I want to start off by taking what may be a radical position on how I am conceptualizing film or really any media text. I’m going to take the position of stripping these texts of their accoutrements, designer labels like “entertainment” versus “new” or “high culture” versus “low culture,” and instead I am going to focus on an underlying genetic structure: the text as an information source, whereby the information could be put to any use the user requires of it. With that being said (and understanding I may have to defend, amend, and possibly sublate my position), I am interested in how the user of the text (in this case, the spectator of the film) understands and uses the text.
I state all of this in order to interrogate how the Western spectator may understand the information presented in a text like Ugetsu, which relies on Japanese conventions and intertexuality in creating the narrative and the structure of the portrayal.
For many fans, the return of Doctor Who to BBC had its highlights during the David Tennant years as the 10th Doctor. During his reign, he was consistently voted highly in public polls on favorite actor, best actor, and sexiest actor by British fans, and by fans from around the world. 10Rose was a favorite shipping by fans in their discussions and fan productions. Even after Tennant was replaced by Matt Smith, 10Rose shippers continue to focus on stories about the 10th Doctor and his companion Rose Tyler. I count myself in that group, having written my own 10Rose story.