The Rocky Horror Picture Show (RHPS), a film by Richard O'Brien, is probably the longest-running release in the history of moving picture with regular screenings (The Official Fan Site) since its release in 1975. Apart from that, also the screenings itself have a notorious tradition as most of them involve what is called by their fans audience participation. That means that the spectators are expected to actively involve in the story of the film by for example dressing up like one of the characters and calling responses to the screen and by that breaking with the traditional conventions of cinema etiquettes.
Till now, research mainly investigated active audience participation as part of the so-called Rocky Horror cult but it was hardly ever studied as a phenomenon of its own taking into account theories about reception process, emotion theory and tension, a gap which this paper tries to fill. After all, active audience participation is not limited to The Rocky Horror Picture Show but can also be found in a few other films and this research can therefore also give implications for the perception and reception of films like The Room (2003) or Hedwig (2001) which screenings also involve active audience participation.
The goal of this research is therefore to historically, theoretically, analytically and empirically explore and categorize the phenomenon of active audience participation in the case of The Rocky Horror Picture Show. Specifically, it will test the hypothesis that especially for fans the screenings become a form of an event where the film itself is of secondary importance and show that active audience participation has to be considered as being part of a wider tension concept.
In particular, the research will focus on three main research questions on which the structure of this paper is based. After explaining the theoretical framework which includes definitions for the used terms and then the methodology, the first question, when, how and why the active audience participation in The Rocky Horror Picture Show evolved, will be answered. Thereafter, the function and importance of this active audience participation for the fans will be analysed. Thirdly, it will be examined to what extent active audience participation influences the perception and experience of first-time viewers of The Rocky Horror Picture Show. At the end, a short summary, general conclusions and a short discussion with suggestions for further research will be given.
Table of Contents
1. Introduction
2. Theoretical Framework
2.1 Participation Theatre
2.2 The Reception Process
2.3 The Tension Concept
3. Methodology
3.1 Historical Research
3.2 Fan Forum Analysis
3.3 Interviews
4. History of Audience Participation in The Rocky Horror Picture Show
5. Function and Importance of Audience Participation for the Fans
6. Influence on First-Time Viewers
7. Conclusion and Further Research
Research Objectives and Core Themes
The primary objective of this research is to historically, theoretically, and empirically analyze the phenomenon of active audience participation within the context of The Rocky Horror Picture Show. The study aims to categorize this behavior, explore how it evolved, determine its function for dedicated fans, and examine its impact on the perception and experience of first-time viewers, testing the hypothesis that such screenings function as a unique form of "theatrical event."
- The historical evolution of active audience participation in midnight screenings.
- The psychological and social functions of participation for the fan subculture.
- The impact of interactive elements on the reception process and viewer excitement.
- The application of tension concepts and emotion theory to theatrical situations.
- Qualitative exploration of fan forum discourse and semi-structured interviews.
Excerpt from the Book
History of Audience Participation in The Rocky Horror Picture Show
According to Devlin and Piro, in 1976 the first call back occurred at the Waverly Theater when Louis Farese Jr. was yelling „Buy an umbrella, you cheap bitch!“ when Janet is holding a newspaper over her head against the rain (Devlin 58) and “How strange was it?” as a response to the criminologist's initial speech and called it a “counterpoint dialogue” (The Official Fan Site). Over the next weeks, other people invented new lines and the ones which were good were remembered from another fan who would call it during the next screening. Two other fans attended screenings in the New York area and would spread the lines which were invented in the Waverly at the cinemas there (The Official Fan Site). However, Piro only describes his experience from the perspective of the Waverly audience and though the Waverly received most media attention (Knapp 242), spectators at other cinemas also started using call backs, props and dressed up as Hoberman and Rosenbaum explain (qtd. in Wood 157) but eventually the phenomenon of call backs “merged into a single phenomenon” (Henkin 102).
