Oliver Carter

I recently completed a chapter of my PhD fan film production in the Euro-Cult cinema fan community, focusing on the Fantom Kiler film series.  An abridged version of this chapter will hopefully be published in a forthcoming edited collection on serial killer fandom.  Here is the abstract for the book chapter:

The giallo film was based on pulp crime novels that were popular in Italy from wartime onwards, the popularity eventually leading to film adaptations of several giallo stories.  A typical giallo film narrative will feature a crazed black- gloved serial killer murdering beautiful women in varying in exaggerated fashions.  In the early 1990s British and American horror film fans learnt about the giallo in fan publications such as Giallo Pages and European Trash Cinema which created interest and paved the way to forming a Euro-Cult fan culture centred around the giallo film.  Euro-Cult cinema itself is a fan determined category Not only do fans discuss the films in online communities but also actively produce texts for distribution amongst the fan network. 

I will examine the Fantom Kiler series of films, fan produced re-imaginings of the giallo film and demonstrate them as examples of ‘slash’ production; a form of fan production that particularly focuses on serial murder and highly sexualised violent content.  ‘Slash’ production is not just exclusive to fan film making but also other forms of fan production such as fanzines, clothing and DVD production. It also considers fan reactions to the Fantom Kiler film series.  Building upon textual analysis, this piece will raise theoretical and methodological questions, reflecting on the author’s developing research and personal understanding of the fan culture as a fan scholar.  The Fantom Kiler series further illustrates the contemporary fascination with the serial killer and allows for a new consideration of how fan cultures are researched and considered.

On Wednesday I presented the paper I gave at the Transforming Audiences 2 Conference on fan DVD production to my research group peers at Birmingham City University.  My colleague Andrew Dubber was kind enough (no hint of sarcasm there at all) to take a picture of me at the end of the presentation when I was fielding questions.  Though I felt that I gave a better presentation at the Transforming Audiences conference, the response from my colleagues was much more positive, having a number of useful comments.  I was quite surprised at how different it is presenting to your peers compared to presenting to strangers at a conference.  I think I prefer the latter. 

On Friday September 4 I presented a paper at the second Transforming Audiences conference based at the University of Westminster.  The paper was based on a chapter of my PhD that focuses on fan DVD production.  Here is the abstract of the paper:

The Fans Reserved 25 Copies

From Amateur to Professional: Fan DVD Production in Euro-Cult Cinema Fandom

The ubiquity of home computing technology and the World Wide Web has presented fans with the opportunity to create online networks to engage in discussion based on their interests.  In addition, the availability of desktop publishing software and video production software, both free and illegally obtainable online, has allowed fan production to become professionalised.  The distinction between amateur and professional fan production is becoming blurred.  This form of fan production is best exemplified in Euro-Cult cinema fandom.  Fans are engaged in the building of fan DVDs, using industry standard video editing software and DVD authoring software to produce composites versions of commercially unreleased Euro-Cult films, particularly those which are commonly referred to as gialli.  These DVDs are then distributed through fan networks and online file sharing technologies.

Drawing on my knowledge as both a fan and a researcher of Euro-Cult cinema, as well as an active producer of fan DVDs, I adopt an ethnographic approach to examining this particular phenomenon.  In addition, this piece will raise theoretical and methodological questions about the study of fan audiences, drawing on the author’s developing post-graduate research.  It also builds on the current lack of work in the area of fan production, itself an oft-neglected area of study, and draws on contemporary issues such as copyright, social media and modes of distribution. This example of fan DVD production in Euro-Cult cinema fandom offers a new perspective on how fan cultures are considered and researched.