Film Matters: Please tell us about your article that is being published in Film Matters.
Reid Anderson: In this article, I aim to provide context to and shed light on not only the career and star image of Sharon Tate throughout the late 1960s, but also how the events of her death have worked to overshadow and transform the public’s perception of her as a cult victim/cult star. Specifically, I argue that the reinstated images of Tate across Mansonsploitation media has functioned in categorizing the late star as (1) strictly a cult victim and, thus, (2) allowing the hyperreal representations of Tate to be unconsciously accepted as accurate depictions of the late star.
FM: What research and/or methodologies do you incorporate in your article?
RA: This article is situated at the cross-sections of film history, star studies, and film theory. The argument I present in this article is primarily foregrounded within historical aspects of Tate’s career as a model/actress throughout the 1960s, and the events of her death. That being said, it is the historical trajectory of Tate’s career that lends itself to an analysis of her star image as it was her beauty for which she was primarily known. In terms of film theory, it is the application of Jean Baudrillard’s theoretical framework of the hyperreal to the re-instated images of Tate across the subgenre of Mansonsploitation that works to support my argument that it is not Tate herself who has gained cult status stardom, but rather the reproductions of Tate that have garnered an intimate connection with their viewers.
FM: Describe the original context for/when writing this article while an undergraduate student.
RA: At the time that I wrote this article, I was enrolled in a 400-level film studies course on Stars and Stardom, which focused on the film studies subsection, star studies. This is the final paper I wrote as I found that the transformative nature of Tate’s star image would seem to fit into categories of cult stardom.
FM: How have your personal experiences shaped and influenced your writing?
RA: I am unsure how to answer this question. I feel as though my writing is influenced by my day to day as I strive to have my voice shine through all of my writings. That being said, as the events of my day to day shape me as an individual, they also shape my writing as I attempt to showcase my individuality though my voice.
FM: What aspects of the writing process were most challenging? Why?
RA: For this particular piece, the most difficult aspect of the writing process was finding sources. I wrote this paper during the first mandated lockdown in the province of Alberta. As a result, I was unable to utilize any physical sources and had to resort to what was available online. As this was a learning curve for me, and countless others, I found it difficult finding useful sources that would help me support my ideas and overall argument.
FM: What do you enjoy most about your article?
RA: What I enjoy most about my article is the structure and flow. While I am proud of the content, I am very pleased with the way in which I was able to frame, set up, and present my argument.
FM: How has the Film Matters editorial and publication process impacted the development/evolution of your article?
RA: It has impacted the evolution of my article in that I was provided with constructive criticisms that I could work further from in strengthening my argument.
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?
RA: I hope that this article reaches a wide audience. I hope undergraduate students are able to read not only my article, but those published by other undergraduate students and be able to feel inspired at the possibility of publication. I also hope that this article reached a wide audience, regardless of people’s educational backgrounds, as I hope to remind people who Sharon Tate was and what she accomplished in her lifetime.
In terms of this article’s impact within the field of film studies. I hope that this article can act as an example of how interconnected the subdisciplines of the field really are. When you are writing academically, you cannot place yourself in a box; you must be open to new ideas and explanations. As my article demonstrates aspects of film history, star studies, and film theory, I think it is vital to remember not to leave any options unexplored.
FM: How has your department and/or institution supported your work in film and media?
RA: Submitting to Film Matters was presented as an option by one of my professors in my second year. Though I did not choose to submit until after my fourth year, it was thanks to my department and the support from my professors that gave me the confidence in pursuing this venture.
FM: How has your faculty mentor fostered your advancement as a film scholar?
RA: As mentioned above, they provided a great deal of options and support throughout my academic career and have provided me with confidence in my works.
FM: What advice do you have for undergraduate film and media scholars?
RA: Do not skip out on any opportunity that is presented to you. If you are passionate and invested, it is worth going the extra mile if it will bring you happiness and satisfaction. If I am able to be published, so can you.
FM: What are your future plans?
RA: I have been accepted to Vancouver Film School for a diploma in film production in 2022, and intend on completing my masters and PhD in film and media studies in the future.
Author Biography
Reid Anderson is a Film Studies major at the University of Alberta and is excited to be starting his last semester before graduating and starting a new journey at Vancouver Film School in February.
