Cult film
A cult film or cult movie, also commonly referred to as a cult classic, is a
Cult films trace their origin back to controversial and suppressed films kept alive by dedicated fans. In some cases, reclaimed or rediscovered films have acquired cult followings decades after their original release, occasionally for their camp value. Other cult films have since become well-respected or reassessed as classics; there is debate as to whether these popular and accepted films are still cult films. After failing at the cinema, some cult films have become regular fixtures on cable television or profitable sellers on home video. Others have inspired their own film festivals. Cult films can both appeal to specific subcultures and form their own subcultures. Other media that reference cult films can easily identify which demographics they desire to attract and offer savvy fans an opportunity to demonstrate their knowledge.
Cult films frequently break cultural taboos, and many feature excessive displays of violence, gore, sexuality, profanity, or combinations thereof. This can lead to controversy, censorship, and outright bans; less transgressive films may attract similar amounts of controversy when critics call them frivolous or incompetent. Films that fail to attract requisite amounts of controversy may face resistance when labeled as cult films. Mainstream films and big budget blockbusters have attracted cult followings similar to more underground and lesser known films; fans of these films often emphasize the films' niche appeal and reject the more popular aspects. Fans who like the films for the wrong reasons, such as perceived elements that represent mainstream appeal and marketing, will often be ostracized or ridiculed. Likewise, fans who stray from accepted subcultural scripts may experience similar rejection.
Since the late 1970s, cult films have become increasingly popular. Films that once would have been limited to obscure cult followings are now capable of breaking into the mainstream, and showings of cult films have proved to be a profitable business venture. Overly broad usage of the term has resulted in controversy, as purists state it has become a meaningless descriptor applied to any film that is the slightest bit weird or unconventional; others accuse
Definition
What is a cult film? A cult film is one that has a passionate following, but does not appeal to everybody.
A cult film is any film that has a
In 2008,
Writing in Defining Cult Movies, Jancovich et al. quote academic Jeffrey Sconce, who defines cult films in terms of paracinema, marginal films that exist outside critical and cultural acceptance: everything from exploitation to beach party musicals to softcore pornography. However, they reject cult films as having a single unifying feature; instead, they state that cult films are united in their "subcultural ideology" and opposition to mainstream tastes, itself a vague and undefinable term. Cult followings themselves can range from adoration to contempt, and they have little in common except for their celebration of nonconformity – even the bad films ridiculed by fans are artistically nonconformist, albeit unintentionally. At the same time, they state that bourgeois, masculine tastes are frequently reinforced, which makes cult films more of an internal conflict within the bourgeoisie, rather than a rebellion against it. This results in an anti-academic bias despite the use of formal methodologies, such as defamiliarization.[17] This contradiction exists in many subcultures, especially those dependent on defining themselves in terms of opposition to the mainstream. This nonconformity is eventually co-opted by the dominant forces, such as Hollywood, and marketed to the mainstream.[18] Academic Xavier Mendik also defines cult films as opposing the mainstream and further proposes that films can become cult by virtue of their genre or content, especially if it is transgressive. Due to their rejection of mainstream appeal, Mendik says cult films can be more creative and political; times of relative political instability produce more interesting films.[19][dubious ]
General overview
Cult films have existed since the early days of cinema. Film critic Harry Allan Potamkin traces them back to 1910s France and the reception of
Modern cult films grew from 1960s
Releases from major studios – such as
In a global context, popularity can vary widely by territory, especially with regard to limited releases. Mad Max (1979) was an international hit – except in America[35] where it became an obscure cult favorite, ignored by critics and available for years only in a dubbed version though it earned over $100M internationally.[36][37] Foreign cinema can put a different spin on popular genres, such as Japanese horror, which was initially a cult favorite in America.[38] Asian imports to the West are often marketed as exotic cult films and of interchangeable national identity, which academic Chi-Yun Shin criticizes as reductive.[39] Foreign influence can affect fan response, especially on genres tied to a national identity; when they become more global in scope, questions of authenticity may arise.[40]: 157–160 Filmmakers and films ignored in their own country can become the objects of cult adoration in another, producing perplexed reactions in their native country.[41] Cult films can also establish an early viability for more mainstream films both for filmmakers and national cinema. The early cult horror films of Peter Jackson were so strongly associated with his homeland that they affected the international reputation of New Zealand and its cinema. As more artistic films emerged, New Zealand was perceived as a legitimate competitor to Hollywood, which mirrored Jackson's career trajectory. Heavenly Creatures (1994) acquired its own cult following, became a part of New Zealand's national identity, and paved the way for big-budget, Hollywood-style epics, such as Jackson's The Lord of the Rings trilogy.[42]
Mathijs states that cult films and fandom frequently involve nontraditional elements of time and time management. Fans will often watch films obsessively, an activity that is viewed by the mainstream as wasting time yet can be seen as resisting the commodification of leisure time. They may also watch films idiosyncratically: sped up, slowed down, frequently paused, or at odd hours. Cult films themselves subvert traditional views of time – time travel, non-linear narratives, and ambiguous establishments of time are all popular. Mathijs also identifies specific cult film viewing habits, such as viewing horror films on Halloween, sentimental melodrama on Christmas, and romantic films on Valentine's Day. These films are often viewed as marathons where fans can gorge themselves on their favorites.
