she states that fans of Japanese animation pressured distributors to use the DVD medium to its potential. This meant providing the choice of viewing anime with either a dubbed soundtrack or subtitles. However, certain choices by the distributors can still affect how anime is viewed outside of Japan. The paper will focus on these choices by looking at the extra features on anime DVDs – specifically using the Death Note TV series as a case study. Very few of the series’ DVD special features refer explicitly to the Japanese origins of the story. Interviews and making-ofs are included, as is the case with many anime DVDs. But the Death Note series extras mostly illustrate the work of the cast and crew that construct the dubbed soundtrack. Such material does not just provide an intriguing insight into the voice-recording process (for the TV series, as well as dubbing in general). It encourages viewers to see the value and work behind the dubbed version; meaning that the distributors are not just providing a choice of viewing options.
"
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My current thesis investigates the distribution and marketing of Japanese films on DVD in the UK. Part of this research investigates the critical reception of the DVDs of films released by 4Digital Asia and Third Window in NEO magazine.... more
My current thesis investigates the distribution and marketing of Japanese films on DVD in the UK. Part of this research investigates the critical reception of the DVDs of films released by 4Digital Asia and Third Window in NEO magazine. NEO is the only UK publication that reviews these films specifically as DVD releases - assessing the features of the DVD as well as the films. The magazine also reviews theatrical releases of these films, and makes readers aware of screenings in cinemas and films festivals. Despite such diverse information made available for its readers, the reviews and other content in NEO particularly foreground DVD as the main form of exhibition for these films. The features of the DVDs alone can be points of appraisal within the film reviews. Such a discourse, in a magazine that specifically focuses on Asian culture, is an important one to be aware of for increasing the profile of Asian films in the UK.
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"This paper stems from a recently completed chapter draft within my thesis – which I am researching and writing at the University of East Anglia. The title of my thesis is the distribution and marketing of Japanese films on DVD in the UK.... more
"This paper stems from a recently completed chapter draft within my thesis – which I am researching and writing at the University of East Anglia. The title of my thesis is the distribution and marketing of Japanese films on DVD in the UK. DVD is not only a relatively new area in film and media studies, but is also under-examined in research on Japanese film. The former label of Tartan Asia Extreme has already been studied in depth, but it was never the only distributor of Japanese films in the UK. There are a vast number of DVDs of Japanese films to choose from to study, and too many to include even within a PhD thesis.
4Digital Asia and Third Window Films both provide a representative and manageable sample of films to study through the medium of DVD. Both companies released Japanese films on DVD in the UK from 2008 to 2010 – providing a finite number of DVD releases to study. 4Digital Asia is a sub-label of 4Digital Media specialising in Asian films, making it a similar distributor to Tartan. Third Window Films specialises in only bringing Asian films to the UK – specifically, those from Hong Kong, Korea and Japan. These company profiles detail how the DVD releases can be discussed in terms of Japanese films as a national cinema, as well as Asian and world cinema. The release of a DVD creates much material which can be examined. These companies generate websites, trailers, advertising, DVD extras and packaging for the consumption of potential customers. Today I wish to look at reviews of 4Digital Asia and Third Window’s DVD releases – which at first seem to suggest that these labels parallel Tartan’s former practices. However, there is more going on than just a few similarities. Specifically, I will demonstrate these points through highlighting the reviews in NEO magazine and their direct and indirect use of the term ‘cult’.
"
4Digital Asia and Third Window Films both provide a representative and manageable sample of films to study through the medium of DVD. Both companies released Japanese films on DVD in the UK from 2008 to 2010 – providing a finite number of DVD releases to study. 4Digital Asia is a sub-label of 4Digital Media specialising in Asian films, making it a similar distributor to Tartan. Third Window Films specialises in only bringing Asian films to the UK – specifically, those from Hong Kong, Korea and Japan. These company profiles detail how the DVD releases can be discussed in terms of Japanese films as a national cinema, as well as Asian and world cinema. The release of a DVD creates much material which can be examined. These companies generate websites, trailers, advertising, DVD extras and packaging for the consumption of potential customers. Today I wish to look at reviews of 4Digital Asia and Third Window’s DVD releases – which at first seem to suggest that these labels parallel Tartan’s former practices. However, there is more going on than just a few similarities. Specifically, I will demonstrate these points through highlighting the reviews in NEO magazine and their direct and indirect use of the term ‘cult’.
