- Virginia's research concerns examining new developments in the dissemination of media content. In particular, she is ... moreVirginia's research concerns examining new developments in the dissemination of media content. In particular, she is interested in how legal and illegal forms of film distribution interact and influence one another. Virginia is the principle investigator on the AHRC Networking Grant, Besides the Screen. This grant has allowed the continuation of her work as one of the co-founders of the Besides the Screen research group (www.bts.re)edit
Crisp, Virginia (2018) ‘Release Groups & The Scene: Re-intermediation and Competitive Gatekeepers Online’ Cinéma & Cie: International Film Studies Journal, Special Edition – Re-intermediation: Distribution, Online Access, and Gatekeeping... more
Crisp, Virginia (2018) ‘Release Groups & The Scene: Re-intermediation and Competitive Gatekeepers Online’ Cinéma & Cie: International Film Studies Journal, Special Edition – Re-intermediation: Distribution, Online Access, and Gatekeeping in the Digital European Market, pp. 67 – 80.
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Research Interests: Art and movie theater
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It has become commonplace to talk about the influence that technological developments have on audiovisual media. At some point in the 20th century, video and broadcast television came to disturb the traditional organization of the cinema,... more
It has become commonplace to talk about the influence that technological developments have on audiovisual media. At some point in the 20th century, video and broadcast television came to disturb the traditional organization of the cinema, revealing the image as soon as it was captured and bringing it into the audience’s home. Currently, computer synthesis and online networks have even stronger effects on the medium as they increase the public’s agency in the dynamics of the movie market. Film, as Professor Janet Harbord has so concisely summarized, ‘is not what it used to be’ (2007, p. 1). A number of technological, industrial and social shifts have affected it in recent years, the most notable being the fact that film is no longer ‘filmed’ – at least not on celluloid. Inasmuch as this might be the origin of a crisis in medium specificity, it is also what allows film to seamlessly converge with other media, escaping from the bounds of cinematic presentation into potentially limitles...
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<p>This introductory chapter situates the volume's various investigations in projection practices within the broader context of visual culture and screen studies, striving to go beyond their moments of technological crisis. It... more
<p>This introductory chapter situates the volume's various investigations in projection practices within the broader context of visual culture and screen studies, striving to go beyond their moments of technological crisis. It seeks to present projection simultaneously as a process inherent to the territorialisation of film, a specialized effect of complex optical apparatus, and a mode of organising the world. In exploring these different definitions, the chapter argues for the importance of a materialist approach to moving-image technologies and a spatial understandings of time-based media. By providing an overview of the book chapters, it dwells on the significant role that projection has to play as a practice, technology, and expressive form across multiple cultural, temporal, and geographical contexts.</p>
For film audiences, the move from analogue to digital brings with it an increased opportunity to access (and adapt) the constituent parts of a film. Within the context of online piracy, the media ‘objects’ shared are necessarily already... more
For film audiences, the move from analogue to digital brings with it an increased opportunity to access (and adapt) the constituent parts of a film. Within the context of online piracy, the media ‘objects’ shared are necessarily already disconnected from this final ‘product’ form. Furthermore, the file sharers discussed herein suggest that certain proprietorial rights are accorded to them because of the creative labour involved in modifying and sharing films within their community. However, due to what the community members acknowledge as the ‘illegal’ nature of their activities, their understandings of ownership become both complicated and conflicted. Thus, this chapter will examine how these file sharers engage with these consumer film ‘products’ and how such actions are interconnected with their practices of intangible product piracy.
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Before launching into a history of ‘filesharing’, this chapter will take issue with the terminology used within its own heading while acknowledging that, despite the problematic association with the term ‘filesharing’ (and piracy more... more
Before launching into a history of ‘filesharing’, this chapter will take issue with the terminology used within its own heading while acknowledging that, despite the problematic association with the term ‘filesharing’ (and piracy more generally), a suitable alternative has yet to present itself.1 While Ramon Lobato’s term ‘informal’ is helpful as a general term that provides ‘a loose way of conceptualising certain forms of film culture, which are incompatible with more familiar paradigms’ (original emphasis; Lobato, 2007, p. 114), such terminology is too broad for the purposes of this chapter. That is, while Lobato suggests that piracy might come under this banner of ‘informal’ distribution, not all methods of informal distribution can be understood as piracy. While the umbrella terms ‘informal’ and ‘formal’ circumvent the negative associations of the more popular terms ‘illegal’ and ‘legal’, the question remains as to what terminology we must use to accurately describe the subcategories that exist beneath.
