The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic mov...The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.展开更多
文摘The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.