"
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"I will talk about some points of interest within both the 1973 and 2006 versions of the disaster film, Nihon Chinbotsu, which literally translates as Japan Sinks. I not only wish to discuss why this particular film was both made and... more
"I will talk about some points of interest within both the 1973 and 2006 versions of the disaster film, Nihon Chinbotsu, which literally translates as Japan Sinks. I not only wish to discuss why this particular film was both made and remade, as my title suggests; but also how the story was depicted in both instances. The films’ aesthetics and narratives have been incorporated into an exploration of available sources that refer to the films’ production and reception. This is proposed in the research of remakes, particularly by Robert Eberwein. Cynthia Erb also applies this approach to studying how a film, or its iconography can be received and interpreted in different contexts over time (such as with her work on King Kong). In addition, I want to apologise if the imagery I’ve used in my presentation may appear shocking due to memory of the Toohoku Earthquake earlier this year. Nonetheless, the retrospective view on Japan Sinks that that tragic event has provided will be a final point of interest that I wish to address briefly.Before this, however, I will specifically discuss similarities and differences between the two films; influences from different films and genres; as well as particular views of Japan’s cultural identity that the films provide.
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Battle Royale (dir. Kinji Fukasaku, 2000) is undoubtedly familiar to fans of Asian and Japanese cinema, as well as those attending this year’s Cine-Excess conference. It was re-released in 2010 – both theatrically in Japan; and on a... more
Battle Royale (dir. Kinji Fukasaku, 2000) is undoubtedly familiar to fans of Asian and Japanese cinema, as well as those attending this year’s Cine-Excess conference. It was re-released in 2010 – both theatrically in Japan; and on a Region 0 DVD release from Arrow Video. This UK DVD distribution label has frequently re-released films from the last ten years, or further back, that are either critically acclaimed and/or from another country. Recently, releases have also included Blu-Rays and DVDs of films that the label categorises as ‘cult’, ‘horror’ or ‘video nasty’ – such as Battle Royale, Deep Red (dir. Dario Argento, 1975) and Dawn of the Dead (dir. George A. Romero, 1978). Alongside these films, those categorised as ‘classic’ or critically appraised ‘world cinema’ have also been released on Blu-Ray and DVD – Bicycle Thieves (dir. Vittorio De Sica, 1948), Les Diaboliques (dir. Henri-George Clouzot, 1955) and Cinema Paradiso (dir. Giuseppe Tornatore, 1988). Such releases include a host of extra features, such as booklets, new artwork and documentaries. Battle Royale got this treatment, which was also given to those films deemed ‘classic’. Critically acclaimed films are frequently given extras-laden re-releases on DVD, as research on Hollywood DVDs has shown (Robert A. Brookey and Robert Westerfelhaus, 2002; Craig Hight, 2005; Nicola J. Evans, 2010). The re-release of Battle Royale seems to indicate that not only do ‘classic’ films get such attention (as previous work suggests), but those that are popular with niche audiences of ‘cult’, ‘horror’ and ‘world cinema’. The actions of film distribution labels raise interesting questions on how such terms are used to categorise a film’s status. Specifically, regarding Battle Royale, should it be seen as a ‘cult’ film, or a ‘classic’ work of a particular group of filmmakers?
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Distribution is often seen as the “invisible link” in the media industry, in terms of facilitating how films, television shows and other texts reach audiences. The rise of digital platforms, such as online rental services and bit... more
Distribution is often seen as the “invisible link” in the media industry, in terms of facilitating how films, television shows and other texts reach audiences. The rise of digital platforms, such as online rental services and bit torrents, recently changed this view and digital distribution is the focus of several recent publications. However, there has not been a mass shift towards purely digital media, and physical media releases are still sought out by fans and consumers. Special editions and box-sets for DVDs and Blu-Rays are frequently hyped up on social media, and from many countries around the world. Past formats also make for collectible items, such as VHS, Laserdisc, and HD-DVD. Terminology related to physical media hugely affects perceptions of exhibition and consumption, such as ‘box-sets’, ‘binge-watching’, and ‘marathon’.