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Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an &#39;Alternative&#39; Cinema Space’ In Sarah Atkinson and Helen Kennedy, eds. Live Cinema: Cultures, Economies, Aesthetics... more
Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an &#39;Alternative&#39; Cinema Space’ In Sarah Atkinson and Helen Kennedy, eds. Live Cinema: Cultures, Economies, Aesthetics London: Bloomsbury, pp. 153 – 166.
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Besides the Screen seeks to make an intervention into film and screen studies by examining and considering the elements of cinematic experience, production and dissemination that exist beside the screen. New media technologies impact... more
Besides the Screen seeks to make an intervention into film and screen studies by examining and considering the elements of cinematic experience, production and dissemination that exist beside the screen. New media technologies impact cinema well beyond the screen; they also promote the reorganization of its logic of distribution, modes of consumption and viewing regimes. This publication speculates about the changes in modes of accessing, distributing, storing and promoting moving images and how they might affect cinematographic experience, economy and historiography. In doing so, Besides the Screen examines three key themes: distribution, promotion and curation. The volume's main argument is that we must examine those practices that exist besides the screen if we are to consider fully how filmic experience is mediated by various technological and societal changes in the early decades of the twenty-first century.
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This chapter examinse how the figure of the (digital) pirate has been constructed within both popular and academic discourse and how these constructions have been internalized and interpreted, rationalized and rebelled against within... more
This chapter examinse how the figure of the (digital) pirate has been constructed within both popular and academic discourse and how these constructions have been internalized and interpreted, rationalized and rebelled against within particular filesharing communities. In many respects filesharers have hitherto been constructed as subversive radicals, explorative (potential) consumers or deviant thieves. On the one hand the industry rhetoric suggests that the digital pirate is young, unconcerned about the rights of creators, lacking in self-control and unaccustomed to paying for digital content. While this construction of the deviant pirate is pervasive, competing constructions suggest that digital pirates do not do as much damage as the creative industries as is often claimed, have opposing views about current IP and copyright regimes, and are destabilizing the pre-existing monopolistic models for the distribution of music, films, software and games. This has lead to a split betwee...
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Crisp, Virginia (2018) ‘Release Groups &amp; The Scene: Re-intermediation and Competitive Gatekeepers Online’ Cinéma &amp; Cie: International Film Studies Journal, Special Edition – Re-intermediation: Distribution, Online Access,... more
Crisp, Virginia (2018) ‘Release Groups &amp; The Scene: Re-intermediation and Competitive Gatekeepers Online’ Cinéma &amp; Cie: International Film Studies Journal, Special Edition – Re-intermediation: Distribution, Online Access, and Gatekeeping in the Digital European Market, pp. 67 – 80.
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Film distribution has recently migrated to the forefront of academic enquiry as the traditional modes and mechanisms of movie dissemination are allegedly being ‘disrupted’ by technological developments from the VCR to video on demand. The... more
Film distribution has recently migrated to the forefront of academic enquiry as the traditional modes and mechanisms of movie dissemination are allegedly being ‘disrupted’ by technological developments from the VCR to video on demand. The challenges and possibilities brought about by new forms of formal online distribution are considered in detail in Chapter 3, and the growth of new forms of informal online distribution are examined in depth in chapters 4 and 5. However, in order to understand these new developments and their possible implications, it is first necessary to explore the nature of the pre-existing models of distribution that these new modes and methods are said to be ‘disrupting’. Therefore, this chapter will examine what this ‘traditional’ Hollywood structure of distribution is, how it functions and, significantly, how it has hitherto maintained Hollywood’s dominance over the global film industry.
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The above quote reminds us that piracy is not a modern phenomenon and, furthermore, that its networks of distribution have always coexisted and often been interconnected with the official circulation of goods. However, as recent... more
The above quote reminds us that piracy is not a modern phenomenon and, furthermore, that its networks of distribution have always coexisted and often been interconnected with the official circulation of goods. However, as recent technological changes have increased the ease of media copying, they have also expanded the opportunities for media piracy. As the avenues for informal distribution have developed exponentially, scholarship in this area has seen a concomitant rise. Nevertheless, as this chapter will make clear, much of the academic work in this area that developed around the growth of the Internet has been polarised between two camps: those that ask how best to halt the relentless spread of piracy, and those that question whether the actions of pirates are as damaging to the industry as the anti-piracy rhetoric would suggest. While there are understandably issues with the construction of film piracy as necessarily threatening to the health of industry, the opposing represent...