Still in 1976, there are also reports about audience members dressing up (Henkin 106). In the same year, Piro reports that some of the regular spectators at the Waverly started to spontaneously lip-sync the soundtrack when it was played before the film started and from 1977 the first props appeared, some fans started to imitate the clothing of their favourite character (The Official Fan Site) and a group started to perform a type of Rocky Horror revue before the film started which can be seen as an archetype for the following shadow casts. Sal Piro tells how he started to mimic one scene during the film in front of the screen at the Waverly and how other audience members gradually joined him.
Summary of Chapters
1. Introduction: This chapter introduces the phenomenon of active audience participation in The Rocky Horror Picture Show and outlines the research objectives, core hypothesis, and the structure of the paper.
2. Theoretical Framework: The author defines key concepts such as participation theatre, the reception process, and the tension concept, providing a theoretical foundation for analyzing the film screenings.
3. Methodology: This section details the historical research, qualitative fan forum analysis, and interview methods utilized to collect data on fan experiences and perceptions.
4. History of Audience Participation in The Rocky Horror Picture Show: This chapter traces the origins of audience participation, discussing the evolution of call backs, the introduction of props, and the emergence of shadow casts during midnight screenings.
5. Function and Importance of Audience Participation for the Fans: The author explores why fans participate, highlighting the role of the subculture as a safe, inclusive environment for identity exploration and social interaction.
6. Influence on First-Time Viewers: Based on interviews, this chapter analyzes how the anticipatory and participatory nature of the screenings influences the initial experience and excitement of first-time viewers.
7. Conclusion and Further Research: The final chapter summarizes the key findings regarding the "theatrical event" classification and suggests directions for future empirical studies.
Keywords
The Rocky Horror Picture Show, audience participation, shadow cast, midnight screenings, fan culture, theatrical event, reception theory, call backs, non-fiction mode, aesthetic mode, subculture, film studies, performance theory, identity, social interaction.
Frequently Asked Questions
What is the central focus of this research?
The research focuses on the phenomenon of active audience participation in The Rocky Horror Picture Show, exploring how and why this specific interaction between film and audience evolved and persists.
What are the primary themes examined in the paper?
Central themes include the historical development of the "Rocky Horror" cult, the role of midnight screenings, the function of participation for fan identity, and the application of theatrical tension theories to film.
What is the main research question or goal?
The goal is to historically and theoretically categorize the phenomenon of audience participation and test the hypothesis that these screenings function as an extended form of a "theatrical event" where the film itself becomes secondary.
Which methodology is applied to this study?
The study uses a qualitative approach, combining historical source analysis, investigation of fan forums, and semi-structured interviews with first-time attendees.
What topics are covered in the main body of the paper?
The main body covers the theoretical framework of reception and tension, the history of midnight screenings, an analysis of fan motivations through forums, and an empirical evaluation of first-time viewer experiences.
Which keywords define this work?
Key terms include The Rocky Horror Picture Show, audience participation, shadow cast, theatrical event, fan culture, and performance theory.
How did the author define the "tension concept" in this study?
The author extends the concept of tension to include the interaction between the non-fiction mode and the aesthetic mode, arguing that active participation causes the spectator to shift between these states during the film.
What role does the Internet play in modern audience participation?
The author concludes that the Internet has made participation more global by providing easy access to call back lists, costume tutorials, and forums, which has transformed the way fans prepare for and experience screenings.
What are the limitations regarding the interview process?
The author acknowledges that the interviews were small-scale and conducted in sub-optimal environments (like club nights rather than traditional cinemas), which limits the ability to generalize the results.
What is the significance of the "shadow cast" in this study?
The shadow cast is identified as an archetype of participation, where performers mimic the film, which reinforces the author's argument that the screening functions as an extended theatrical event.
- Quote paper
- Nora Görne (Author), 2011, Qualitative Exploration and Categorization of the Phenomenon of Active Audience Participation in "The Rocky Horror Picture Show", Munich, GRIN Verlag, https://www.hausarbeiten.de/document/184345
