The Direct Current: Shockwave Newsletter #1

Hello my lovely underlings,

I do apologize for the lack of connection from my channel as of recent weeks (although I have always adored the sound of TV static). I have been enjoying a sojourn in my home of the red velvet void and have only recently emerged back into this world. Pay no mind to the fresh notches carved into my pistol, as they are entirely unrelated. 

You may be concerned that I have gone into hiding due to some grave embarrassment or threat to my livelihood. While I regret to disappoint, my absence can instead be explained by the overexertion that total excellence can often cause. I would like to share with you some of the achievements (some fresh and some quite stale) that have brought me steps closer to the realization of my wicked plan (wouldn't you like to know?).

A Brief History of Horror Hosting with Mausolena: Video

Hello All!

Today I present you with a video I made explaining the history of horror hosting in under 5 minutes. I made this video for a few reasons, the most basic being to test cameras against each other. I filmed the video twice with the same setup but different cameras (Lumix GH5 vs Canon T7i) to decide what would work best for me. I found that the T7i was better in its audio recording capabilities, being able to monitor sound while you film is definitely a plus. It also has 4k quality, multiple lenses, and a lot of fancy settings. Those fancy settings are probably useful if you know a lot about cameras. But I don't, so it just made setting things up a lot more confusing. The T7i is much more familiar to me as I've used it in multiple projects in the past. It's pretty user friendly, but it doesn't have live sound monitoring, only films in HD, and is less customizable. 

Project mini-update - Jan 2025

Hello all!

This is your captain speaking. I have returned from my vacation in the world of no deadlines, and I'm finally back to work on the Shockwave. To absolutely no one's surprise, it's easier said than done to get started on a huge culminating project for which you are solely responsible. I made some progress over break on my project website and its features, which you can see here. Specifically, I finished the horror host timeline which I'm really proud of. I've been having a lot of fun doing stuff with design and research and I could work on it forever. But in the end, that stuff is not really helpful for my final project and I've probably just been using it as a way to procrastinate. 

Horror Hosting 101 (& Why it should matter to media researchers)

 

image courtesy of: Retrontario on Substack

What is horror hosting?

Horror hosting is a type of television program where a horror host, often acting as a horror-related character, introduces and commentates on a horror film (Markusen, 2021). The format was pioneered in 1954 by Vampira, a character played by Finnish actress Maila Nurmi, who had the first horror hosting show, The Vampira Show (Watson, 2000; Markusen, 2021). In 1957, a package of 52 horror films known as “Shock!” (Watson, 2000) or “Shock Theater” was made available for showing on local television stations (Watson, 2000; Markusen, 2021). Shock!’s distribution company, Screen Gems, encouraged stations to show the films in a hosted format, which led horror hosting to become a widespread local trend (Markusen, 2021). Similar packages of horror films were released over the years through the 1960s, giving the hosts fresh material to work with (Markusen, 2021). 

What next? Semester wrap-up reflections

First, please update us on your Proof of Concept project. How are things coming along? Have you created it already, and if so, how do you feel about what you've created? If not, what are your plans and are you on track to achieve this project successfully? 

 Unfortunately, I have not yet gotten to film my proof of concept project and wasn’t able to check out equipment before break (which is entirely my fault for not prioritizing it above other assignments). At this point, I am hoping that I can put together some archival footage, voiceover etc. over break, and film the interview on the Monday we get back from break to edit and turn it in by its final due date on Tuesday. If I am not able to film new content before Tuesday, my backup plan is to put together the interview that I made for my initial media with archival footage, voiceover and maybe some animations or other fun content. This would give me the chance to practice correcting some issues I had with my initial footage, and combining elements, which are useful skills too. If I have to take this path, I will still check out my equipment later and practice the skills I was planning to practice for this assignment. It would not be ideal (and can be blamed on poor planning on my part), but I think my backup plan would still contribute to the skills I need for my project. 

Fictional Realness in Drag and Horror Hosting: Article Review

 In this article, Parry (2015) brings forth the ideas of ‘colloquial performance practice’ and ‘fictional realness’ to describe different types of performance in spaces like drag balls and music groups. Colloquial performance practice refers to forms of performance that are informal and related to everyday life and experiences. Realness is described by Parry as a form of colloquial performance that repeats, adapts, and appropriates aspects of reality for marginalized spaces in order to create a new, often subversive form of performance. This practice can give marginalized people access to forms of reality that they may not otherwise be afforded. Parry relates this to the concept of ‘minor literatures’ which transcend the original meaning of a text by reclaiming and adapting aspects of its meaning that relate to experiences outside of the majority. Building up layers of cultural references, experiences, fictions and subversive interpretations can be understood as 'affective inhabitation' which creates new knowledge through its emphasis on texture and feeling. Parry explains that these texts cannot be read through traditional language, logic or lenses, but rather must be understood through their chosen affect. Fictional realness, a form of affective inhabitation (as opposed to just imitation) combines layers of fictionality and reality to appropriate texts, subverting or transforming their original meanings. Parry argues that this appropriation and the inability to define or read these performances through traditional means makes fictional realness a powerful form of resistance and expression outside of hegemonic forces. 

Self-Reflexive Documentary and Authenticity: Chapter Review

 This chapter (Andacht, 2007) discusses the concept of self-reflexivity in documentary filmmaking and reality TV. Andacht gives several examples of how self-reflexivity, which he describes as drawing attention to the process of production in the content of the documentary, relates to questions of objectivity, representation and ethics in filmmaking. Self-reflexive filmmaking styles challenge the idea that the version of reality presented is one of objective truth, instead discussing the aesthetic and ideological choices that were made to decide what is filmed or included. Andacht discusses three self-reflexive methods, philosophical self-reflection which includes questioning of one’s identity and role in filmmaking, methodological self-consciousness which includes questioning one’s biases and the risks and distortions created through the process, and methodological self-criticism which further criticizes one’s own roles and choices in a way that directly impacts the final product created. He discusses the concept of the “encounter” between the filmmaker and subject as a central theme to self-reflexive documentary. An encounter can be seen as negative “interference” which interrupts the natural flow of events and therefore cannot represent it accurately. Or, it can be seen as a positive “shock” which creates the events and interactions that are worthy of being captured. Andacht describes that self-reflexivity can preserve the integrity of the topics being covered through allowing transparency as to how the filmmaking process impacts their representation. It can also be a tool for self-discovery for the filmmakers themselves, who are engaged in a constant process of self-evaluation and reflection. Andacht contrasts self-reflexivity in documentary with the same concept in reality TV, arguing that in documentary, it is used to add earnestness and reality, whereas in reality TV it is used to add drama and entertainment without adding information or value.