James Rendell
Biographic Data
| ID | 3989199 |
|---|---|
| NAME | James Rendell |
| GIVEN NAMES | James |
| FAMILY NAME | Rendell |
| SIGNATURE | RENDELL J |
| AFFILIATIONS | University of South Wales |
| ORCID | 0000-0001-5887-3988 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Screaming along to mixtapes: Yellowjackets and the choral female voice as subversive noise
Engaging with collectivist voice that challenges the “communicative injustices” of neoliberal feminism, this article analyses how the TV horror series Yellowjackets’ soundscape employs unruly female chorus as a form of branded “feminism,” vocalised in places traditionally coded as masculine: punk scenes, the wilderness, and soccer as a team sport. Analysing the opening credits, the title track “No Return” employs Riot Grrrl feminist noise that is…
Special dossier introduction: Horror fans and audiences
This introduction to the New Review of Film and Television’s special dossier on horror fans and audiences discusses how the study of horror viewership has frequently been limited to certain US cultural contexts and twentieth-century historical periods that, in turn, reduce the genre within essentialised cult discourses. Concurrently, the introduction highlights how audiences’ affective responses and relationships to the genre have been routinely …
Dangerous exchange students: Battle Royale and transcultural fans’ intertextual gatekeeping
This article examines transcultural fans of Battle Royale (Fukasaku 2000), building on limited empirical audience research into the Japanese cult hit, East Asian horror films, Asia Extreme Cinema, and Hollywood’s ‘remake ecology’. Analysing how online audiences value Battle Royale in relation to mainstream Western cinema, the article highlights fans’ complex intertextual readings between films, genres, industries, and cultures. This begins by fan…
‘I am (not) Major’: Anti-fan memes of Paramount Pictures’ Ghost in the Shell marketing campaign
This article examines Paramount Pictures’ marketing of its 2017 live-action remake of the 1995 Japanese cult anime Ghost in the Shell and online audiences’ responses to it. Analysing the trailers, the article argues that Paramount dually serves existing fans via visually quoting the original film’s iconic imagery, and new wider audiences by promoting the remake as an A-list blockbuster via emphasising its lead Scarlett Johansson. Analysing 315 au…
Staying in, rocking out: Online live music portal shows during the coronavirus pandemic
The 2020 Covid-19 global pandemic has greatly impacted societies around the world, where governmental strategies to curb and control the outbreak have resulted in citizens being unable to attend public businesses and spaces. For musicians who rely on touring as a dominant part of their income, the pandemic has had a hugely negative effect on their finances since they can no longer play face-to-face shows. However, a number of artists have turned …
The end of Japanese cinema: Industrial genres, national times, and media ecologies
The end of Japanese cinema: industrial genres, national times, and media ecologies." Visual Studies, 35(5), pp. 499–500
Introducing Studio Ghibli
Bridge builders, world makers: Transcultural Studio Ghibli fan crafting
Whilst global hits such as Pokémon utilized what Marc Steinberg calls anime’s media mix, implementing a multiple-platform narrative world in an attempt to synergize/converge a franchise, what are we to do when one finds a dearth of official merchandise available to transnational audiences? What are the reasons or politics for such a decision that seems to run counter to a long sociocultural history of such media ecology? Equally as important, wha…
Extreme Asia: The rise of cult cinema from the Far East
Daniel Martin first explored the transnational critical reception of East Asian film in his essay ‘Japan’s Blair Witch: Restraint, Maturity, and Generic Canons in the British Critical Reception of
Bridge builders, world makers: Transcultural Studio Ghibli fan crafting
Whilst global hits such as Pokémon utilized what Marc Steinberg calls anime’s media mix, implementing a multiple-platform narrative world in an attempt to synergize/converge a franchise, what are we to do when one finds a dearth of official merchandise available to transnational audiences? What are the reasons or politics for such a decision that seems to run counter to a long sociocultural history of such media ecology? Equally as important, wha…
Extreme Asia: The rise of cult cinema from the Far East
Daniel Martin first explored the transnational critical reception of East Asian film in his essay ‘Japan’s Blair Witch: Restraint, Maturity, and Generic Canons in the British Critical Reception of
Introducing Studio Ghibli
Bridge builders, world makers: Transcultural Studio Ghibli fan crafting
Whilst global hits such as Pokémon utilized what Marc Steinberg calls anime’s media mix, implementing a multiple-platform narrative world in an attempt to synergize/converge a franchise, what are we to do when one finds a dearth of official merchandise available to transnational audiences? What are the reasons or politics for such a decision that seems to run counter to a long sociocultural history of such media ecology? Equally as important, wha…
The end of Japanese cinema: Industrial genres, national times, and media ecologies
The end of Japanese cinema: industrial genres, national times, and media ecologies." Visual Studies, 35(5), pp. 499–500
‘I am (not) Major’: Anti-fan memes of Paramount Pictures’ Ghost in the Shell marketing campaign
This article examines Paramount Pictures’ marketing of its 2017 live-action remake of the 1995 Japanese cult anime Ghost in the Shell and online audiences’ responses to it. Analysing the trailers, the article argues that Paramount dually serves existing fans via visually quoting the original film’s iconic imagery, and new wider audiences by promoting the remake as an A-list blockbuster via emphasising its lead Scarlett Johansson. Analysing 315 au…
Staying in, rocking out: Online live music portal shows during the coronavirus pandemic
The 2020 Covid-19 global pandemic has greatly impacted societies around the world, where governmental strategies to curb and control the outbreak have resulted in citizens being unable to attend public businesses and spaces. For musicians who rely on touring as a dominant part of their income, the pandemic has had a hugely negative effect on their finances since they can no longer play face-to-face shows. However, a number of artists have turned …
Special dossier introduction: Horror fans and audiences
This introduction to the New Review of Film and Television’s special dossier on horror fans and audiences discusses how the study of horror viewership has frequently been limited to certain US cultural contexts and twentieth-century historical periods that, in turn, reduce the genre within essentialised cult discourses. Concurrently, the introduction highlights how audiences’ affective responses and relationships to the genre have been routinely …
Dangerous exchange students: Battle Royale and transcultural fans’ intertextual gatekeeping
This article examines transcultural fans of Battle Royale (Fukasaku 2000), building on limited empirical audience research into the Japanese cult hit, East Asian horror films, Asia Extreme Cinema, and Hollywood’s ‘remake ecology’. Analysing how online audiences value Battle Royale in relation to mainstream Western cinema, the article highlights fans’ complex intertextual readings between films, genres, industries, and cultures. This begins by fan…
Screaming along to mixtapes: Yellowjackets and the choral female voice as subversive noise
Engaging with collectivist voice that challenges the “communicative injustices” of neoliberal feminism, this article analyses how the TV horror series Yellowjackets’ soundscape employs unruly female chorus as a form of branded “feminism,” vocalised in places traditionally coded as masculine: punk scenes, the wilderness, and soccer as a team sport. Analysing the opening credits, the title track “No Return” employs Riot Grrrl feminist noise that is…
Art (8 works) · Media studies (7 works) · Sociology (7 works) · Visual arts (7 works) · Aesthetics (5 works) · Law (5 works) · Political science (5 works) · Cinema and Media Studies (4 works) · History (4 works) · Asian Culture and Media Studies (3 works)