Film Matters: Please tell us about your article that is being published in Film Matters.
Adam Herron: My article discusses how A Serbian Film demonstrates the commercial context of snuff fiction through its marketing and distribution, as well as its textual content. Whereas the film was largely condemned by critics, I aim to contextualize the film within prior developments in horror. Examining how sensationalism and excess have already been deployed in the promotional campaigns and narrative themes of other films, I contend that the marketing and distribution of A Serbian Film actually aimed to mitigate its shocking content, while its textual content mounts a critique of economic inequalities perpetuated by global capitalism and occidental consumerism.
FM: What research and/or methodologies do you incorporate in your article?
AH: My article utilizes two core methodologies to examine A Serbian Film: marketing and reception discourses, and textual analysis. While the first section considers how the film’s distribution was helped or hindered by its controversial reputation, the second section argues that its thematic content raises ethical issues in relation to the accountability of spectators of snuff. The use of critical reception research has been integral to understanding the polarized reaction to A Serbian Film, while theories of reflexivity and affect were suited to ethical issues raised by snuff fiction.
FM: Describe the original context for/when writing this article while an undergraduate student.
AH: This article began as an undergraduate dissertation written under the supervision of Dr Johnny Walker. As I was pursuing a degree in media and journalism at the time, the original focus considered how media ethics and spectatorship were represented in the snuff fiction film, pairing my case study of A Serbian Film with the 1992 film Man Bites Dog. In retrospect, the process of writing this paper showed me the extent to which academic research has been a driving factor in confronting the underbelly of film and cultural studies, contrary to protecting a sanitized version of events.
FM: How has your department and/or institution supported your work in film and media?
AH: Northumbria University has supported my work in film and media through their diverse curriculum and dedicated team of lecturing and administrative staff. Whereas I had commenced my studies with the intention of pursuing a career in journalism, the flexibility of my course facilitated a move toward academic research in my final year. In addition to the lecturing staff of the Media and Social Sciences departments, the university’s library staff were highly supportive whenever I needed help to find the blood-drenched texts used to support my research.
FM: How has your faculty mentor fostered your advancement as a film scholar?
AH: In the aftermath of completing my undergraduate dissertation, Dr Johnny Walker has continued to provide me with invaluable support in aid of my goal of entering academia. In addition to encouraging me to submit my work to Film Matters, he also introduced me to the practice of attending academic conferences. After attending Researching Horror, Cult and Exploitation Cinema at Northumbria University and Exploitation Cinema in the 21st Century at Canterbury Christ Church University as a non-speaking delegate, I presented my first paper at Researching Past Cinema Audiences at Aberystwyth University in March 2018.
FM: How has the Film Matters editorial and publication process impacted the development/evolution of your article?
AH: The editorial process has provided me with a helpful insight into what to expect when submitting work to a peer-reviewed journal. As I had limited experience with the journal’s referencing style, this process has helped me to adapt my work to fit the requested brief, something that I hope will aid future submissions to journals and publishers. Likewise, the redrafting process resulted in a complete overhaul of my first submission. In light of the reviewer comments received, my revised work looks to examine the relationship between commercial success/failure and notoriety in more detail.
FM: What audience do you hope to reach with your Film Matters article and/or what impact do you hope it has on the field of film studies?
AH: Through the decision to write about a film that remains highly contentious, I hope that this article can demonstrate that sensationalism and excess do not instantly equate to meaninglessness. Indeed, horror films have long faced such accusations, with the 1980s video nasties panic showing the extent to which hyperbolic press reports may lead to suppressive legislative frameworks. In the field of film studies, I hope that this article can encourage more scholars to look beyond the transgressive reputation of films, reflecting upon how sensationalism and excess may be contextualized in relation to contemporaneous developments.
FM: What are your future plans?
AH: My future plans are to continue to develop my interests in film, either as an academic or working within a media organization. To achieve this, I intend to continue my studies with the aim of completing a doctoral thesis.
Author Biography
Adam Herron recently completed an undergraduate degree in media and journalism at Northumbria University. His research interests include genre, gender, media history, and media audiences. He intends to pursue further study in film and critical theory.
