Don t Dream It, Be It: A research study into the cultural phenomenon surrounding the Rocky. Horror Picture Show and its impact on society

Transcription

1 Don t Dream It, Be It: A research study into the cultural phenomenon surrounding the Rocky Horror Picture Show and its impact on society Anthony Blenke Methods in Cultural Research Dr. E.J Ford

2 Abstract The purpose of this project is to examine the culture phenomenon that has erupted out of the Rocky Horror Picture Show through field investigation of the film showings, along with interviews with facilitators of the event and shadow cast members that mimic the film. This research draws upon sources that discuss the sexuality, film characteristics, and fandom that hopefully can generate greater understanding of community building situations, along with how cult fandom can emerge. Introduction A nerd, a jock, a cheerleader, and a black guy walk into a theater and yell at a movie screen. This is not a setup for a joke but the regular turnout at Interchangeable Parts at the St. Pete Beach Theater for the Saturday night showing of the Rocky Horror Picture Show. The air outside was one of anticipation and cigarette smoke, the lobby of the theater was bustling with attendees and cast members buying beer and popcorn, and the main theater was fully lit with the show manager organizing a pre-show rendition of the Time Warp. From the infamous Virgin Games to the hundreds of shouts, yells, and jeers exclaimed throughout the show, the Rocky Horror Picture Show has erupted as a cult classic with movie goers still attending thirty seven years after its release. Yet what is it about this film that makes it a cult classic that allows complete strangers to strip to their underwear next to each other, what is it about this film that brings the aforementioned group to scream curse words as a movie screen and at each other? In order to discern why such strange events could become a community building environment, ethnographic research was undertaken at the Beach Theater on St. Pete Beach.

3 Methods In order to ethnographically identify the feel of the film along with the audience participation, two main methods for information gathering were implemented. Participant observation was a major form of data collection, as it allowed in-depth research in the middle of the mass of screaming participants. Observation generally was centered on audience reactions to the environment; the shadow cast members that mimicked the film, the security officers that encircled the theater, and the rest of the staff that facilitated the lights and props. The second method focused on key-informant interviews, focusing on the audience experience, along with the cast s views on the film and the event as a whole. Although many offered to give their insights into the film, three interviews were settled on being used; Tor, the stage manager of the event; Ariel, a member of the shadow cast; and Jessica, a virgin to the event who had never seen the Rocky Horror Picture Show or participated in a live showing of the film. Questions ranged from the experience of the show, to what encouraged the interviewees to go to the film in the first place, along with how welcome they felt at the event and their perception of the overall atmosphere. Discussion When focusing on the Rocky Horror Picture Show, it is necessary to dig deep to uncover the sometimes overwhelming themes of the film that can determine why such an event draws such diverse yet unified crowds, such as fetishism, its definition as a cult status, fandom and fan culture, its messages on gender and sexuality, along with the characteristics of film itself. In identifying these topics, we can begin to recognize the key community building and crowd drawing characteristics of the film along with what makes it ground for a cult following.

4 Characteristics of film The film by itself is an enigma wrapped in a mystery, its impressive and extravagant musical numbers make it memorable and its cast with their signature wardrobe, or lack thereof, presents an unnatural environment where the abstract is normal. In this unnatural environment, the film is not even the center of the action; instead it is a jumping off point for audience participation. The film s themes draws heavily and gains great appeal through its plot which presents such as typical people in atypical situations, where challenges to traditional authority are commonplace occurrences that reflect societal strains (Katovich & Kinkade, 2005). In both the interviews with Jessica and Ariel, they repetitively called the event crazy and intense, an unexpected environment given the calm streets right outside the theater. They both commented on how the film is the centerpiece of the insanity from which it was easy to let loose ideas of being culturally correct and to embrace the lunacy. In a sense the film takes over as the cultural authority, changing what is normal and giving the audience the freedom to scream and run around with the only fear being tripping over beer bottles. Claydon (2010) discusses one theme of drawing audiences together by identifying the various characters throughout the film and how, in some way, they deviate from mainstream society. In addition to the characters that revel in their uncommon practices, there are characters that the film portrays as being respectable, yet at one point or another, the characters show they possess some characteristic that promote otherwise, that they actually belong with the hedonistic housemates. Such characterization could relate easily to those attending the event that are afraid

5 they do not fit in with the festivities; the film portrays for them that even the most stiff can have a stranger side. Callbacks Perhaps the most memorable aspects of the event are the innumerable callbacks performed by the audience all throughout the show. These shouts vary in complexity, from simply cussing at the screen, to fully fledged narrations running counter to the madness on the screen. The fans literally take hold of the script and rewrite the words and text, in a sense controlling the film, its plot, tone, and general direction (Lewis, 1992). In a normal movie theater, one is to sit quietly and enjoy the experience on the screen, with literally no inclusion of the audience in the performance. Within the Rocky Horror experience however the opposite is true; shouting is encouraged and sitting is only half the experience. One unlikely source of the shouts did not come from the audience, but from the security and lighting staff that lined the walls and the back of the theater. Throughout the majority of the show, security positioned themselves along the walls, both eyeing the crowd to make sure no one got out of hand and also screaming out the majority of the shouts. In this sense, the security staff facilitates shouting from all around to create a frame for the environment; Jessica would later state she felt more open to shouting thinking the shouting coming from the back right was from the audience, rather than a tactically placed security staffer. Cult Status and Fandom Fan and fandom along with Rocky Horror s persona as a cult film emerge heavily from the film s characters, themes, and references just as much as it survives through fan innovations

