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RECEPTION AND AFTERLIFE
by
Glynn, Stephen
in
Anthropology
/ Applied anthropology
/ Applied sciences
/ Art criticism
/ Art theory
/ Arts
/ Audiences
/ Behavioral sciences
/ British culture
/ British studies
/ Business
/ Consumers
/ Cultural anthropology
/ Cultural industries
/ Cultural studies
/ Documentary films
/ Engineering
/ Entertainment industries
/ Ethnography
/ Ethnology
/ European studies
/ Fan cultures
/ Film criticism
/ Film studies
/ Gender identity
/ Gender studies
/ Government
/ Government services
/ Human populations
/ Human powered vehicles
/ Industrial sectors
/ Industry
/ Law enforcement
/ Masculinity
/ Motion picture industry
/ Movies
/ Performing arts
/ Persons
/ Police
/ Political science
/ Population studies
/ Scooters
/ Social sciences
/ Subcultures
/ Theater
/ Transportation
/ Vehicles
2014,2015
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RECEPTION AND AFTERLIFE
by
Glynn, Stephen
in
Anthropology
/ Applied anthropology
/ Applied sciences
/ Art criticism
/ Art theory
/ Arts
/ Audiences
/ Behavioral sciences
/ British culture
/ British studies
/ Business
/ Consumers
/ Cultural anthropology
/ Cultural industries
/ Cultural studies
/ Documentary films
/ Engineering
/ Entertainment industries
/ Ethnography
/ Ethnology
/ European studies
/ Fan cultures
/ Film criticism
/ Film studies
/ Gender identity
/ Gender studies
/ Government
/ Government services
/ Human populations
/ Human powered vehicles
/ Industrial sectors
/ Industry
/ Law enforcement
/ Masculinity
/ Motion picture industry
/ Movies
/ Performing arts
/ Persons
/ Police
/ Political science
/ Population studies
/ Scooters
/ Social sciences
/ Subcultures
/ Theater
/ Transportation
/ Vehicles
2014,2015
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RECEPTION AND AFTERLIFE
by
Glynn, Stephen
in
Anthropology
/ Applied anthropology
/ Applied sciences
/ Art criticism
/ Art theory
/ Arts
/ Audiences
/ Behavioral sciences
/ British culture
/ British studies
/ Business
/ Consumers
/ Cultural anthropology
/ Cultural industries
/ Cultural studies
/ Documentary films
/ Engineering
/ Entertainment industries
/ Ethnography
/ Ethnology
/ European studies
/ Fan cultures
/ Film criticism
/ Film studies
/ Gender identity
/ Gender studies
/ Government
/ Government services
/ Human populations
/ Human powered vehicles
/ Industrial sectors
/ Industry
/ Law enforcement
/ Masculinity
/ Motion picture industry
/ Movies
/ Performing arts
/ Persons
/ Police
/ Political science
/ Population studies
/ Scooters
/ Social sciences
/ Subcultures
/ Theater
/ Transportation
/ Vehicles
2014,2015
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RECEPTION AND AFTERLIFE
2014,2015
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Overview
In the United StatesQuadropheniawas never a box-office success and its initial core followers were the cognoscenti of the Who back catalogue. Its ‘group’ cult status grew through early exhibition on the midnight movie circuit, ‘probably the phenomenon most associated with cult movie fandom’ (Jancovich 2003: 3). Critics such as Barry Keith Grant have suggested that the ‘midnight screening’ was central to the construction of the cult film as transgressive, as anti-respectability and as ‘against the logic of “prime-time” exhibition’ (2000: 19), while Joanne Hollows has emphasised how the sites of such screenings, ‘often screened in porn cinemas or
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