Fandom Memories
Syp over at Bio Break leads the charge with today’s Blaugust Promptapalooza writing prompt, with this interesting question. “What is your earliest memory related to one of your core fandoms?” Please do read his thoughts on going to see Return of the Jedi upon its original release back in 1983. It is something I can certainly relate to. I’m a decade older than Syp and so I can recollect actually seeing Star Wars for the first time at my local cinema. However as that was a starting point for a specific fandom rather than an “ongoing” example, I won’t cite it here. I have even earlier recollections of going to Longleat Safari and Adventure Park and having the extra bonus of seeing the Doctor Who Exhibition which ran there from 1973 to 2003. This would have been in August 1974 and I was six at the time. I have dim recollections of all the exhibits being mainly from the Jon Pertwee era and the Daleks being the high point of my day.
But as the question is about “core fandoms” I think I’ll reference a more contemporary example. One that I can recollect more clearly and so provide a more specific anecdote about. So I’d like to talk about my love of the horror genre and how as I got older, became a consummate fan. I’ve recently written about how during the 80s and 90s the UK home video market endured some rather restrictive regulations that lead to a lot of horror films being unavailable or heavily edited. Due to magazines such as Fangoria and Starburst, fans would be aware of both mainstream US and independent productions long before they were released in the UK. Hence we’d often become aware of those occasional titles that had already caused a stir “stateside” or in Europe and would therefore naturally run into distribution and censorship issues when it came to a British release. How could such films be shown in the UK? The answer was the “film festival”, which provided a limited or one off showcase, where the audience could be strictly regulated. Such events weren’t providing mainstream national distribution.
Now film festivals per se are always a great occasion for fans. I find that watching a cult classic with a like minded audience in a traditional movie theatre setting, rather than watching at home on your own, is a superior way to enjoy a film. I believe there is some truth to the “shared experience”. For example I feel the slapstick shenanigans of Charlie Chaplin work a lot better when viewed with a group. Bearing this in mind, on Saturday 24th February 1990, not only did I get the chance to indulge this theory by going to my first film festival but I was afforded the oppurtunity to see a controversial film that was heading into trouble. That film being Henry Portrait of a Serial Killer. The Splatterfest 90 film festival was held at the Scala Cinema, in Kings Cross, London. The venue was a known private cinema that excelled at hosting such events, as well as regularly showing bizarre and baroque movies.
I remember quite clearly, the atmosphere in the cinema. The Scala was a sumptuous but somewhat dilapidated 1920s building, which lent itself well to its niche market purpose. Between films it was quite noisy with fans talking and constantly going to and fro to the lobby. But when Henry Portrait of a Serial Killer started the audience settled and fell silent. The film was a gruelling 83 minutes experience which left the audience shocked, uncomfortable yet utterly engaged with the proceedings. I subsequently learned that several examiners from the BBFC had attended the screening as an opportunity to “research” a movie they knew would be “problematic” when it eventually sought a formal UK theatrical release. There was a very interesting Q&A with director John McNaughton which shed a lot of insight into the film and its production.
There were several other movies shown that night making Splatterfest 90 a very enjoyable film festival. Brian Yuzna’s Bride of Re-Animator which is a great sequel to the original Re-Animator, was very well received. As was the excellent documentary Document of the Dead, which was made during the filming of George A. Romero’s Dawn of the Dead. However, one film did not go down particularly well. The Comic, a “psychological drama” about a stand up comedian who murders his way to success in a dystopian future, was met with derision, objects hurled at the screen and cries of “for fuck’s sake, turn this shit off”. Director Richard Driscoll was due to be interviewed after the screening but bid a hasty retreat after his film’s suboptimal reception. Overall Splatterfest 90 was a very good introduction to film festivals and was certainly a “grassroots” experience of fandom. I’ve been to many similar events since then but none have had quite the same impact or left such memories as this one.
