Cult film - Knowledge

1775:, which states that the director's creative vision drives a film. This has fallen out of favor in academia, creating a disconnect between cult film fans and critics. Matt Hills states that auteur theory can help to create cult films; fans that see a film as continuing a director's creative vision are likely to accept it as cult. According to academic Greg Taylor, auteur theory also helped to popularize cult films when middlebrow audiences found an accessible way to approach avant-garde film criticism. Auteur theory provided an alternative culture for cult film fans while carrying the weight of scholarship. By requiring repeated viewings and extensive knowledge of details, auteur theory naturally appealed to cult film fans. Taylor further states that this was instrumental in allowing cult films to break through to the mainstream. Academic Joe Tompkins states that this auteurism is often highlighted when mainstream success occurs. This may take the place of – and even ignore – political readings of the director. Cult films and directors may be celebrated for their transgressive content, daring, and independence, but Tompkins argues that mainstream recognition requires they be palatable to corporate interests who stand to gain much from the mainstreaming of cult film culture. While critics may champion revolutionary aspects of filmmaking and political interpretation, Hollywood studios and other corporate interests will instead highlight only the aspects that they wish to legitimize in their own films, such as sensational exploitation. Someone like 908:, became what academic Gina Marchetti called a "sub-subculture", a variant that outlived its parent subculture. Although often described as primarily composed of obsessed fans, cult film fandom can include many newer, less experienced members. Familiar with the film's reputation and having watched clips on YouTube, these fans may take the next step and enter the film's fandom. If they are the majority, they may alter or ignore long-standing traditions, such as audience participation rituals; rituals which lack perceived authenticity may be criticized, but accepted rituals bring subcultural capital to veteran fans who introduce them to the newer members. Fans who flaunt their knowledge receive negative reactions. Newer fans may cite the film itself as their reason for attending a showing, but longtime fans often cite the community. Organized fandoms may spread and become popular as a way of introducing new people to the film, as well as theatrical screenings being privileged by the media and fandom itself. Fandom can also be used as a process of legitimation. Fans of cult films, as in 764:. Popular films from previous eras may be reclaimed by genre fans long after they have been forgotten by the original audiences. This can be done for authenticity, such as horror fans who seek out now-obscure titles from the 1950s instead of the modern, well-known remakes. Authenticity may also drive fans to deny genre categorization to films perceived as too mainstream or accessible. Authenticity in performance and expertise can drive fan acclaim. Authenticity can also drive fans to decry the mainstream in the form of hostile critics and censors. Especially when promoted by enthusiastic and knowledgeable programmers, choice of venue can be an important part of expressing individuality. Besides creating new communities, cult films can link formerly disparate groups, such as fans and critics. As these groups intermix, they can influence each other, though this may be resisted by older fans, unfamiliar with these new references. In extreme cases, cult films can lead to the creation of religions, such as 278:, 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 721:

been banned to increase their transgressive reputation and explain their lack of mainstream penetration. Marketing campaigns have also used such claims to raise interest among curious audiences. Home video has allowed cult film fans to import rare or banned films, finally giving them a chance to complete their collection with imports and bootlegs. Cult films previously banned are sometimes released with much fanfare, and the fans assumed to be already familiar with the controversy. Personal responsibility is often highlighted, and a strong anti-censorship message may be present. Previously lost scenes cut by studios can be re-added and restore a director's original vision, which draws similar fanfare and acclaim from fans. Imports are sometimes censored to remove elements that would be controversial, such as references to Islamic spirituality in Indonesian cult films.