Distributors have been recognised as the ones making all this possible. Media distribution labels often promote their own actions; or their actions are reported on by critics and journalists; or fans and consumers directly respond to their releases and related activities. Such activity takes place within a variety of contexts – from film festivals to conventions and Q&A sessions; from social media, to dedicated websites and themed public attractions. This also occurs in relation to a variety of media texts – from newer releases to older titles; from films previously unavailable, to those regularly watched and celebrated by many.
The aim of this symposium is to discuss and debate how and why distributors are becoming so prolific in an increasingly digital age. Is this activity a reaction to shifts towards downloading and streaming? Are consumers increasingly attracted to these forms of media, or are distributors desperate to maintain their interest? Can it last?
Distributors have been recognised as the ones making all this possible. Media distribution labels often promote their own actions; or their actions are reported on by critics and journalists; or fans and consumers directly respond to their releases and related activities. Such activity takes place within a variety of contexts – from film festivals to conventions and Q&A sessions; from social media, to dedicated websites and themed public attractions. This also occurs in relation to a variety of media texts – from newer releases to older titles; from films previously unavailable, to those regularly watched and celebrated by many.
The aim of this symposium is to discuss and debate how and why distributors are becoming so prolific in an increasingly digital age. Is this activity a reaction to shifts towards downloading and streaming? Are consumers increasingly attracted to these forms of media, or are distributors desperate to maintain their interest? Can it last?
Research Interests:
This article closely analyses the reviews for Asian films from the longest-running UK magazine that specialises in Asian media-NEO. The critical reception of Asian films has been investigated before, but what has not been realised is the... more
This article closely analyses the reviews for Asian films from the longest-running UK magazine that specialises in Asian media-NEO. The critical reception of Asian films has been investigated before, but what has not been realised is the significance of the DVD distributors in shaping these reviews. As a result of examining how influential the discs' labels are on the review content, it becomes clear that the critics in NEO are assessing more than the film itself. The reviewers are evaluating the entire viewing experience that a home media format, such as DVD, can offer. This is important for Asian media as the NEO reviews illustrate how the discs are the primary means of accessing such films for UK audiences. The reviews also suggest that viewers are becoming aware, and have a substantial interest in, how distributors shape their viewing experience.
Third Window has been distributing Asian films in the UK since 2006. In order to maintain its position as one of the few UK-based Asian film distributors, Third Window has closely involved its fans and followers with its home media... more
Third Window has been distributing Asian films in the UK since 2006. In order to maintain its position as one of the few UK-based Asian film distributors, Third Window has closely involved its fans and followers with its home media strategy—especially via Facebook and Twitter. In particular, fan votes for package artwork and competitions have now evolved into crowdfunding campaigns for Blu-Ray releases and the financing of co-produced films in Japan. Third Window’s dedication to the home media format and its consumers demonstrates the potential of physical releases of films, in contrast to digital alternatives (such as streaming and downloading services). Specifically, revealing the practicalities of the industry assists in maintaining consumer interest in physical formats and Third Window’s titles.
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East Asian cinema continues to have an audience in the UK, but finding this audience is a significant challenge. Following Tartan’s short-lived but influential Asia Extreme sub-label (which lasted from 2000 to 2008), other distributors... more
East Asian cinema continues to have an audience in the UK, but finding this audience is a significant challenge. Following Tartan’s short-lived but influential Asia Extreme sub-label (which lasted from 2000 to 2008), other distributors have used a range of techniques and strategies to encourage audiences to attend screenings of Asian films, as well as to purchase DVDs or digital alternatives. DVDs, and to some extent Blu-rays, have continued to be the most popular formats for Asian film releases in the UK, despite the availability of streaming and downloading alternatives. Third Window Films is one label that particularly illustrates these trends. However, in this challenging market, managing director Adam Torel has now moved into producing films in order to acquire new titles and continue to promote them around the world. Distribution is often seen as an invisible process within the film industry, despite being central to exhibition and consumption. Third Window’s latest efforts sh...
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This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and... more
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Korea and Japan, with the majority from the latter. However, the label has recently moved into production to help bring a new range of titles to the UK, and not just re-release older titles (as is the case with many Arrow releases). This chapter will therefore demonstrate the competing perceptions and definitions of Asian cinema within the UK consumer market.
