Introduction: opening up to home video -- Distributing The dead: George A. Romero and the evolution of the video spectator -- Addressing the "new flesh": videodrome's format war -- Reprotechnophobia: putting an end to analog abjection with the ring -- Going, going, grindhouse: simulacral cinematicity and post-cinematic spectatorship -- Paranormal spectatorship: faux footage horror and the P2P spectator -- Conclusion: power play
Summary
Since the mid-1980s, US audiences have watched the majority of movies they see on a video platform, be it VHS, DVD, Blu-ray, Video On Demand, or streaming media. Annual video revenues have exceeded box office returns for over twenty-five years. In short, video has become the structuring discourse of US movie culture. Killer Tapes and Shattered Screens examines how prerecorded video reframes the premises and promises of motion picture spectatorship. But instead of offering a history of video technology or reception, Caetlin Benson-Allott analyzes how the movies themselves understand and
