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Conclusion

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The conclusion presents the key findings of the book. Noting the complexity of the paratexts considered throughout the work, the conclusion claims that extremity is not merely a gimmick, but part of a larger transfer of ideas that breach the traditional boundaries between highbrow and lowbrow culture. Further to this point, the chapter highlights the manner in which exploitation distributors are increasingly adopting highbrow marketing tactics over lowbrow ballyhoo. This challenges the longstanding opinion that extremity is a gimmick, as it calls into question the actual value of that material, even in a space where it has been historically deemed most effective. The chapter then looks beyond European cinema, examining the shift of extreme cinema into the mainstream consciousness, and the impact this has on extremity’s paratextuality. Finally, the conclusion considers the future of tangible home entertainment products within an increasingly digitalised world. Questioning whether DVD and Blu-ray is an outdated format, the chapter concludes that disc-based media will continue to stay relevant to certain demographics (such as fan communities) while noting the ways the paratextual methodology employed throughout the book can be adapted to study streaming platforms.
Edinburgh University Press
Title: Conclusion
Description:
The conclusion presents the key findings of the book.
Noting the complexity of the paratexts considered throughout the work, the conclusion claims that extremity is not merely a gimmick, but part of a larger transfer of ideas that breach the traditional boundaries between highbrow and lowbrow culture.
Further to this point, the chapter highlights the manner in which exploitation distributors are increasingly adopting highbrow marketing tactics over lowbrow ballyhoo.
This challenges the longstanding opinion that extremity is a gimmick, as it calls into question the actual value of that material, even in a space where it has been historically deemed most effective.
The chapter then looks beyond European cinema, examining the shift of extreme cinema into the mainstream consciousness, and the impact this has on extremity’s paratextuality.
Finally, the conclusion considers the future of tangible home entertainment products within an increasingly digitalised world.
Questioning whether DVD and Blu-ray is an outdated format, the chapter concludes that disc-based media will continue to stay relevant to certain demographics (such as fan communities) while noting the ways the paratextual methodology employed throughout the book can be adapted to study streaming platforms.

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