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It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences – the inevitable result of cinemagoers increasingly seeking out ‘immersive’, ‘participatory’ and ‘experiential’ film screenings. The... more
It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences – the inevitable result of cinemagoers increasingly seeking out ‘immersive’, ‘participatory’ and ‘experiential’ film screenings. The research presented within this particular article aimed to explore the appeal of such screenings by focusing on audiences at the Prince Charles Cinema (PCC) in London – a venue that is widely known for hosting sing-alongs, quote-alongs, and other participatory events. Our results, however, were surprising. Respondents to our questionnaire readily subscribed to a form of cinephilia that embraces a wide variety of tastes, but largely rejects participatory aspects of event-led cinema in favour of what they deemed to be a more authentic cinematic experience. Audiences repeatedly emphasised the superiority of the silent, reverential film screening, and many felt that the PCC’s greatest quality was the way in which it reminded them of how cinemas used to be, not...
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Crisp, Virginia (2017) ‘Access and Power: Film Distribution, Re-intermediation and Piracy’ in Paul Cooke, Stephanie Dennison and Alexander Marlow-Mann, eds. Routledge Companion to the Mapping World Cinema Series, London: Routledge, pp.... more
Crisp, Virginia (2017) ‘Access and Power: Film Distribution, Re-intermediation and Piracy’ in Paul Cooke, Stephanie Dennison and Alexander Marlow-Mann, eds. Routledge Companion to the Mapping World Cinema Series, London: Routledge, pp. 445 – 454.
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The book has argued that the interlocking ecosystem(s) of media distribution must be considered holistically and culturally if we are to truly understand the transnational flows of media texts. While many of the practices described within... more
The book has argued that the interlocking ecosystem(s) of media distribution must be considered holistically and culturally if we are to truly understand the transnational flows of media texts. While many of the practices described within this book may bring into question the ontology of film in an era of digital distribution, the main interest of this volume does not lie in considering what film is, but rather what it does, how it moves, who controls that circulation, and how the varying networks of its distribution come together to form a complex ecosystem.
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In Participations Vol. 10 Issue 1. (May 2013) The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive... more
In Participations Vol. 10 Issue 1. (May 2013)
The concept of textual poaching positions fans as active audiences who borrow from,
embellish and remix textual materials as part of their consumption. However, this
potentially invasive behaviour is often at odds with the rights and demands of intellectual
property holders. Through case studies of alternate reality games, filesharing networks,
Twitter hashtags, and football (soccer) fandom, this forum article brings together four
scholars to discuss the inherent tension between brands and fannish consumer practices. In
particular, the authors focus on the interplay of power and control between the two parties,
debating the extent to which fandom might be considered a negotiated form of brand
ownership.
The concept of textual poaching positions fans as active audiences who borrow from,
embellish and remix textual materials as part of their consumption. However, this
potentially invasive behaviour is often at odds with the rights and demands of intellectual
property holders. Through case studies of alternate reality games, filesharing networks,
Twitter hashtags, and football (soccer) fandom, this forum article brings together four
scholars to discuss the inherent tension between brands and fannish consumer practices. In
particular, the authors focus on the interplay of power and control between the two parties,
debating the extent to which fandom might be considered a negotiated form of brand
ownership.
Research Interests:
The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and... more
The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and demands of intellectual property holders. Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership.
Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an 'Alternative' Cinema Space’ In Sarah Atkinson and Helen Kennedy, eds. Live Cinema: Cultures, Economies, Aesthetics London: Bloomsbury,... more
Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an 'Alternative' Cinema Space’ In Sarah Atkinson and Helen Kennedy, eds. Live Cinema: Cultures, Economies, Aesthetics London: Bloomsbury, pp. 153 – 166.
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Crisp, Virginia (2017) ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’ in Andy Willis and Jonathan Wroot, eds. Cult Media: Re-packaged, Re-released and Restored, London:... more
Crisp, Virginia (2017) ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’ in Andy Willis and Jonathan Wroot, eds. Cult Media: Re-packaged, Re-released and Restored, London: Palgrave, pp. 125 – 141.
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Crisp, Virginia (2017) ‘Access and Power: Film Distribution, Re-intermediation and Piracy’ in Paul Cooke, Stephanie Dennison and Alexander Marlow-Mann, eds. Routledge Companion to the Mapping World Cinema Series, London: Routledge, pp.... more
Crisp, Virginia (2017) ‘Access and Power: Film Distribution, Re-intermediation and Piracy’ in Paul Cooke, Stephanie Dennison and Alexander Marlow-Mann, eds. Routledge Companion to the Mapping World Cinema Series, London: Routledge, pp. 445 – 454.
Research Interests:
"The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and... more
"The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and demands of intellectual property holders.
Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership."
Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership."