I’m thinking with sand, here! <ul><li>Bubba Ho-Tep </li></ul><ul><li>comedy, intertextuality, cult films </li></ul>
 
Comedy <ul><li>Comedy is part of social interaction </li></ul>
Comedy <ul><li>It permits saying things that are otherwise not permissible. </li></ul><ul><li>&quot;in any other social co...
Comedy <ul><li>Comedy expresses ambivalence about the social system. </li></ul>
Comedy <ul><li>The figure of the fool or clown </li></ul><ul><ul><ul><li>the actions of the fool are understood in a speci...
Intertextuality <ul><li>Why intertextuality and comedy? </li></ul>
Intertextuality <ul><li>Reflect our understanding of texts, more generally </li></ul>
Intertextuality <ul><li>Intertextuality ripe for comedy, because it may undercut established norms of genres, narratives a...
Intertextuality <ul><li>Intertextuaity connects to the social interaction of comedy </li></ul><ul><ul><li>establishes incl...
 
Cult Films <ul><li>” Cult films are those which are deemed to offer something beyond the mainstream usual and they frequen...
 
Cult Films <ul><li>”…  films become ’cult’ only in circulation; the term identifies a text whose life is perpetuated by a ...
Cult Films <ul><li>” Hence, to say that [a film] is a cult film is to say that it attaches to it a sense of the sacred, th...
Cult Films <ul><li>” Entertaining a cult film means, for at least an instant, turning your back on seemly or fitting cinem...
 
Cult Films <ul><li>”…  the prefix ’cult’ invariably carries connotations of the unusual and the bizarre.”  </li></ul><ul><...
Cult Films <ul><li>” The cult film has most often been defined in two ways: as any picture that is seen repeatedly by a de...
Cult Films <ul><li>” There are, then, at least two broad categories of the cult film, both of which invite us to go walkin...
 
Cult Films <ul><li>“ It must provide a completely furnished world so that its fans can quote characters and episodes as if...
 
Cult Films <ul><li>“ I suspect that a cult movie […] must display some organic imperfections.” </li></ul><ul><li>Umberto E...
Cult Films <ul><li>“ I think that in order to transform a work into a cult object one must be able to break, dislocate, un...
Cult Films <ul><li>“ It should display not one central idea but many. It should not reveal a coherent philosophy of compos...
Cult Films <ul><li>A dependence on intertextual frames. </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cu...
 
 
Cult Films <ul><li>”…  the cult relies for its very existence on […] extratextual matters.” </li></ul><ul><li>J.P. Telotte...
 
Cult Films <ul><li>”…  an almost worshipful […] attitude toward particular figures from Hollywood’ so-called ’golden age’....
Cult Films <ul><li>”…  a transformation of the cinematic event as something totally outside the diegesis…” </li></ul><ul><...
Cult Films <ul><li>”…  it is very difficult to think of the cult film outside of the cult film  experience .” </li></ul><u...
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Im Thinking With Sand Here: Bubba Ho Tep

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Im Thinking With Sand Here: Bubba Ho Tep