6 such as shouts and events that occur off-screen. It is through understanding the reasons why this film has survived the ages that we find the general appeal that keeps fans coming back for more. Several attributes of the film that make it such an appealing medium for fan culture are its vivid elements of sadomasochism, egregiously eccentric characters, and can be inexpensively produced (Austin, 2006), and it greatly shows in the production at Interchangeable Parts. Cast emphasis on using similar props and costumes as shown in the film fall into excruciating detail; Tor and Ariel both lamented on how preparation the day of the show was maddening to get all the props and costumes in order. When asked on the attention to detail regarding the cast and the presentation of the show through the shadow cast, Jessica made an interesting comment on how precise props and costumes were, which added a note of realism that said that this was a serious production with people that felt serious about creating an interesting fan experience. When interviewing Tor about the relatively low attendance at the Show compared to previous weeks, he used the term recycling stage to describe the shifting numbers. This occurs when veterans of the show bring virgins to experience the show; some stay and become active participators while some leave who cannot handle the atmosphere. This theme of the old bringing in the new was echoed throughout all three interviews, as all three were invited by friends for their first time. Through this cycle, new fans are born to replace old fans that may not always get to go, allowing the popularity and notoriety of the film to continue through the years. Sexuality Rocky Horror could almost be accused of beating audience members over the head with sexuality. Sexual themes litter the aisles of the theater, promoting sexual openness, promiscuity, all while encouraging an unabashably homosexual friendly setting. It is within this sexual

7 atmosphere where few can judge and all can be as they freely choose to be without fear of being persecuted, straight, gay, or transsexual. Lamm (2008) examines the sexual appeal of the Rocky Horror Picture Show, in how the Show presents queerness not as an orientation, but as a way of being a culturally, socially, and sexually distinct outsider to normative culture. He continues by saying that because our culture is steeped in the idea that heterosexuality is normative, abnormal culture can be quite broad, encompassing a wider group that embraces the themes of sexual freedom that the Show and event handle effectively. This sexual freedom is presented rather openly at Interchangeable Parts, for example within the rules of the show where nudity is prohibited but flashing is encouraged; also it is present in the every infamous Virgin Games, which usually consist of newcomers to the show getting in front of the audience and being asked to publically strip. Even those that refuse to strip are not dwelled upon much, showing that while sexual openness is promoted, sexual reclusiveness is not ostracized. Myrick and Robbins (2010) elaborate on the fetishes of the Rocky Horror Picture Show and its position as being grounded in sadistic masculinity. They point out the broad cultural themes of gender ambiguity, marriage, the use of drag, and desire for the body of the male and about how the film limits itself to the sole domain of masculinity. They seek to prove that Rocky Horror fails to break the chain of traditional cinematic renderings of gender for women even in its extravagance. This relates well to the idea of Rocky Horror s community, in that the film, as Katovich and Kinkade (2006) put it, places typical people in atypical situations; it grounds itself in the normalcy of gender roles while maintaining its extravagant environment of sexual freedom that can draw interested people together.

8 Conclusion Perhaps the resounding theme of the Rocky Horror Picture Show is that the film is by itself is the cultural authority on what is right and wrong, with the list of wrongs being quite small. Perhaps that is the key to creating an open cultural event that can encompass multiple social groups, where a single common goal entity presents the cultural norm and those that participate are left to interpret it to whatever degree they wish; this is present elsewhere throughout society, such as sporting events and clubs where a central interest can bring multiple groups together. The Rocky Horror Picture Show may not be the most mature experience by society s standards, yet when one can ignore what society says and embrace the freedom Rocky provides, one can find a place of free will, where you don t dream it, but be it.

9 Austin, B. Works Cited 2006 Portrait of a Cult Film Audience: The Rocky Horror Picture Show. Journal of Communication, Claydon, E. Anne 2010 Masculinity and deviance in British cinema of the 1970s: Sex, Drugs and Rock n Roll in The Wicker Man, Tommy and The Rocky Horror Picture Show. In P. Newman, Don't Look Now? British Cinema in the 1970s (pp ). Intellect Ltd. Katovich, Michael, & Kinkade, Patrick 2005 TOWARD A SOCIOLOGY OF CULT FILMS: Reading Rocky Horror. The Sociological Quarterly, Lamm, Zachary 2008 The Queer Pedagogy of Dr. Frank-N-Furter. In J. Weinstock, Reading Rocky Horror: the Rocky Horror Picture Show and popular culture (pp ). New York: Palgrave MacMillan. Lewis, Lisa 1992 The Adoring Audience: Fan Culture and Popular Media. London: Routledge. Myrick, R., & Robbins, B The Function of the Fetish in The Rocky Horror Picture Show and Priscilla, Queen of the Desert. Journal of Gender Studies, Russo, Vito 1987 The celluloid closet: Homosexuality in the movies. New York: Harper and Row Publishers Inc. Sharman, Jim 1975 The Rocky Horror Picture Show