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This book will demonstrate, in contrast to statistics showing declines in the consumption of physical formats, that there has not been a mass shift towards purely digital media. Physical releases such as special editions, box-sets for... more
This book will demonstrate, in contrast to statistics showing declines in the consumption of physical formats, that there has not been a mass shift towards purely digital media. Physical releases such as special editions, box-sets for DVDs and Blu-Rays are frequently promoted and sought out by consumers, and past formats, such as VHS, Laserdisc and HD-DVD, make for sought-after collectible items. These trends are also found within particular genres and niche categories, such as documentary, education and independent film distribution. Through its case studies, this collection makes a distinctive and significant intervention in highlighting the ways in which the film industry has responded to rapidly changing markets. This volume, global in scope, will prove useful to those studying the distribution and exhibition of films, and the economics of the film industry around the world.
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A book launch event for two publications, where Dr Wroot is co-editor. These are entitled: Cult Media: Re-packaged, Re-released and Restored, and DVD, Blu-ray and Beyond: Navigating Formats and Platforms within Media Consumption. This... more
A book launch event for two publications, where Dr Wroot is co-editor. These are entitled: Cult Media: Re-packaged, Re-released and Restored, and DVD, Blu-ray and Beyond: Navigating Formats and Platforms within Media Consumption. This event involved a guest speaker, Robert Price, a Greenwich alumni and now chairman of the British Association for Screen Entertainment, and Managing Director for 20th Century Fox UK. The talk was held in LT_0004, and a drinks reception was then held in the Stockwell Street Gallery.
Research Interests:
The term cult has regularly been attached to Battle Royale (dir. Kinji Fukasaku, 2000) ever since it was first released in the UK. Tartan Video first used the term, and Arrow Video have gone on to do the same recently, but via a variety... more
The term cult has regularly been attached to Battle Royale (dir. Kinji Fukasaku, 2000) ever since it was first released in the UK. Tartan Video first used the term, and Arrow Video have gone on to do the same recently, but via a variety of its sub-labels. Charting the UK DVD releases of Battle Royale also tracks differing uses of the term cult; presents the significance of DVD releases and re-releases within film research; and considers the impact that film distributors have on cult and its various meanings. The film itself charts cult’s various meanings and definitions, as do its home media releases. In particular, the DVD distributors use cult in several ways, instead of using it as a fixed category to characterise and market films.
Research Interests:
A blog post reporting on the distribution strategy for Annihilation (2018) - first released exclusively on Netflix.
Research Interests:
This volume brings together writing on the topic of home media, and in particular releases described as appealing to ‘cult’ fans and audiences. Despite popular assumptions to the contrary, the distributors of physical media maintain a... more
This volume brings together writing on the topic of home media, and in particular releases described as appealing to ‘cult’ fans and audiences. Despite popular assumptions to the contrary, the distributors of physical media maintain a vivid presence in the digital age. Perhaps more so than any other category of film or media, this is especially the case with titles considered ‘cult’ and its related processes of distribution and exhibition. The chapters in this collection chart such uses and definitions of ‘cult’, ranging from home media re-releases to promotional events, film screenings, file-sharing and the exploitation of established fan communities. This book will be of interest to the ever-growing number of academics and research students that are specializing in studies of cult cinema and fan practices, as well as professionals (filmmakers, journalists, promoters) who are familiar with these types of films.
Research Interests:
Purpose – The purpose of this paper is to propose what can be learned from the study of specific promotional materials. Design/methodology/approach – The in-depth analysis of the text and layout of websites – adapted from Niels Brugger,... more
Purpose – The purpose of this paper is to propose what can be learned from the study of specific promotional materials. Design/methodology/approach – The in-depth analysis of the text and layout of websites – adapted from Niels Brugger, and in contrast to the study of promotional materials as ancillary or interrelated texts. Findings – That websites can tell the author much about the intentions of distributors, and their target market, even when these resources are no longer active or social media is used. Research limitations/implications – Specific promotional materials should be increasingly studied as individual texts. Websites have their own conventions and structures that can be studied, as well as other digital and physical artefacts. Originality/value – The findings are potentially widespread, as they are evident within a defunct distributor’s webpages, as well as one that remains to be active in the UK market.