  1. 1. I’m thinking with sand, here! <ul><li>Bubba Ho-Tep </li></ul><ul><li>comedy, intertextuality, cult films </li></ul>
  2. 3. Comedy <ul><li>Comedy is part of social interaction </li></ul>
  3. 4. Comedy <ul><li>It permits saying things that are otherwise not permissible. </li></ul><ul><li>&quot;in any other social context it would express and arouse hostility&quot; </li></ul><ul><li>Jerry Palmer. Taking Humour Seriously </li></ul>
  4. 5. Comedy <ul><li>Comedy expresses ambivalence about the social system. </li></ul>
  5. 6. Comedy <ul><li>The figure of the fool or clown </li></ul><ul><ul><ul><li>the actions of the fool are understood in a specific way </li></ul></ul></ul><ul><ul><ul><li>special permission or a sacred place for the reversal of norms </li></ul></ul></ul>
  6. 7. Intertextuality <ul><li>Why intertextuality and comedy? </li></ul>
  7. 8. Intertextuality <ul><li>Reflect our understanding of texts, more generally </li></ul>
  8. 9. Intertextuality <ul><li>Intertextuality ripe for comedy, because it may undercut established norms of genres, narratives and more. </li></ul>
  9. 10. Intertextuality <ul><li>Intertextuaity connects to the social interaction of comedy </li></ul><ul><ul><li>establishes inclusion/exclusion which is important for cult films </li></ul></ul>
  10. 12. Cult Films <ul><li>” Cult films are those which are deemed to offer something beyond the mainstream usual and they frequently trade on the power of transgression.” </li></ul><ul><li>(Tanya Krzywinska) </li></ul>
  11. 14. Cult Films <ul><li>”… films become ’cult’ only in circulation; the term identifies a text whose life is perpetuated by a spectatorship. ’Cult’, therefore, is a status, not a description.” </li></ul><ul><li>(C. Paul Sellors) </li></ul>
  12. 15. Cult Films <ul><li>” Hence, to say that [a film] is a cult film is to say that it attaches to it a sense of the sacred, the awful.” </li></ul><ul><li>(Michael Grant) </li></ul>
  13. 16. Cult Films <ul><li>” Entertaining a cult film means, for at least an instant, turning your back on seemly or fitting cinema.” </li></ul><ul><li>(Jonathan L. Crane) </li></ul>
  14. 18. Cult Films <ul><li>”… the prefix ’cult’ invariably carries connotations of the unusual and the bizarre.” </li></ul><ul><li>(Bill Osgerby) </li></ul>
  15. 19. Cult Films <ul><li>” The cult film has most often been defined in two ways: as any picture that is seen repeatedly by a devoted audience, and as a deviant or radically different picture, embraced by a deviant audience.” </li></ul><ul><li>Bruce Kawin (“After Midnight”) </li></ul>
  16. 20. Cult Films <ul><li>” There are, then, at least two broad categories of the cult film, both of which invite us to go walking after midnight . The first might be called inadvertent, the second programmatic.” </li></ul><ul><li>Bruce Kawin (“After Midnight”) </li></ul>
  17. 22. Cult Films <ul><li>“ It must provide a completely furnished world so that its fans can quote characters and episodes as if they were aspects of the fan’s private sectarian world…” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>
  18. 24. Cult Films <ul><li>“ I suspect that a cult movie […] must display some organic imperfections.” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>
  19. 25. Cult Films <ul><li>“ I think that in order to transform a work into a cult object one must be able to break, dislocate, unhinge it so that one can remember only parts of it, irrespective of their original relationship with the whole.” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>
  20. 26. Cult Films <ul><li>“ It should display not one central idea but many. It should not reveal a coherent philosophy of composition. It must live on, and because of, its glorious ricketiness.” </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>
  21. 27. Cult Films <ul><li>A dependence on intertextual frames. </li></ul><ul><li>Umberto Eco (“ Casablanca : </li></ul><ul><li>Cult Movies and Intertextual Collage”) </li></ul>
  22. 30. Cult Films <ul><li>”… the cult relies for its very existence on […] extratextual matters.” </li></ul><ul><li>J.P. Telotte (“Beyond All Reason: </li></ul><ul><li>The Nature of the Cult”) </li></ul>
  23. 32. Cult Films <ul><li>”… an almost worshipful […] attitude toward particular figures from Hollywood’ so-called ’golden age’.” </li></ul><ul><li>J.P. Telotte (“Beyond All Reason: </li></ul><ul><li>The Nature of the Cult”) </li></ul>
  24. 33. Cult Films <ul><li>”… a transformation of the cinematic event as something totally outside the diegesis…” </li></ul><ul><li>J.P. Telotte (“Beyond All Reason: </li></ul><ul><li>The Nature of the Cult”) </li></ul>
  25. 34. Cult Films <ul><li>”… it is very difficult to think of the cult film outside of the cult film experience .” </li></ul><ul><li>J.P. Telotte (“Beyond All Reason: </li></ul><ul><li>The Nature of the Cult”) </li></ul>

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