"'Most People Bring Their Own Spoons': THE ROOM's participatory audiences as comedy mediators"

THE ROOM (Tommy Wiseau, 2003) has developed the unenviable reputation as being one of the worst films ever made, yet at the same time is celebrated by ‘fans’ who take considerable pleasure from its perceived ineptitude. Considerable media attention has also been afforded to the film’s participatory theatrical screenings, which typically feature constant heckling, chants, and the throwing of plastic spoons. Through the analysis of the film’s British audiences (in the form of surveys, interviews, observation and autoethnography), this article argues that The Room demonstrates the impact of audience participation on a film’s reception, which in this case transforms an ostensible drama into a comedy experience. These audiences function as temporary communities that encourage the search for humour in ‘badness’, creating a cycle of comedy mediation and verification that affirms the interpretive competence of all attendees. The article begins to theorise the previously underdeveloped concept of ‘so bad it’s good’ by drawing a link between comedy and cult media audiences, as well as exploring the social functions of comedy as they relate to cultural texts

Tied Up In Knots: Irony, Ambiguity, and the 'Difficult' Pleasures of FIFTY SHADES OF GREY

Upon its release in February 2015, Sam Taylor-Johnson’s Fifty Shades of Grey met with vehement critical derision, finding itself reproached on both artistic and ideological grounds. While the precise focus of this indignation varied between reviews, complaints broadly fell into three categories: (1) it isn’t titillating enough (2) it is misogynistic, and (3) the love story and characters are clichéd and unrealistic. In this article, however, I demonstrate that the film is far more sophisticated than it has been given credit for. Each of these ‘failings’, I argue, is in fact a symptom of its unconventional identificatory strategy, whereby the film aligns the spectator with Ana’s (Dakota Johnson) subjectivity and invites us to share in her fluctuating and often contradictory emotions. Seen from this perspective, for example, Christian’s (Jamie Dornan) misogyny becomes the central problem to be resisted and tackled, not an ideological position that we are unproblematically asked to accept. I combine my analysis of the film’s ‘difficult’ identificatory strategy with an exploration of its critical reception, in order to open up a discussion of how and why critics negotiated these ostensibly negative emotions. Doing so, I argue, requires a considerable amount of interpretive labour, especially in the context of the film’s widespread critical dismissal, but also because of the complex way in which the movie uses irony both to distance and engage the spectator (cf. Sconce 2002; Plantinga 2009; Lübecker 2015). I argue that the result of these contradictions and ambiguities is that it is often difficult to know how one is supposed to feel towards these two characters and their relationship at any one time. Ultimately, the article is an exploration of the interpretive processes involved in taking pleasure from a ‘difficult’, ambiguous and often contradictory film

The protozoan nucleus

The nucleus is arguably the defining characteristic of eukaryotes, distinguishing their cell organisation from both bacteria and archaea. Though the evolutionary history of the nucleus remains the subject of debate, its emergence differs from several other eukaryotic organelles in that it appears not to have evolved through symbiosis, but by cell membrane elaboration from an archaeal ancestor. Evolution of the nucleus has been accompanied by elaboration of nuclear structures that are intimately linked with most aspects of nuclear genome function, including chromosome organisation, DNA maintenance, replication and segregation, and gene expression controls. Here we discuss the complexity of the nucleus and its substructures in protozoan eukaryotes, with a particular emphasis on divergent aspects in eukaryotic parasites, which shed light on nuclear function throughout eukaryotes and reveal specialisations that underpin pathogen biology

Antigenic variation in the African trypanosome: molecular mechanisms and phenotypic complexity

Antigenic variation is an immune evasion strategy that has evolved in viral, bacterial and protistan pathogens. In the African trypanosome this involves stochastic switches in the composition of a variant surface glycoprotein (VSG) coat, using a massive archive of silent VSG genes to change the identity of the single VSG expressed at a time. VSG switching is driven primarily by recombination reactions that move silent VSGs into specialized expression sites, though transcription-based switching can also occur. Here we discuss what is being revealed about the machinery that underlies these switching mechanisms, including what parallels can be drawn with other pathogens. In addition, we discuss how such switching reactions act in a hierarchy and contribute to pathogen survival in the face of immune attack, including the establishment and maintenance of chronic infections, leading to host-host transmission

Hydroxyurea-induced synchronisation of bloodstream stage Trypanosoma brucei

Synchronisation of the <i>Trypanosoma brucei</i> cell cycle proved elusive for many years. A recent report demonstrated that synchronisation of procyclic form cells was possible following treatment with hydroxyurea. Here, that work is extended to the disease-relevant, mammalian-infective bloodstream stage trypanosome. Treatment of bloodstream stage Lister 427 <i>T. Brucei</i> cells growing <i>in vitro</i> with 10 μg ml<sup>−1</sup> hydroxyurea for 6 h led to an enrichment of cells in S phase. Following removal of the drug, cells proceeded uniformly through one round of the cell cycle, providing a much needed tool to enrich for specific cell cycle stages, in a manner similar to hydroxyurea treatment of procyclic form <i>T. brucei.</i&gt

Towards Infinity And Beyond Branding, Reputation, and the Critical Reception of Pixar Animation Studios

American author and journalist Jonah Lehrer declared in 2012 that Pixar Animation Studios was ‘the one exception’ to the oft-cited maxim that, in Hollywood, ‘nobody knows anything.’ Patrick Goldstein of the Los Angeles Times spoke in similar terms in 2008, writing that, ‘critics and audiences are in agreement on one key thing: Nobody makes better movies than Pixar.’ Thirteen consecutive global box office successes and scores of industry awards would seem to suggest that Lehrer and Goldstein are correct. Yet it is important to recognise that such statements invariably refer to something intangible, something beyond a particular Pixar film or selection of films. There exists, in other words, a widely held set of meanings and associations about what the studio represents, and to whom. This thesis argues that this set of meanings and associations – Pixar’s brand identity – is far from the fixed and unambiguous entity it is often seen to be. If the studio has come to be seen as guarantee of quality family entertainment, when did this notion become widespread? Have the parameters for ‘quality’ and ‘success’ remained constant throughout its history? I demonstrate for instance that Pixar benefited considerably from Disney’s wavering reputation from the late-1990s onwards. I approach branding as a discursive process, and one that brand producers sometimes have little control over, contrary to the implicit claims of most marketing literature. Broadly chronological in structure, the thesis traces the development of the studio’s reputation by drawing on Barbara Klinger’s approach to historical reception studies. Individual chapters focus on how Pixar was discussed by critics and journalists at specific moments or in specific contexts, as it evolved from a computer graphics company to become the most celebrated film studio of all time. Ultimately, this is a case study of the cultural work involved in the making of a brand or an auteur, and how these meanings can shift over time

A Spline LR Test for Goodness-of-Fit

Goodness-of-Fit tests, nuisance parameters, cubic spline, Neyman smooth test, Lagrange Multiplier test, stable distributions, student t distributions

'Watch like a grown up ... Enjoy like a child': Exhibition, authenticity, and film audiences at the Prince Charles Cinema

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 what they might one day become. Ultimately, the article demonstrates that cinematic events are by no means the only option available to audiences who crave alternatives to ‘mainstream’ cinemas. We call for a reconsideration of the immersive and experiential dimensions of traditional cinemagoing, and a greater emphasis on the viewing conditions that facilitate an affective bond between audience and film. To us, the search for alternative cinema experiences seems to be more about the desire for cinema to get better at what it already does, not for it to change into something entirely different