Research Interests:
Research Interests:
The Paths of Zatoichi charts the history and influence of the Japanese film and television franchise about Zatoichi the blind swordsman. The franchise is comprised of 29 films and 100 TV episodes (starring the famous Shintaro Katsu, who... more
The Paths of Zatoichi charts the history and influence of the Japanese film and television franchise about Zatoichi the blind swordsman. The franchise is comprised of 29 films and 100 TV episodes (starring the famous Shintaro Katsu, who starred in 26 of the 29 feature films). They all follow the adventures of a blind masseur in medieval Japan, who wanders from village to village and often has to defend himself with his deadly sword skills. The first film was released in 1962 and the most recent in 2010. These dates demonstrate how the franchise can be used as a means of charting Japanese cinema history, via the shifts in production practices and audience preferences which affected the Zatoichi series and numerous other film and TV texts. Zatoichi signifies a huge area of Japanese film history which has largely been ignored in much existing scholarly research, and yet it can reveal much about the appeal of long-running characters, franchises, and their constant adaptation and influence within global popular culture
Research Interests: Film Studies, Popular Culture, Japanese Cinema, Special Effects, Cinema, and 12 moreAdventure, World Cinemas, Film, Cinema Studies, Sword, Franchise, Bh, Bj, Appeal, B, Zatoichi, and movie theater
Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required... more
Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement.
Published in Arts Marketing - Volume 5, Issue 2, 2015. Purpose To propose what can be learnt from the study of specific promotional materials. Design/methodology/approach The in-depth analysis of the text and layout of websites... more
Published in Arts Marketing - Volume 5, Issue 2, 2015.
Purpose
To propose what can be learnt from the study of specific promotional materials.
Design/methodology/approach
The in-depth analysis of the text and layout of websites – adapted from Niels Brugger, and in contrast to the study of promotional materials as ancillary or interrelated texts.
Findings
That websites can tell us much about the intentions of distributors, and their target market, even when these resources are no longer active or social media is used.
Research limitations/implications
Specific promotional materials should be increasingly studied as individual texts. Websites have their own conventions and structures that can be studied, as well as other digital and physical artefacts.
Originality/value
The findings are potentially widespread, as they are evident within a defunct distributor’s webpages, as well as one that remains to be active in the UK market.
Purpose
To propose what can be learnt from the study of specific promotional materials.
Design/methodology/approach
The in-depth analysis of the text and layout of websites – adapted from Niels Brugger, and in contrast to the study of promotional materials as ancillary or interrelated texts.
Findings
That websites can tell us much about the intentions of distributors, and their target market, even when these resources are no longer active or social media is used.
Research limitations/implications
Specific promotional materials should be increasingly studied as individual texts. Websites have their own conventions and structures that can be studied, as well as other digital and physical artefacts.
Originality/value
The findings are potentially widespread, as they are evident within a defunct distributor’s webpages, as well as one that remains to be active in the UK market.
Research Interests:
Published in the East Asian Journal of Popular Culture - Volume 1, Issue 2, 2015. This case study stems from an article written in 2005 by Laurie Cubbison, titled ‘Anime fans, DVDs, and the authentic text’. In her research, she states... more
Published in the East Asian Journal of Popular Culture - Volume 1, Issue 2, 2015.
This case study stems from an article written in 2005 by Laurie Cubbison, titled ‘Anime fans, DVDs, and the authentic text’. In her research, she states that English-speaking fans of Japanese animation (anime) pressured distributors to use the DVD medium to its full potential. This meant providing the choice of viewing anime with either a dubbed soundtrack or subtitles. However, this has not lessened the influence of distribution companies that affect how anime is viewed outside of Japan. This article will focus on this influence by looking at the extra features on anime DVDs, specifically using the English-language release of the Death Note TV series (Araki, Nippon Television Network, 2006–07) as a case study. Very few of the series’s DVD special features refer explicitly to the Japanese origins of the story. Interviews and making-ofs are included, as is the case with many DVDs of audio-visual media. But the Death Note series’s extras mostly illustrate the work of the cast and crew that recorded the dubbed English-language soundtrack. Applying approaches and concepts specific to the analysis of DVD special features means the intentions behind these decisions can be thoroughly explored. The extras for the Death Note series do not just provide an intriguing insight into the voice-recording process (for the TV series, as well as the media industry in general). They encourage viewers to see the value and work behind the dubbed version, meaning that the distributors are not just providing viewing-option choices for the anime. They are providing a frame which indirectly suggests how a media text should be viewed. The evidence presented in this case study will demonstrate how such frames, concerning dubbed translation within DVD media, can be used by the discs’ distributors.
This case study stems from an article written in 2005 by Laurie Cubbison, titled ‘Anime fans, DVDs, and the authentic text’. In her research, she states that English-speaking fans of Japanese animation (anime) pressured distributors to use the DVD medium to its full potential. This meant providing the choice of viewing anime with either a dubbed soundtrack or subtitles. However, this has not lessened the influence of distribution companies that affect how anime is viewed outside of Japan. This article will focus on this influence by looking at the extra features on anime DVDs, specifically using the English-language release of the Death Note TV series (Araki, Nippon Television Network, 2006–07) as a case study. Very few of the series’s DVD special features refer explicitly to the Japanese origins of the story. Interviews and making-ofs are included, as is the case with many DVDs of audio-visual media. But the Death Note series’s extras mostly illustrate the work of the cast and crew that recorded the dubbed English-language soundtrack. Applying approaches and concepts specific to the analysis of DVD special features means the intentions behind these decisions can be thoroughly explored. The extras for the Death Note series do not just provide an intriguing insight into the voice-recording process (for the TV series, as well as the media industry in general). They encourage viewers to see the value and work behind the dubbed version, meaning that the distributors are not just providing viewing-option choices for the anime. They are providing a frame which indirectly suggests how a media text should be viewed. The evidence presented in this case study will demonstrate how such frames, concerning dubbed translation within DVD media, can be used by the discs’ distributors.
Research Interests:
The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution... more
The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named 'prestige horror'), new subgenres (including 'digital folk horror' and 'desktop horror') and horror on-demand ('Netflix horror'), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre's ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.
Eddie Falvey completed his AHRC-funded PhD on the early films of New York at the University of Exeter. He is currently Lecturer at Plymouth College of Art, and has research interests in film spectatorship, horror and reception studies.
Jonathan Wroot is Senior Lecturer in Film Studies at the University of Greenwich. He regularly publishes work on Japanese cinema and home media distribution, as well as on horror cinema.
Joe Hickinbottom completed his AHRC-funded PhD on the cult reputation of Takashi Miike at the University of Exeter. His research interests include Japanese film, cult cinema and authorship.
Eddie Falvey completed his AHRC-funded PhD on the early films of New York at the University of Exeter. He is currently Lecturer at Plymouth College of Art, and has research interests in film spectatorship, horror and reception studies.
Jonathan Wroot is Senior Lecturer in Film Studies at the University of Greenwich. He regularly publishes work on Japanese cinema and home media distribution, as well as on horror cinema.
Joe Hickinbottom completed his AHRC-funded PhD on the cult reputation of Takashi Miike at the University of Exeter. His research interests include Japanese film, cult cinema and authorship.
Research Interests:
Please note this PDF is of the final book cover. The book can be purchased here: https://rowman.com/ISBN/9781793601216/The-Paths-of-Zatoichi-The-Global-Influence-of-the-Blind-Swordsman Abstract: The Paths of Zatoichi charts the history... more
Please note this PDF is of the final book cover.
The book can be purchased here: https://rowman.com/ISBN/9781793601216/The-Paths-of-Zatoichi-The-Global-Influence-of-the-Blind-Swordsman
Abstract:
The Paths of Zatoichi charts the history and influence of the Japanese film and television franchise about Zatoichi the blind swordsman. The franchise is comprised of 29 films and 100 TV episodes (starring the famous Shintaro Katsu, who starred in 26 of the 29 feature films). They all follow the adventures of a blind masseur in medieval Japan, who wanders from village to village and often has to defend himself with his deadly sword skills. The first film was released in 1962 and the most recent in 2010. These dates demonstrate how the franchise can be used as a means of charting Japanese cinema history, via the shifts in production practices and audience preferences which affected the Zatoichi series and numerous other film and TV texts. Zatoichi signifies a huge area of Japanese film history which has largely been ignored in much existing scholarly research, and yet it can reveal much about the appeal of long-running characters, franchises, and their constant adaptation and influence within global popular culture.