Despite their oppositional nature, cult films can produce celebrities. Like cult films themselves, authenticity is an important aspect of their popularity.[46] Actors can become typecast as they become strongly associated with such iconic roles. Tim Curry, despite his acknowledged range as an actor, found casting difficult after he achieved fame in The Rocky Horror Picture Show. Even when discussing unrelated projects, interviewers frequently bring up the role, which causes him to tire of discussing it.[47] Mary Woronov, known for her transgressive roles in cult films, eventually transitioned to mainstream films. She was expected to recreate the transgressive elements of her cult films within the confines of mainstream cinema. Instead of the complex gender deconstructions of her Andy Warhol films, she became typecast as a lesbian or domineering woman.[48] Sylvia Kristel, after starring in Emmanuelle (1974), found herself highly associated with the film and the sexual liberation of the 1970s. Caught between the transgressive elements of her cult film and the mainstream appeal of soft-core pornography, she was unable to work in anything but exploitation films and Emmanuelle sequels. Despite her immense popularity and cult following, she would rate only a footnote in most histories of European cinema if she was even mentioned.[49] Similarly, Chloë Sevigny has struggled with her reputation as a cult independent film star famous for her daring roles in transgressive films.[50] Cult films can also trap directors. Leonard Kastle, who directed The Honeymoon Killers (1969), never directed another film again. Despite his cult following, which included François Truffaut, he was unable to find financing for any of his other screenplays.[51] Qualities that bring cult films to prominence – such as an uncompromising, unorthodox vision – caused Alejandro Jodorowsky to languish in obscurity for years.[52]
Transgression and censorship
Transgressive films as a distinct artistic movement began in the 1970s. Unconcerned with genre distinctions, they drew inspiration equally from the nonconformity of European art cinema and experimental film, the gritty subject matter of Italian neorealism, and the shocking images of 1960s exploitation. Some used hardcore pornography and horror, occasionally at the same time. In the 1980s, filmmaker Nick Zedd identified this movement as the Cinema of Transgression and later wrote a manifesto. Popular in midnight showings, they were mainly limited to large urban areas, which led academic Joan Hawkins to label them as "downtown culture". These films acquired a legendary reputation as they were discussed and debated in alternative weeklies, such as The Village Voice. Home video would finally allow general audiences to see them, which gave many people their first taste of underground film.[53]: 224–230 Ernest Mathijs says that cult films often disrupt viewer expectations, such as giving characters transgressive motivations or focusing attention on elements outside the film.[54] Cult films can also transgress national stereotypes and genre conventions, such as Battle Royale (2000), which broke many rules of teenage slasher films.[55] The reverse – when films based on cult properties lose their transgressive edge – can result in derision and rejection by fans.[56] Audience participation itself can be transgressive, such as breaking long-standing taboos against talking during films and throwing things at the screen.[57]: 197
According to Mathijs, critical reception is important to a film's perception as cult, through topicality and controversy. Topicality, which can be regional (such as objection to government funding of the film) or critical (such as philosophical objections to the themes), enables attention and a contextual response. Cultural topics make the film relevant and can lead to controversy, such as a
Academic Peter Hutchings, noting the many definitions of a cult film that require transgressive elements, states that cult films are known in part for their excesses. Both subject matter and its depiction are portrayed in extreme ways that break taboos of good taste and aesthetic norms. Violence, gore, sexual perversity, and even the music can be pushed to stylistic excess far beyond that allowed by mainstream cinema. Film censorship can make these films obscure and difficult to find, common criteria used to define cult films. Despite this, these films remain well-known and prized among collectors. Fans will occasionally express frustration with dismissive critics and conventional analysis, which they believe marginalizes and misinterprets paracinema.[61]: 131–134 In marketing these films, young men are predominantly targeted.[39] Horror films in particular can draw fans who seek the most extreme films.[60] Audiences can also ironically latch on to offensive themes, such as misogyny,[62] using these films as catharsis for the things that they hate most in life.[63] Exploitative, transgressive elements can be pushed to excessive extremes for both humor and satire. Frank Henenlotter faced censorship and ridicule, but he found acceptance among audiences receptive to themes that Hollywood was reluctant to touch, such as violence, drug addiction, and misogyny.[64] Lloyd Kaufman sees his films' political statements as more populist and authentic than the hypocrisy of mainstream films and celebrities. Despite featuring an abundance of fake blood, vomit, and diarrhea, Kaufman's films have attracted positive attention from critics and academics.[65] Excess can also exist as camp, such as films that highlight the excesses of 1980s fashion and commercialism.[66]: 19–20
Films that are influenced by unpopular styles or genres can become cult films. Director
The transgressive nature of cult films can lead to their censorship. During the 1970s and early 1980s, a wave of explicit, graphic exploitation films caused controversy. Called "
Academics have written of how transgressive themes in cult films can be regressive. David Church and Chuck Kleinhans describe an uncritical celebration of transgressive themes in cult films, including misogyny and racism.
Subcultural appeal and fandom
Cult films can be used to help define or create groups as a form of
A film can become the object of a cult following within a particular region or culture if it has unusual significance.
Matt Hills' concept of the "cult blockbuster" involves cult followings inside larger, mainstream films. Although these are big budget, mainstream films, they still attract cult followings. The cult fans differentiate themselves from ordinary fans in several ways: longstanding devotion to the film, distinctive interpretations, and
Fans, in response to the popularity of these blockbusters, will claim elements for themselves while rejecting others. For example, in the Star Wars film series, mainstream criticism of Jar Jar Binks focused on racial stereotyping; although cult film fans will use that to bolster their arguments, he is rejected because he represents mainstream appeal and marketing.[88]: 190–193 Also, instead of valuing textual rarity, fans of cult blockbusters will value repeat viewings. They may also engage in behaviors more traditional for fans of cult television and other serial media, as cult blockbusters are often franchised, preconceived as a film series, or both.[9] To reduce mainstream accessibility, a film series can be self-reflexive and full of in-jokes that only longtime fans can understand.[97] Mainstream critics may ridicule commercially successful directors of cult blockbusters, such as James Cameron, Michael Bay, and Luc Besson, whose films have been called simplistic. This critical backlash may serve to embellish the filmmakers' reception as cult auteurs. In the same way, critics may ridicule fans of cult blockbusters as immature or shallow.[102]
Cult films can create their own subculture. Rocky Horror, originally made to exploit the popularity of
Like cult films themselves, magazines and websites dedicated to cult films revel in their self-conscious offensiveness. They maintain a sense of exclusivity by offending mainstream audiences with misogyny, gore, and racism. Obsessive trivia can be used to bore mainstream audiences while building up subcultural capital. Specialist stores on the fringes of society (or websites which prominently partner with hardcore pornographic sites) can be used to reinforce the outsider nature of cult film fandom, especially when they use erotic or gory imagery.
Types
"So bad it's good"
The critic
Camp and guilty pleasures
Chuck Kleinhans states that the difference between a guilty pleasure and a cult film can be as simple as the number of fans; David Church raises the question of how many people it takes to form a cult following, especially now that home video makes fans difficult to count.
Nostalgia
According to academic Brigid Cherry,
Midnight movies
Author Tomas Crowder-Taraborrelli describes midnight movies as a reaction against the political and cultural conservatism in America,[127]: 27 and Joan Hawkins identifies the movement as running the gamut from anarchist to libertarian, united in their anti-establishment attitude and punk aesthetic.[53]: 223 These films are resistant to simple categorization and are defined by the fanaticism and ritualistic behaviors of their audiences. Midnight movies require a night life and an audience willing to invest themselves actively.[127]: 27–30 Hawkins states that these films took a rather bleak point of view due to the living conditions of the artists and the economic prospects of the 1970s. Like the surrealists and dadaists, they not only satirically attacked society but also the very structure of film – a counter-cinema that deconstructs narrative and traditional processes.[53]: 224–226 In the late 1980s and 1990s, midnight movies transitioned from underground showings to home video viewings; eventually, a desire for community brought a resurgence, and The Big Lebowski kick-started a new generation. Demographics shifted, and more hip and mainstream audiences were drawn to them. Although studios expressed skepticism, large audiences were drawn to box-office flops, such as Donnie Darko (2001), The Warriors (1979) and Office Space (1999).[128] Modern midnight movies retain their popularity and have been strongly diverging from mainstream films shown at midnight. Mainstream cinemas, eager to disassociate themselves from negative associations and increase profits, have begun abandoning midnight screenings. Although classic midnight movies have dropped off in popularity, they still bring reliable crowds.[129]
Art and exploitation
Although seemingly at odds with each other, art and exploitation films are frequently treated as equal and interchangeable in cult fandom, listed alongside each other and described in similar terms: their ability to provoke a response. The most exploitative aspects of art films are thus played up and their academic recognition ignored.[130] This flattening of culture follows the popularity of post-structuralism, which rejects a hierarchy of artistic merit and equates exploitation and art.[23]: 202–203 Mathijs and Sexton state that although cult films are not synonymous with exploitation, as is occasionally assumed, this is a key component; they write that exploitation, which exists on the fringes of the mainstream and deals with taboo subjects, is well-suited for cult followings.[131] Academic David Andrews writes that cult softcore films are "the most masculinized, youth-oriented, populist, and openly pornographic softcore area."[132] The sexploitation films of Russ Meyer were among the first to abandon all hypocritical pretenses of morality and were technically proficient enough to gain a cult following. His persistent vision saw him received as an auteur worthy of academic study; director John Waters attributes this to Meyer's ability to create complicated, sexually charged films without resorting to explicit sex.[82]: 5–7, 14 Myrna Oliver described Doris Wishman's exploitation films as "crass, coarse, and camp ... perfect fodder for a cult following."[133] "Sick films", the most disturbing and graphically transgressive films, have their own distinct cult following; these films transcend their roots in exploitation, horror, and art films.[134] In 1960s and 1970s America, exploitation and art films shared audiences and marketing, especially in New York City's grindhouse cinemas.[23]: 219–220
B and genre films
Mathijs and Sexton state that
Animation
Phil Hoad of
Nonfiction
Sensationalistic documentaries called mondo films replicate the most shocking and transgressive elements of exploitation films. They are usually modeled after "sick films" and cover similar subject matter.[134] In The Cult Film Reader, academics Mathijs and Mendik write that these documentaries often present non-Western societies as "stereotypically mysterious, seductive, immoral, deceptive, barbaric or savage".[152] Though they can be interpreted as racist, Mathijs and Mendik state that they also "exhibit a liberal attitude towards the breaking of cultural taboos".[152] Mondo films like Faces of Death mix real and fake footage freely, and they gain their cult following through the outrage and debate over authenticity that results.[153] Like "so bad it's good" cult films, old propaganda and government hygiene films may be enjoyed ironically by more modern audiences for the camp value of the outdated themes and outlandish claims made about perceived social threats, such as drug use.[17] Academic Barry K. Grant states that Frank Capra's Why We Fight World War II propaganda films are explicitly not cult, because they are "slickly made and have proven their ability to persuade an audience."[154] The sponsored film Mr. B Natural became a cult hit when it was broadcast on the satirical television show Mystery Science Theater 3000;[155] cast member Trace Beaulieu cited these educational shorts as his favorite to mock on the show.[156] Mark Jancovich states that cult audiences are drawn to these films because of their "very banality or incoherence of their political positions", unlike traditional cult films, which achieve popularity through auteurist radicalism.[157]
Mainstream popularity
Mark Shiel explains the rising popularity of cult films as an attempt by cinephiles and scholars to escape the oppressive conformity and mainstream appeal of even independent film, as well as a lack of condescension in both critics and the films;[12] Academic Donna de Ville says it is a chance to subvert the dominance of academics and cinephiles.[18] According to Xavier Mendik, "academics have been really interested in cult movies for quite a while now." Mendik has sought to bring together academic interest and fandom through Cine-Excess, a film festival.[19] I. Q. Hunter states that "it's much easier to be a cultist now, but it is also rather more inconsequential."[15] Citing the mainstream availability of Cannibal Holocaust, Jeffrey Sconce rejects definitions of cult films based on controversy and excess, as they've now become meaningless.[158] Cult films have influenced such diverse industries as cosmetics,[159] music videos,[85] and fashion.[160] Cult films have shown up in less expected places; as a sign of his popularity, a bronze statue of Ed Wood has been proposed in his hometown,[161] and L'Osservatore Romano, the official newspaper of the Holy See, has courted controversy for its endorsement of cult films and pop culture.[162] When cities attempt to renovate neighborhoods, fans have called attempts to demolish iconic settings from cult films "cultural vandalism".[163] Cult films can also drive tourism,[164] even when it is unwanted.[165] From Latin America, Alejandro Jodorowsky's film El Topo (1970) has attracted attention of rock musicians such as John Lennon, Mick Jagger, and Bob Dylan.[166]
As far back as the 1970s,
As major Hollywood studios and audiences both become savvy to cult films, productions once limited to cult appeal have instead become popular hits, and cult directors have become hot properties known for more mainstream and accessible films.
Academic Bob Batchelor, writing in Cult Pop Culture, states that the internet has democratized cult culture and destroyed the line between cult and mainstream. Fans of even the most obscure films can communicate online with each other in vibrant communities.
I. Q. Hunter identifies a prefabricated cult film style which includes "deliberately, insulting bad films", "slick exercises in dysfunction and alienation", and mainstream films "that sell themselves as worth obsessing over".[15] Writing for NPR, Scott Tobias states that Don Coscarelli, whose previous films effortlessly attracted cult followings, has drifted into this realm. Tobias criticizes Coscarelli as trying too hard to appeal to cult audiences and sacrificing internal consistency for calculated quirkiness.[187] Influenced by the successful online hype of The Blair Witch Project (1999), other films have attempted to draw online cult fandom with the use of prefabricated cult appeal. Snakes on a Plane (2006) is an example that attracted massive attention from curious fans. Uniquely, its cult following preceded the film's release and included speculative parodies of what fans imagined the film might be. This reached the point of convergence culture when fan speculation began to impact on the film's production.[188] Although it was proclaimed a cult film and major game-changer before it was released,[189] it failed to win either mainstream audiences or maintain its cult following. In retrospect, critic Spencer Kornhaber would call it a serendipitous novelty and a footnote to a "more naive era of the Internet".[190] However, it became influential in both marketing[191] and titling.[192] This trend of "instant cult classics" which are hailed yet fail to attain a lasting following is described by Matt Singer, who states that the phrase is an oxymoron.[193]
Cult films are often approached in terms of
See also
- Cult video game
- B movie
- Sleeper hit
- List of cult films
- Mockbuster
References
- ^ a b Palopoli, Steve (May 31, 2006). "Cult Leader: "Plan 9 from Outer Space"". Metro Silicon Valley. Retrieved May 3, 2013.
- ^ Cox, Alex; Jones, Nick (1990). Moviedrome: The Guide (PDF). London: BBC. Archived from the original (PDF) on August 21, 2018. Retrieved June 13, 2019.
- ^ "Moviedrome - Wicker Man - Alex Cox intro". YouTube. Archived from the original on October 30, 2021. Retrieved July 16, 2016.
- ^ BBC News Magazine. Retrieved April 17, 2013.
- ^ a b c Dowling, Stephen (October 17, 2003). "When a Cult Film's Not a Cult Film". BBC News. Retrieved April 19, 2013.
- ^ JSTOR 41690732.
- ^ Reed, Jim (April 10, 2014). "Film Scene: Lucas offers an odd one-two film punch". Savannah Morning News. Retrieved May 8, 2014.
- ^ Aftab, Kaleem (December 10, 2010). "Scholar Devises Equation for Determining a Cult Film". The Independent. Retrieved April 20, 2013.
- ^ a b Pearson, Roberta E. (2003). "Kings of Infinite Space: Cult Television Characters and Narrative Possibilities". Scope (Nov 2003). Archived from the original on June 23, 2013. Retrieved July 1, 2013.
- ^ a b Palopoli, Steve (July 25, 2002). "The Last Cult Picture Show". Metro Silicon Valley. Retrieved April 27, 2013.
- Cineaste, Winter 2008, 34 (1), cited by Dan Bentley-Baker. What Is Cult Cinema?. Bright Lights Film Journal. Retrieved 2013-04-27.
- ^ ISSN 1465-9166. Archived from the originalon June 23, 2013. Retrieved May 13, 2013.
- ^ ISBN 978-0-7190-6631-3.
- ^ Chopra‑Gant, Mike (2010). "Dirty Movies, or: Why Film Scholars Should Stop Worrying About Citizen Kane and Learn to Love Bad Films" (PDF). Participations. 7 (2). Archived (PDF) from the original on October 9, 2022. Retrieved July 3, 2013.
- ^ Cineaste. 34 (1). Archived from the originalon August 28, 2013. Retrieved 2013-05-09.
- ^ Anderson, Jason (July 22, 2010). "Cult horror House finally finds home in Toronto". Toronto Star. Retrieved May 19, 2013.
- ^ ISBN 978-0-7190-6631-3.
- ^ ISSN 1465-9166. Archived from the originalon June 22, 2013. Retrieved June 4, 2013.
- ^ a b Sélavy, Virginie (May 1, 2008). "Interview with Xavier Mendik". Electric Sheep. Retrieved June 28, 2013.
- ISBN 978-0-335-21923-0.
- ^ Hall, Phil (October 26, 2007). "The Bootleg Files: "Nosferatu"". Film Threat. Retrieved April 29, 2013.
- ^ Ventura, Elbert (November 9, 2010). "The Greatest One-Off in Movie History". Slate. Retrieved April 24, 2013.
- ^ ISBN 978-0-7190-6631-3.
- ^ Patterson, John (March 1, 2007). "The Weirdo Element". The Guardian. Retrieved April 27, 2013.
- ISBN 978-1-4051-7374-2.
- ISBN 978-0-335-21923-0.
- ISBN 978-1-4443-9643-0.
- ^ a b Kirkland, Bruce (April 8, 2013). "Cult Movies Are All But Dead". Toronto Sun. Retrieved April 27, 2013.
- ^ Pevere, Geoff (May 13, 2013). "Room 237, The Shining and Our Obsession with Cult Films". The Globe and Mail. Retrieved May 14, 2013.
- ^ Browne, David (September 10, 1993). "Why The Beastmaster?". Entertainment Weekly. No. 187. Retrieved November 8, 2019.
- ^ Hicks, Chris (August 28, 1991). ""Beastmaster" Actor Has Kept Busy". Deseret News. Archived from the original on May 24, 2018. Retrieved May 6, 2013.
- ^ Klinger, Barbara. "Becoming Cult: The Big Lebowski, Replay Culture and Male Fans" (PDF). University of Oregon. Archived (PDF) from the original on October 9, 2022. Retrieved May 11, 2013.
- ^ Chopra, Anupama (January 21, 2011). "Newswallah: Bollywood Edition". The New York Times. Retrieved June 7, 2014.
- ISBN 978-1-4443-9642-3.
- ^ Smith, Richard Harland. "Mad Max". Turner Classic Movies. Retrieved May 17, 2013.
- ^ Berardinelli, James. "Mad Max". Reelviews. Retrieved May 17, 2013.
- ^ Barra, Allen (August 15, 1999). "FILM; A Road Warrior Is Still on a Roll". The New York Times. Retrieved May 17, 2013.
- ^ "Hollywood Takes a Chance on J-Horror Films". The Baltimore Sun. Knight Ridder. June 23, 2006. Archived from the original on February 2, 2014. Retrieved May 20, 2013.
- ^ a b c d e Shin, Chi-Yun (2008). "Art of Branding: Tartan "Asia Extreme" Films". Jump Cut (50). Retrieved May 22, 2013.
- ^ ISBN 978-0-7190-6631-3.
- ^ Stanley, Alessandra (October 21, 1990). "Can 50 Million Frenchmen Be Wrong?". The New York Times. Retrieved June 3, 2013.
- ISBN 978-0-7190-6631-3.
- ^ Mathijs, Ernest (March 29, 2010). "Time Wasted". Flow. 11 (10). Retrieved June 19, 2013.
- ^ Mathijs, Ernest (January 8, 2010). "Television and the Yuletide Cult". Flow. 11 (5). Retrieved June 19, 2013.
- ^ Mathijs, Ernest (October 30, 2009). "Threat or Treat: Film, Television, and the Ritual of Halloween". Flow. 11 (1). Retrieved June 19, 2013.
- ISBN 978-1-137-29177-6.
- ^ Davis, Sandi (December 20, 2002). "Animated Roles Help Actor Skip Stereotype". The Oklahoman. Retrieved June 4, 2013.
- ^ Harris, Will (September 7, 2012). "Cult Film Staple Mary Woronov on Andy Warhol, Roger Corman, and Being Typecast". The A.V. Club. Retrieved June 5, 2013.
- ISBN 978-0-230-29369-4.
- ISBN 978-0-230-29369-4.
- ^ Grimes, William (May 21, 2011). "Leonard Kastle, Composer and Filmmaker, Dies at 82". The New York Times. Archived from the original on January 1, 2022. Retrieved June 14, 2013.
- ^ Rose, Steve (November 13, 2009). "Lennon, Manson and Me: the Psychedelic Cinema of Alejandro Jodorowsky". The Guardian. Retrieved June 14, 2013.
- ^ ISBN 978-0-7190-6631-3.
- ^ Hill, Mary Frances (July 20, 2008). "Darkness rules for Batman fans in Vancouver". Vancouver Sun. Archived from the original on April 16, 2016. Retrieved 2016-03-29.
- ^ Allsop, Samara L. (2002). "Battle Royale – Challenging Global Stereotypes Within the Constructs of a Contemporary Japanese Slasher Film". The Film Journal (7). Archived from the original on June 29, 2013. Retrieved June 24, 2013.
- ^ Stadler, Jane (September 29, 2007). "The Cult of Aeon Flux". Flow. 6 (7). Retrieved June 21, 2013.
- ^ a b c d McCulloch, Richard (2011). "'Most people bring their own spoons': The Room's Participatory Audiences as Comedy Mediators" (PDF). Participations. 8 (2). Archived (PDF) from the original on October 9, 2022. Retrieved June 28, 2013.
- ISBN 978-0-7190-6631-3.
- ^ Fidler, Tristan (2009). Cash, Conall; Snow, Samuel Cuff (eds.). ""They Don't Call 'em Exploitation Movies for Nothing!": Joe Bob Briggs and the Critical Commentary on I Spit on Your Grave" (PDF). Colloquy (18). Monash University. Archived (PDF) from the original on October 9, 2022. Retrieved June 23, 2013.
- ^ a b c d e f g Church, David (2009). "Of Manias, Shit, and Blood: The Reception of Salò as a 'Sick Film'". Participations. 6 (2). Retrieved July 6, 2013.
- ^ ISBN 978-0-7190-6631-3.
- ^ Jupp, Emily (March 1, 2013). "Terrible Acting, Flimsy Sets, Wanton Misogyny ... Tommy Wiseau's The Room Becomes a Cult Hit". The Independent. Retrieved May 19, 2013.
- ^ Ranade, Raj (February 5, 2013). "A Really Bad Movie Becomes a Cult Classic". WTIC-TV. Tribune Broadcasting. Retrieved November 22, 2014.
- ^ Bett, Alan (May 10, 2013). "Exploitation: An Interview with Frank Henenlotter". The Skinny. Retrieved June 15, 2013.
- ^ O'Neal, Sean (May 7, 2008). "Interview: Lloyd Kaufman". The A.V. Club. Retrieved June 15, 2013.
- ^ ISBN 978-0-313-35781-7.
- ^ Kehr, Dave (January 27, 2012). "Buxom, Lustful and Thirsty for Blood". The New York Times. Archived from the original on January 1, 2022. Retrieved May 17, 2013.
- ^ Fitz-Gerald, Sean (April 2, 2013). "Cult Filmmaker Jess Franco Dies at 82". Variety. Retrieved May 17, 2013.
- ISBN 978-0-7190-6631-3.
- ^ Levy, Emanuel (January 2013). "Almodovar: What Makes Pedro Run? Part Two". EmanuelLevy.com. Retrieved May 21, 2013.
- ^ Elgrably, Jordan (January 19, 1992). "Directors Anti-Macho Man". Los Angeles Times. Retrieved May 21, 2013.
- ^ Holmes, Andrew (July 4, 2002). "Let There Be Blood". The Guardian. Retrieved June 8, 2013.
- ^ Kemp, Stuart (December 10, 2012). "BFI to Screen Uncut Versions of Cult Films as British Censor Turns 100". The Hollywood Reporter. Retrieved May 14, 2013.
- ^ McNary, Dave (February 1, 2007). "Relevant Nabs 'Cannibal'". Variety. Retrieved June 8, 2013.
- ^ Masters, Tim (May 26, 2011). "'Video Nasty' Director Deodato Debates Censorship". BBC News. Retrieved June 15, 2013.
- ^ Erickson, Steve (March 20, 2012). "How 'Battle Royale' Became a Cult Hit and Capitalized on 'The Hunger Games'". The Atlantic. Retrieved May 14, 2013.
- ^ "Russell's Skills Prove a Hit with Cinema Fans". Ilkeston Advertiser. June 24, 2013. Retrieved June 24, 2013.
- ^ Imanjaya, Ekky (2009). Cash, Conall; Snow, Samuel Cuff (eds.). "The Other Side of Indonesia: New Order's Indonesian Exploitation Cinema as Cult Films" (PDF). Colloquy (18). Monash University. Archived (PDF) from the original on October 9, 2022. Retrieved June 23, 2013.
- ISBN 978-0-7190-6631-3.
- ISBN 978-0-7190-6631-3.
- ISBN 978-0-7190-6631-3.
- ^ ISBN 978-0-313-35781-7.
- ISBN 978-1-84545-855-3. Retrieved June 25, 2013.
- ISBN 978-1-4051-7374-2.
- ^ ISBN 978-0-9564641-0-1. Archived from the originalon October 4, 2011. Retrieved May 22, 2013.
- ISBN 978-0-7864-5327-6.
- ^ ISBN 978-1-4462-0682-9.
- ^ ISBN 978-0-7190-6631-3.
- ^ Egan, Kate (2003). Hills, Matt; Jones, Sara Gwenllian (eds.). "The Amateur Historian and the Electronic Archive: Identity, Power and the Function of Lists, Facts and Memories on "Video Nasty"-Themed Websites" (PDF). Intensities (3). Archived (PDF) from the original on October 9, 2022. Retrieved June 25, 2013.
- ^ Fetters, Ashley (March 6, 2013). "Still Abiding After 15 Years: The Laid-Back World of 'Big Lebowski' Worship". The Atlantic. Retrieved May 13, 2013.
- ^ Roberts, Martin (April 2, 2009). ""I'm Riding a Panda!": Japanese Cult Media and Hipster Cosmopolitanism". Flow. 9 (10). Retrieved June 19, 2013.
- ^ "Sir Norman Wisdom". Telegraph. London. October 5, 2010. Archived from the original on January 11, 2022. Retrieved October 6, 2010.
- ^ "Norman Wisdom Mobbed by Albanian Fans on 1995 Trip". BBC News. October 5, 2010. Retrieved October 11, 2010.
- ISBN 978-0-313-35780-0.
- ISBN 0-440-01626-6.
- BBC News Magazine. Retrieved May 6, 2013.
- ^ ISSN 1465-9166. Archived from the originalon June 23, 2013. Retrieved May 19, 2013.
- ISBN 978-1-904764-82-3.
- ^ a b Pett, Emma (2013). "'Hey! Hey! I've seen this one, I've seen this one. It's a classic': Nostalgia, Repeat Viewing and Cult Performance in Back to the Future" (PDF). Participations. 10 (1). Archived (PDF) from the original on October 9, 2022. Retrieved July 1, 2013.
- ISBN 978-0-230-29369-4.
- ISBN 978-1-4051-7374-2. Retrieved May 23, 2013.
- ISBN 978-1-4051-7374-2.
- ISBN 978-0-335-21923-0.
- ISBN 978-1-4051-7374-2.
- ^ QueenB. "MOMMIE DEAREST – Midnight Screening of 1981 Cult Classic! « Long-standing Beach Cinematheque". Lbcinema.org. Archived from the original on December 3, 2013. Retrieved January 12, 2014.
- ^ Collis, Clark (December 12, 2008). "The Crazy Cult of "The Room"". Entertainment Weekly. No. 1026. Retrieved November 8, 2019.
- ^ Judell, Brandon (August 4, 2015). "'Who Killed Captain Alex?': The Best Worst Film of 2010, Uganda-Style". Huffington Post. Retrieved January 6, 2019.
- ^ Heitmueller, Karl (April 3, 2007). "Rewind: Major-Studio Flicks That Belong In The Grind House". MTV. Retrieved May 4, 2013.
- ^ deNobel, Jacob (May 26, 2013). "Good Bad Taste: 'Rocky Horror Picture Show' and the So Bad It's Good Fallacy". Carroll County Times. Archived from the original on November 22, 2014. Retrieved May 28, 2013.
- Wired. Retrieved May 19, 2013.
- ^ Doerksen, Cliff (August 2, 2010). ""So Bad It's Good" Isn't All That Bad". Chicago Reader. Retrieved May 19, 2013.
- ^ Anderman, Joan (June 19, 2010). "Cult film Is Good Business at Coolidge Corner Theatre". The Boston Globe. Retrieved May 31, 2013.
- National Public Radio. Retrieved June 16, 2013.
- ^ Adams, Sam (May 14, 2010). ""Best Worst Movie": The Cult of the Truly Bad Film". Slate. Retrieved June 16, 2013.
- ^ Paris, Robyn (April 30, 2012). "How 'The Room' Turned Me Into a Cult Movie 'Star'". Backstage. Retrieved June 16, 2013.
- ISBN 978-0-230-29369-4.
- ISBN 978-0-313-35780-0.
- ^ Smith, Mark Chalon (April 2, 1992). "FILM: 'Pink Flamingos': Cult of Bad Taste". Los Angeles Times. Retrieved June 16, 2013.
- Project MUSE.
- ISBN 978-0-313-35780-0.
- ^ Termen, Amanda (March 8, 2006). "It's the Site of the Living Dead, as Cult Films Hit Web". CNET. Retrieved August 1, 2013.
- ^ Beale, Lewis (June 19, 2006). "John Hughes Versus the Vampires: The Dilemma of the Midnight Movie". The New York Times. Retrieved August 1, 2013.
- ISBN 978-1-4443-9643-0. Retrieved August 1, 2013.
- Michigan Daily. Retrieved August 1, 2013.
- ^ Ehenulo, Kelechi (August 13, 2020). "Scott Pilgrim vs the World: 10 years of a cult classic". Archived from the original on May 7, 2021. Retrieved May 1, 2021.
- New York Sun. Retrieved August 1, 2013.
- ^ ISBN 978-0-313-35781-7.
- ^ Palopoli, Steve (September 17, 2003). "Cult Rapture". Metro Silicon Valley. Retrieved July 28, 2013.
- ^ Olsen, Mark; Kaufman, Amy (May 4, 2013). "Moviegoing at the Midnight Hour". Los Angeles Times. Retrieved July 28, 2013.
- ISBN 0-8166-3413-0.
- ^ ISBN 978-1-4443-9643-0.
- ISBN 978-0-8142-1022-2.
- ^ Oliver, Myrna (August 21, 2002). "Doris Wishman; Exploitation Film Director, Cult Favorite". Los Angeles Times. Retrieved July 29, 2013.
- ^ ISBN 978-1-4443-9642-3.
- ISBN 978-1-4051-7374-2.
- ^ Reljic, Teodor (May 8, 2014). "Are 'cult' films a possibility for Malta?". Malta Today. Retrieved May 8, 2014.
- ISBN 978-1-84520-795-3.
- ISBN 978-1-4443-9642-3.
- ^ Rottenberg, Josh (October 7, 2011). "The Princess Bride cast, director talk inconceivable(!) cult hit". Entertainment Weekly. Retrieved November 9, 2019.
- ^ Pevere, Geoff (April 18, 2013). "The auto motive: Why cars drive cult movies". The Globe and Mail. Retrieved May 3, 2014.
- Ad Week. May 21, 2014. Retrieved May 29, 2014.
- ^ Yagoda, Ben (April 4, 1988). "'Light Years' Ahead Of The Pack Animation Brings Rene Laloux's Sci-fi Vision To Life". The Philadelphia Inquirer. Retrieved August 1, 2013.
- ^ "La Planète sauvage (1968) René Laloux" (in French). Bifi.fr. Retrieved April 11, 2020.
- ^ Diamond, Jamie (July 5, 1992). "Animation's Bad Boy Returns, Unrepentant". The New York Times. Retrieved July 31, 2013.
- ^ Huver, Scott (May 30, 2012). "Animation Legend Ralph Bakshi Looks Back at His Cult Classic "Wizards"". KNTV. NBCUniversal. Retrieved July 31, 2013.
- ^ Liebenson, Donald (March 9, 1996). "Cult Favorite 'Heavy Metal' Once Again Making Noise". Los Angeles Times. Retrieved July 31, 2013.
- ^ Hoad, Phil (July 10, 2013). "Akira: the Future-Tokyo Story that Brought Anime West". The Guardian. Retrieved July 31, 2013.
- ^ Ruh, Brian (Spring–Summer 2013). "Producing Transnational Cult Media- Neon Genesis Evangelion and Ghost in the Shell in Circulation" (PDF). Intensities (5). Archived (PDF) from the original on October 9, 2022. Retrieved July 30, 2013.
- ^ "Gumby: The Movie". Box Office Mojo. Retrieved October 12, 2021.
- ISBN 9781524104344.
- ^ Gumby: The Movie, May 14, 2021, retrieved December 7, 2022
- ^ ISBN 978-0-335-21923-0.
- ^ Welch, Michael Patrick (October 26, 2000). "Lifting the mask from 'Faces of Death'". Tampa Bay Times. Retrieved May 3, 2014.
- ISBN 978-0-335-21923-0.
- The Times-Picayune. Retrieved May 3, 2014.
- ^ Cooper, Gael Fashingbauer (November 24, 2013). "Robot roll call! 'Mystery Science Theater 3000' cast share favorite episodes as show turns 25". NBC News. Retrieved May 3, 2014.
- ISBN 978-0-335-21923-0.
- ^ JSTOR 41690732.
- ^ Stover, Lauren (May 29, 2013). "A Vegan With a Dark Side". The New York Times. Retrieved May 30, 2013.
- ^ Collinson, Laura (February 17, 2011). "Lights, Camera ... Fashion!". Arts London News. London College of Communication. Archived from the original on April 20, 2014. Retrieved 2013-06-03.
- ^ Musso, Anthony P. (May 29, 2013). "Cult Figure Wood May Get Statue in His Honor". Poughkeepsie Journal. Retrieved May 30, 2013.
- ^ Squires, Nick (June 18, 2010). "Vatican Declares the Blues Brothers a 'Catholic Classic'". The Independent. Archived from the original on January 11, 2022. Retrieved May 31, 2013.
- ^ Herbert, Ian (July 20, 2000). "Fans of Cult Film Campaign to Save Car Park". The Independent. Retrieved May 31, 2013.
- The Omaha World Herald. Associated Press. October 25, 2009. Archived from the originalon June 16, 2013. Retrieved May 31, 2013.
- ^ Fiore, Faye (June 6, 2010). "Cult Film 'Blair Witch' Was Tourist Horror Show for Small Town". The Seattle Times. Retrieved May 31, 2013.
- ^ "Alejandro Jodorowsky Biography, Films, & Facts". Encyclopedia Britannica. Retrieved July 21, 2021.
- Rovi. Retrieved May 1, 2013.
- ^ "The Rocky Horror Picture Show". Box Office Mojo. Retrieved May 1, 2013.
- ^ Hillis, Aaron; Orange, Michelle; Singer, Matt; Sweeney, R. Emmet; Willmore, Alison (January 15, 2007). "Gagging on the Kool-Aid: Cult Films We Just Don't Get". IFC. Retrieved May 16, 2013.
- ISBN 978-0-8108-7657-6.
- ^ Alter, Ethan (July 20, 2010). "Pilgrim's Progress: Cult director Edgar Wright Guides Michael Cera in Genre-Bending Comic Romp". Film Journal International. Archived from the original on June 9, 2013. Retrieved May 1, 2013.
- ^ Tobias, Scott (February 21, 2008). "The New Cult Canon: An Introduction". The A.V. Club. Retrieved May 1, 2013.
- ^ Hawkins, Joan (2009). "Culture Wars: Some New Trends in Art Horror". Jump Cut (51). Retrieved June 22, 2013.
- ^ a b Leigh, Danny (October 13, 2009). "Who Killed Cult Movies?". The Guardian. Retrieved May 1, 2013.
- ^ Patterson, John (August 17, 2009). "Quentin Tarantino: Champion of Trash Cinema". The Guardian. Retrieved May 1, 2013.
- ^ Hoad, Phil (January 15, 2013). "Is Quentin Tarantino the World's Most Influential Director?". The Guardian. Retrieved May 16, 2013.
- ^ Brodesser-Akner, Claude (August 19, 2011). "Why Do Studios Think There's So Much Value in Old Titles?". Vulture. New York. Retrieved May 31, 2013.
- ^ Harris, Brandon (April 4, 2013). "The Internet and the Cult Film: On A Fan's Notes". Filmmaker. Retrieved May 13, 2013.
- ^ Walker, Tim (June 23, 2013). "Waxing Lyrical: David Lynch on His New Passion - and Why He May Never Make Another Movie". The Independent. Retrieved June 28, 2013.
- ISBN 978-0-313-35781-7.
- ^ Macnab, Geoffrey (July 26, 2008). "Cult Classics Take on the Blockbusters as Audiences Switch on to Internet Downloads". The Independent. Retrieved May 9, 2013.
- ^ Crouch, Ian (July 12, 2013). "We Watched "Sharknado"". The New Yorker. Retrieved July 16, 2013.
- ^ Nakashima, Ryan (May 22, 2013). "For new YouTube, You Pay". South Florida Times. Associated Press. Retrieved May 22, 2013.
- ^ Smith, Iain Robert (September 16, 2011). "Collecting the Trash: The Cult of the Ephemeral Clip from VHS to YouTube". Flow. 14 (8). Retrieved June 21, 2013.
- Business Week. Associated Press. Archived from the originalon November 20, 2015. Retrieved 2013-05-11.
- ^ Lee, Chris (June 26, 2004). "How to Build a Nerd Film Cult". Los Angeles Times. Retrieved May 13, 2013.
- National Public Radio. Retrieved June 23, 2013.
- ^ Stevens, Kirsten (2009). Cash, Conall; Snow, Samuel Cuff (eds.). "Snakes on a Plane and the Prefabricated Cult Film" (PDF). Colloquy (18). Monash University. Archived (PDF) from the original on October 9, 2022. Retrieved June 23, 2013.
- ^ Chonin, Neva (June 12, 2006). "'Snakes on a Plane' Blog Buzz Forces Hollywood into Overdue Attitude Adjustment". San Francisco Chronicle. Retrieved May 13, 2013.
- ^ Kornhaber, Spencer (August 18, 2011). "'Snakes on a Plane,' 5 Years Later". The Atlantic. Retrieved May 13, 2013.
- ^ Carle, Chris (January 2, 2007). "Snakes on a Plane". IGN. Retrieved May 13, 2013.
- ^ Suddath, Claire (August 4, 2011). "Cowboys, Aliens, Snakes and Sharks: In Praise of Literal Movie Titles". Time. Retrieved May 13, 2013.
- ^ Singer, Matt (November 6, 2008). "Pass the Kool-Aid: Five Flicks That Aspired To Cult Status". IFC. Archived from the original on June 16, 2013. Retrieved May 20, 2013.
- ISBN 978-0-691-08955-3.
- ^ Tompkins, Joe (July 16, 2010). ""They Have the Oscars": Oppositional Telebranding and the Cult of the Horror Auteur". Flow. 12 (4). Retrieved June 21, 2013.