Page 32 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945
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as a nodal point for the study of cult,  trash and alternative cinema, as a site where original research
                                 into the area is being undertaken, and as a voice for scholarly intervention in public discourses around
                                 alternative media arts. To the first aim, C R E A M has set up a network of contacts and meeting points
                                 to enable academic communication  (including,  in  the  long  run,  the  association with other  research
                                 centers, archives and festivals in the organisation of lectures, seminars and conferences, the setting up
                                 and maintaining of academic research networks, and the dissemination of research results (including a
                                 website). The links with both De Montfort University and the Cult Film Archive are key to this.
                                    To the second aim, C R E A M works towards creating funding possibilities for individual and joint
                                 research projects in the study of extreme and alternative media of regional, national and international
                                 scope.  The  Centre  recognises  the  diversity  of angles  and  topics  of its  field  of enquiry.  Therefore,
                                 a  main  activity  of the  Centre  is  to  function  as  an  umbrella  for  projects  (either  individual  or  joint
                                 projects),  of its members. This means it will support to its best ability funding applications,  function
                                 as a provider of feedback, and facilitate initiatives.
                                    To the third aim, C R E A M acts as an active participant in debates about the nature, reception and
                                 public place of alternative media arts. Here, its explicit intention is to provide expert advise, take part
                                 in public debates  (events,  lectures,  hearings,  discussion panels,  festivals),  and generally support the
                                 visibility,  dissemination  and public understanding of alternative media arts.
                                    Together,  these  initiatives  represent  a  rise  in  academic  interest  in  the  lowbrow  undercurrents  of
                                 cinema that have all too often been exorcised from critical scrutiny. It is our hope, as editors, that this
                                 book may contribute  to  their visibility.  While  taking away some  of the  mystery,  it  may also  help  to
                                 dissipate some fear.




































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