The book can be purchased here: https://rowman.com/ISBN/9781793601216/The-Paths-of-Zatoichi-The-Global-Influence-of-the-Blind-Swordsman
Abstract:
The Paths of Zatoichi charts the history and influence of the Japanese film and television franchise about Zatoichi the blind swordsman. The franchise is comprised of 29 films and 100 TV episodes (starring the famous Shintaro Katsu, who starred in 26 of the 29 feature films). They all follow the adventures of a blind masseur in medieval Japan, who wanders from village to village and often has to defend himself with his deadly sword skills. The first film was released in 1962 and the most recent in 2010. These dates demonstrate how the franchise can be used as a means of charting Japanese cinema history, via the shifts in production practices and audience preferences which affected the Zatoichi series and numerous other film and TV texts. Zatoichi signifies a huge area of Japanese film history which has largely been ignored in much existing scholarly research, and yet it can reveal much about the appeal of long-running characters, franchises, and their constant adaptation and influence within global popular culture.
Research Interests:
Co-edited by Jonathan Wroot and Andy Willis. This book demonstrates, in contrast to statistics that show declining consumption of physical formats, that there has not been a mass shift towards purely digital media. Physical releases such... more
Co-edited by Jonathan Wroot and Andy Willis.
This book demonstrates, in contrast to statistics that show declining consumption of physical formats, that there has not been a mass shift towards purely digital media. Physical releases such as special editions, DVD box-sets and Blu-Rays are frequently promoted and sought out by consumers. And that past formats such as VHS, Laserdisc and HD-DVD make for sought-after collectible items. These trends are also found within particular genres and niche categories, such as documentary, education and independent film distribution. Through its case studies, this collection makes a distinctive and significant intervention in highlighting the ways in which the film industry has responded to rapidly changing markets. This volume, global in scope, will prove useful to those studying the distribution and exhibition of films, and the economics of the film industry around the world.
This book demonstrates, in contrast to statistics that show declining consumption of physical formats, that there has not been a mass shift towards purely digital media. Physical releases such as special editions, DVD box-sets and Blu-Rays are frequently promoted and sought out by consumers. And that past formats such as VHS, Laserdisc and HD-DVD make for sought-after collectible items. These trends are also found within particular genres and niche categories, such as documentary, education and independent film distribution. Through its case studies, this collection makes a distinctive and significant intervention in highlighting the ways in which the film industry has responded to rapidly changing markets. This volume, global in scope, will prove useful to those studying the distribution and exhibition of films, and the economics of the film industry around the world.
Research Interests:
Co-edited by Jonathan Wroot and Andy Willis. This volume brings together writing on the topic of home media, and in particular releases described as appealing to ‘cult’ fans and audiences. Despite popular assumptions to the contrary, the... more
Co-edited by Jonathan Wroot and Andy Willis.
This volume brings together writing on the topic of home media, and in particular releases described as appealing to ‘cult’ fans and audiences. Despite popular assumptions to the contrary, the distributors of physical media maintain a vivid presence in the digital age. Perhaps more so than any other category of film or media, this is especially the case with titles considered ‘cult’ and its related processes of distribution and exhibition. The chapters in this collection chart such uses and definitions of ‘cult’, ranging from home media re-releases to promotional events, film screenings, file-sharing and the exploitation of established fan communities. This book will be of interest to the ever-growing number of academics and research students that are specializing in studies of cult cinema and fan practices, as well as professionals (filmmakers, journalists, promoters) who are familiar with these types of films.
This volume brings together writing on the topic of home media, and in particular releases described as appealing to ‘cult’ fans and audiences. Despite popular assumptions to the contrary, the distributors of physical media maintain a vivid presence in the digital age. Perhaps more so than any other category of film or media, this is especially the case with titles considered ‘cult’ and its related processes of distribution and exhibition. The chapters in this collection chart such uses and definitions of ‘cult’, ranging from home media re-releases to promotional events, film screenings, file-sharing and the exploitation of established fan communities. This book will be of interest to the ever-growing number of academics and research students that are specializing in studies of cult cinema and fan practices, as well as professionals (filmmakers, journalists, promoters) who are familiar with these types of films.