1197:, united in their anti-establishment attitude and punk aesthetic. 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. 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. 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 920:

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. By assuming a preexisting knowledge of trivia, non-fans can be excluded. Previous articles and controversies can also be alluded to without explanation. Casual readers and non-fans will thus be left out of discussions and debates, as they lack enough information to meaningfully contribute. When fans like a cult film for the wrong reasons, such as casting or characters aimed at mainstream appeal, they may be ridiculed. Thus, fandom can keep the mainstream at bay while defining themselves in terms of the "

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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. Mathijs states that cult films broadcast on Christmas have a nostalgic factor. These films, ritually watched every season, give a sense of community and shared nostalgia to viewers. New films often have trouble making inroads against the institutions of

619:, which provides opposition. Cultural values transgressed in the film, such as sexual promiscuity, can be attacked by proxy, through attacks on the film. These concerns can vary from culture to culture, and they need not be at all similar. However, Mathijs says the film must invoke metacommentary for it to be more than simply culturally important. While referencing previous arguments, critics may attack its choice of genre or its very right to exist. By taking stances on these varied issues, critics assure their own relevance while helping to elevate the film to cult status. Perceived racist and reductive remarks by critics can rally fans and raise the profile of cult films, an example of which would be Rex Reed's 473:, which was initially a cult favorite in America. 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. 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. Filmmakers and films ignored in their own country can become the objects of cult adoration in another, producing perplexed reactions in their native country. Cult films can also establish an early viability for more mainstream films, both for filmmakers and national cinema. The early cult horror films of 725:

celebrate masculinity. Joanne Hollows further identifies a gendered component to the celebration of transgressive themes in cult films, where male terms are used to describe films outside the mainstream while female terms are used to describe mainstream, conformist cinema. Jacinda Read's expansion states that cult films, despite their potential for empowerment of the marginalized, are more often used by politically incorrect males. Knowledgeable about feminism and multiculturalism, they seek a refuge from the academic acceptance of these progressive ideals. Their playful and ironic acceptance of regressive

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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.

416: 776: 928:. Commercial aspects of fandom (such as magazines or books) can also be defined in terms of "otherness" and thus valid to consume: consumers purchasing independent or niche publications are discerning consumers, but the mainstream is denigrated. Irony or self-deprecating humor can also be used. In online communities, different subcultures attracted to transgressive films can clash over values and criteria for subcultural capital. Even within subcultures, fans who break subcultural scripts, such as denying the affectivity of a disturbing film, will be ridiculed for their lack of authenticity. 1498: 444: , can become cult films when they fail at the box office and develop a cult following through reissues, such as midnight movies, festivals, and home video. Hollywood films, due to their nature, are more likely to attract this kind of attention, which leads to a mainstreaming effect of cult culture. With major studios behind them, even financially unsuccessful films can be re-released multiple times, which plays into a trend to capture audiences through repetitious reissues. The constant use of profanity and drugs in otherwise mainstream, Hollywood films, such as 510:(1947). These films provide mild criticism of consumerism while encouraging family values. Halloween, on the other hand, allows for flaunting society's taboos and testing one's fears. Horror films have appropriated the holiday, and many horror films debut on Halloween. Mathijs criticizes the over-cultified, commercialized nature of Halloween and horror films, which, he states feed into each other so much that Halloween has turned into an image or product with no real community. Mathijs states that Halloween horror conventions can provide the missing community aspect. 40: 760:; knowledge of cult films proves that one is "authentic" or "non-mainstream". They can be used to provoke an outraged response from the mainstream, which further defines the subculture, as only members could possibly tolerate such deviant entertainment. More accessible films have less subcultural capital; among extremists, banned films will have the most. By referencing cult films, media can identify desired demographics, strengthen bonds with specific subcultures, and stand out among those who understand the 679:

followed Jess Franco were unique in their rejection of mainstream art. Popular among fans of European horror for their subversiveness and obscurity, these later Spanish films allowed political dissidents to criticize the fascist regime within the cloak of exploitation and horror. Unlike most exploitation directors, they were not trying to establish a reputation. They were already established in the art-house world and intentionally chose to work within paracinema as a reaction against the

1070:, irony, genuine affection, or combinations thereof. Earnest fans, who recognize and accept the film's faults, can make minor celebrities of the film's cast, though the benefits are not always clear. Cult film stars known for their camp can inject subtle parody or signal when films should not be taken seriously. Campy actors can also provide comic book supervillains for serious, artistic-minded films. This can draw fan acclaim and obsession more readily than subtle, 10689: 833:. Films which appeal to teenagers may offer subcultural identities that are easily recognized and differentiate various subcultural groups. Films which appeal to stereotypical male activities, such as sports, can easily gain strong male cult followings. Sports metaphors are often used in the marketing of cult films to males, such as emphasizing the "extreme" nature of the film, which increases the appeal to youth subcultures fond of extreme sports. 10699: 948: 1791: 648:

and misinterprets paracinema. In marketing these films, young men are predominantly targeted. Horror films in particular can draw fans who seek the most extreme films. Audiences can also ironically latch on to offensive themes, such as misogyny, using these films as catharsis for the things that they hate most in life. Exploitative, transgressive elements can be pushed to excessive extremes for both humor and satire.

1057:, film festivals and viewings in theaters, as well as various books analyzing the phenomenon. The rise of the Internet and on-demand films has led critics to question whether "so bad it's good" films have a future now that people have such diverse options in both availability and catalog, though fans eager to experience the worst films ever made can lead to lucrative showings for local theaters and merchandisers. 207:, although the term is not easily defined and can be applied to a wide variety of films. Some definitions exclude films that have been released by major studios or have big budgets, that try specifically to become cult films, or become accepted by mainstream audiences and critics. Cult films are defined by audience reaction as much as by their content. This may take the form of elaborate and ritualized 448:, can alienate critics and audiences yet lead to a large cult following among more open-minded demographics not often associated with cult films, such as Wall Street bankers and professional soldiers. Thus, even comparatively mainstream films can satisfy the traditional demands of a cult film, perceived by fans as transgressive, niche, and uncommercial. Discussing his reputation for making cult films, 1259:'s exploitation films as "crass, coarse, and camp ... perfect fodder for a cult following." "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. In 1960s and 1970s America, exploitation and art films shared audiences and marketing, especially in New York City's 412:(1982), despite its failure at the box office, became one of the most played movies on American cable television and developed into a cult film. Home video and television broadcasts of cult films were initially greeted with hostility. Joanne Hollows states that they were seen as turning cult films mainstream – in effect, feminizing them by opening them to distracted, passive audiences. 601:. Home video would finally allow general audiences to see them, which gave many people their first taste of underground film. Ernest Mathijs says that cult films often disrupt viewer expectations, such as giving characters transgressive motivations or focusing attention on elements outside the film. Cult films can also transgress national stereotypes and genre conventions, such as 885:

traditional for fans of cult television and other serial media, as cult blockbusters are often franchised, preconceived as a film series, or both. To reduce mainstream accessibility, a film series can be self-reflexive and full of in-jokes that only longtime fans can understand. Mainstream critics may ridicule commercially successful directors of cult blockbusters, such as

1224:(2001). 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. 365:, American films settled into rigid genres; European art films continued to push the boundaries of simple definitions, and these exploitative art films and artistic exploitation films would go on to influence American cult films. Much like later cult films, these early exploitation films encouraged audience participation, influenced by live theater and vaudeville. 1096:(1970) can experience critical reappraisal later, once their camp excess and avant-garde filmmaking are better accepted, and films that are initially dismissed as frivolous are often reassessed as campy. Films that intentionally try to appeal to fans of camp may end up alienating them, as the films become perceived as trying too hard or not authentic. 1452:, academics Mathijs and Mendik write that these documentaries often present non-Western societies as "stereotypically mysterious, seductive, immoral, deceptive, barbaric or savage". Though they can be interpreted as racist, Mathijs and Mendik state that they also "exhibit a liberal attitude towards the breaking of cultural taboos". Mondo films like 1643:

proper cult following, lack context, or are too easily found online. In response, David Church says that cult film fans have retreated to more obscure and difficult to find films, often using illegal distribution methods, which preserves the outlaw status of cult films. Virtual spaces, such as online forums and fan sites, replace the traditional

1245:, which rejects a hierarchy of artistic merit and equates exploitation and art. 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 1517:, Jeffrey Sconce rejects definitions of cult films based on controversy and excess, as they've now become meaningless. Cult films have influenced such diverse industries as cosmetics, music videos, and fashion. Cult films have shown up in less expected places; as a sign of his popularity, a bronze statue of 460:, academics Ernest Mathijs and Jamie Sexton state that this acceptance of mainstream culture and commercialism is not out of character, as cult audiences have a more complex relationship to these concepts: they are more opposed to mainstream values and excessive commercialism than they are anything else. 1508:

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; Academic Donna de Ville says it is a chance to subvert

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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

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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. This flattening of culture follows

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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. Also, instead of valuing textual rarity, fans of cult blockbusters will value repeat viewings. They may also engage in behaviors more

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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

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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. As these cult films become

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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. Church has also criticized gendered descriptions of transgressive content that

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can make these films obscure and make it 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

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is an important part of cult films; cult films will often mix, mock, or exaggerate the tropes associated with traditional genres. Science fiction, fantasy, and horror are known for their large and dedicated cult followings; as science fiction films become more popular, fans emphasize non-mainstream

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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

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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. Excess can also exist in films

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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.

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magazine states that Hollywood studios have been superstitiously hoping to recreate past successes rather than trading on nostalgia. Their popularity would bring some critics to proclaim the death of cult films now that they have finally become successful and mainstream, are too slick to attract a

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and cult films. Briggs highlights the mainstreaming of cult films by pointing out the respectful obituaries that cult directors have received from formerly hostile publications and acceptance of politically incorrect films at mainstream film festivals. This acceptance is not universal, though, and

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cited these educational shorts as his favorite to mock on the show. 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.

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permits nostalgia for both the 1950s and 1980s. Many members of its nostalgic cult following are too young to have been alive during those periods, which Emma Pett interprets as fondness for retro aesthetics, nostalgia for when they saw the film rather than when it was released, and looking to the

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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,

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were a complicated combination of transgressive, mainstream, progressive, and regressive elements. They attracted both acclaim and denouncement from critics and progressives. Transgressive films imported from cultures that are recognizably different yet still relatable can be used to progressively

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would later agree with cuts made by the BBFC that removed unsimulated animal killings, which limited the film's distribution. Frequently banned films may introduce questions of authenticity as fans question whether they have seen a truly uncensored cut. Cult films have been falsely claimed to have

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rejected the continued existence of cult films and called the term a marketing buzzword. Mathijs suggests that cult films help to understand ambiguity and incompleteness in life given the difficulty in even defining the term. That cult films can have opposing qualities – such as good and bad,

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element, though others disputed the transgressive potential, given the demographic appeal to conventional moviegoers and mainstreaming of cult films. Jeffrey Andrew Weinstock instead called them mainstream films with transgressive elements. Most definitions also required a strong community aspect,

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argue that the term has become meaningless or "elastic, a catchall for anything slightly maverick or strange". Academic Mark Shiel has criticized the term itself as being a weak concept, reliant on subjectivity; different groups can interpret films in their own terms. According to feminist scholar

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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

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mix real and fake footage freely, and they gain their cult following through the outrage and debate over authenticity that results. 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

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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,

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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. Remarking on the popular trend of remaking cult films,

1531:, has courted controversy for its endorsement of cult films and pop culture. When cities attempt to renovate neighborhoods, fans have called attempts to demolish iconic settings from cult films "cultural vandalism". Cult films can also drive tourism, even when it is unwanted. From Latin America, 1404:

itself lends itself to a bleeding over of cult attention and can help spread works internationally. Anime, which is frequently presented as a series (with movies either rising from existing series, or spinning off series based on the film), provides its fans with alternative fictional canons and

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when fan speculation began to impact on the film's production. Although it was proclaimed a cult film and major game-changer before it was released, it failed to win either mainstream audiences or maintain its cult following. In retrospect, critic Spencer Kornhaber would call it a serendipitous

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and newsletters. Cult film fans consider themselves collectors, rather than consumers, as they associate consumers with mainstream, Hollywood audiences. This collecting can take the place of fetishization of a single film. Addressing concerns that DVDs have revoked the cult status of films like

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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

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and traditional goal-oriented methods. Wishman's subject matter, though exploitative and transgressive, was always framed in terms of female empowerment and the feminine spectator. Her use of common cult film motifs – female nudity and ambiguous gender – were repurposed to comment on

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invites, and even dares, condemnation from academics and the uncool. Thus, cult films become a tool to reinforce mainstream values through transgressive content; Rebecca Feasy states that cultural hierarchies can also be reaffirmed through mockery of films perceived to be lacking masculinity.

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chafed under fascist censorship in Spain but became influential in Spain's horror boom of the 1960s. These transgressive films that straddle the line between art and horror may have overlapping cult followings, each with their own interpretation and reasons for appreciating it. The films that

611:. The reverse – when films based on cult properties lose their transgressive edge – can result in derision and rejection by fans. Audience participation itself can be transgressive, such as breaking long-standing taboos against talking during films and throwing things at the screen. 136:

of trying to artificially create cult films or use the term as a marketing tactic. Modern films are frequently stated to be an "instant cult classic", occasionally before they are released. Some films have acquired massive, quick cult followings, owing to advertisements and posts made by fans

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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

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Joanne Hollows, this subjectivity causes films with large female cult followings to be perceived as too mainstream and not transgressive enough to qualify as a cult film. Academic Mike Chopra‑Gant says that cult films become decontextualized when studied as a group, and Shiel criticizes this

1319:(1987) failed to attract audiences in its original release, as the studio did not know how to market it. The freedom and excitement associated with cars can be an important part of drawing cult film fans to genre films, and they can signify action and danger with more ambiguity than a gun. 1768:

novelty and a footnote to a "more naive era of the Internet". However, it became influential in both marketing and titling. 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.

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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

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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.

469:(1979) was an international hit , except in America 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. Foreign cinema can put a different spin on popular genres, such as 1751:, 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. Influenced by the successful online hype of 1286:

states that cult B films are a realistic goal for Malta's burgeoning film industry. Genre films, B films that strictly adhere to genre limitations, can appeal to cult film fans: given their transgressive excesses, horror films are likely to become to cult films; films like

956: 1362:(1975) was decried as racist. Bakshi recalls that older animators had tired of "kid stuff" and desired edgier work, whereas younger animators hated his work for "destroying the Disney images". Eventually, his work would be reassessed and cult followings, which include 955: 954: 540:(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 282:. 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. Academic 674:, an unpopular genre in modern France. Influenced by American films and early French fantasists, he drifted between art, exploitation, and pornography. His films were reviled by critics, but he retained a cult following drawn by the nudity and eroticism. Similarly, 526:, 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 1380:

cites the violence and sexual imagery as alienating critics, who did not know what to make of the film. It would go on to become a popular midnight movie and frequently bootlegged by fans, as licensing issues kept it from being released on video for many years.

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such as obsessed fans or ritualistic behavior. Citing misuse of the term, Mikel J. Koven took a self-described hard-line stance that rejected definitions that use any other criteria. Matt Hills instead stressed the need for an open-ended definition rooted in

1731:(2003) gained quick, massive popularity, as prominent members of social networking sites discussed them. Their rise as "instant cult classics" bypasses the years of obscurity that most cult films labor under. In response, critics have described the use of 124:. 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. 5431: 687:'s anti-macho iconoclasm as a rebellion against fascist mores, as he grew from countercultural rebel to mainstream respectability. Transgressive elements that limit a director's appeal in one country can be celebrated or highlighted in another. 1677:, 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. Although known for their big-budget 6694: 1018:

capitalized on the film's ironic appeal and marketed it as a cult film. Sometimes, fans will impose their own interpretation of films which have attracted derision, such as reinterpreting an earnest melodrama as a comedy. Jacob deNobel of the

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Despite their oppositional nature, cult films can produce celebrities. Like cult films themselves, authenticity is an important aspect of their popularity. Actors can become typecast as they become strongly associated with such iconic roles.

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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". Writing for

1763:(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 1116:" and a form of nostalgia for that period. Ernest Mathijs instead states that cult films use nostalgia as a form of resistance against progress and capitalistic ideas of a time-based economy. By virtue of the time travel plot, 639:(1978). Briggs would later contribute a commentary track to the DVD release in which he describes it as a feminist film. Films which do not attract enough controversy may be ridiculed and rejected when suggested as cult films. 1509:

the dominance of academics and cinephiles. 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

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subjects, is well-suited for cult followings. Academic David Andrews writes that cult softcore films are "the most masculinized, youth-oriented, populist, and openly pornographic softcore area." The sexploitation films of

897:, 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. 829:. Beach party musicals, popular among American surfers, failed to find an equivalent audience when imported to the United Kingdom. When films target subcultures like this, they may seem unintelligible without the proper 1029:

can be misinterpreted as "weird for weirdness' sake" by people unfamiliar with the cult films that they parody. deNobel ultimately rejects the use of the label "so bad it's good" as mean-spirited and often misapplied.

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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

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films, for example, provided Japanese fans with enough bonus material and spinoffs that it encouraged cult tendencies. Markets that did not support the sale of these materials saw less cult activity. The

398:(1975), which finally found its audience several years after its release. Eventually, the rise of home video would marginalize midnight movies once again, after which many directors joined the burgeoning 7379: 6683: 174:

are. Just because a movie is a cult film does not automatically guarantee quality: some cult movies are very bad; others are very, very good. Some make an awful lot of money at the box office; others

7612: 219:. Over time, the definition has become more vague and inclusive as it drifts away from earlier, stricter views. Increasing use of the term by mainstream publications has resulted in controversy, as 950: 241:

asked a range of academics for their definition of a cult film. Several people defined cult films primarily in terms of their opposition to mainstream films and conformism, explicitly requiring a

7119: 3914: 3519: 388:

had been in use for decades in film analysis with both positive and negative connotations. These films were more concerned with cultural significance than the social justice sought by earlier

7673: 4771: 4069: 4869: 853:(1985) as another example of a cult blockbuster. Although the film was an instant hit when released, it has also developed a nostalgic cult following over the years. The hammy acting by 1605:. The rise of home video would have a mainstreaming effect on cult films and cultish behavior, though some collectors would be unlikely to self-identify as cult film fans. Film critic 912:, are frequently producers instead of mere consumers. Unconcerned with traditional views on intellectual property, these fan works are often unsanctioned, transformative, and ignore 562:, he was unable to find financing for any of his other screenplays. Qualities that bring cult films to prominence – such as an uncompromising, unorthodox vision – caused 1622:

would have the greatest success in turning cult films mainstream. Tarantino later used his fame to champion obscure cult films that had influenced him and set up the short-lived

694:

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 "

4797: 4330: 3331: 768:. For their avoidance of mainstream culture and audiences, enjoyment of irony, and celebration of obscure subcultures, academic Martin Roberts compares cult film fans to 1703:

have displaced traditional venues for fandom and courted controversy from cultural critics who are unamused by campy cult films. After a clip from one of his films went

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and quotable dialogue have drawn a cult following, as they mimic traditional cult films. Blockbuster science fiction films that include philosophical subtexts, such as

652:

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

115:

kept alive by dedicated fans. In some cases, reclaimed or rediscovered films have acquired cult followings decades after their original release, occasionally for their

5993: 795:'s films, friendly to Marxist interpretation, amassed a cult following in Albania, as they were among the few Western films allowed by the country's Communist rulers. 1513:, a film festival. I. Q. Hunter states that "it's much easier to be a cultist now, but it is also rather more inconsequential." Citing the mainstream availability of 544:

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. Similarly,

132:

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

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and his brief film career have become icons of alienated youth. Cult films can have such niche appeal that they are only popular within certain subcultures, such as

574:

Transgressive films as a distinct artistic movement began in the 1970s. Unconcerned with genre distinctions, they drew inspiration equally from the nonconformity of

487:(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 2920: 2073: 1652:, academic Mikel J. Koven states that small scale screenings with friends and family can replace midnight showings. Koven also identifies television shows, such as 341:(1955) was a cult film for years, quoted often and championed by fans, before it was reassessed as an important and influential classic. During this time, American 4399: 7899: 5914: 3804: 7389: 1446:

replicate the most shocking and transgressive elements of exploitation films. They are usually modeled after "sick films" and cover similar subject matter. In

1112:

added many cult films to their site, they cited nostalgia as a factor for their popularity. Academic I. Q. Hunter describes cult films as "New Hollywood

1080:

says technical faults may be forgiven if a film makes up for them in other areas, such as camp or transgressive content. Smith states that the early films of

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which had originally been distributed as cult VHS collections eventually went viral on YouTube, which opened them to new generations of fans. Films such as

1125:

have taken hold in midnight movie venues, trading off of nostalgia for the 1980s and an ironic appreciation for their optimism. Mathijs and Sexton describe

4131:

Willis, Andy (2003). "Spanish Horror and the Flight from Art Cinema". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

1193:

as a reaction against the political and cultural conservatism in America, and Joan Hawkins identifies the movement as running the gamut from anarchist to

548:

has struggled with her reputation as a cult independent film star famous for her daring roles in transgressive films. Cult films can also trap directors.

7108: 6595: 1400:) to the West and paving the way for later works. Anime, according to academic Brian Ruh, is not a cult genre, but the lack of individual fandoms inside 3530: 7142: 6114: 3616: 2355:

Church, David; Hills, Matt; Hunter, I. Q.; Kleinhans, Chuck; Koven, Mikel J.; Mathijs, Ernest; Rosenbaum, Jonathan; Weinstock, Jeffrey Andrew (2008).

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Wu, Harmony H. (2003). "Trading in Horror, Cult, and Matricide". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

1025:

states that films can be perceived as nonsensical or inept when audiences misunderstand avant-garde filmmaking or misinterpret parody. Films such as

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failure and success, innovative and retro – helps to illustrate that art is subjective and never self-evident. This ambiguity leads critics of

586:, and the shocking images of 1960s exploitation. Some used hardcore pornography and horror, occasionally at the same time. In the 1980s, filmmaker 4761:"The Amateur Historian and the Electronic Archive: Identity, Power and the Function of Lists, Facts and Memories on "Video Nasty"-Themed Websites" 4357: 3734: 1469:

World War II propaganda films are explicitly not cult, because they are "slickly made and have proven their ability to persuade an audience." The

4478:

Luckett, Moya (2003). "Sexploitation as Feminine Territory". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

1662:

himself has not ruled out another television series, as studios have become reluctant to take chances on non-mainstream ideas. Despite this, the

481:. As more artistic films emerged, New Zealand was perceived as a legitimate competitor to Hollywood, which mirrored Jackson's career trajectory. 406:

or excessive replay on cable television led these films to develop an appreciative audience, as well as obsessive replay and study. For example,

4858: 3298: 2463: 4246: 3759:

Mathijs, Ernest (2003). "The Making of a Cult Reputation". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

2392: 1779:, whose films are both transgressive and subversive, will have the transgressive aspects highlighted while the subversive aspects are ignored. 698:" within the UK, they ignited calls for censorship and stricter laws on home video releases, which were largely unregulated. Consequently, the 691:

has been marketed in the West as a shocking and avant-garde filmmaker despite his many family-friendly comedies, which have not been imported.

295:

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

2307: 1426:

alone, was subsequently released on DVD and remastered in high definition for Blu-ray due to its strong cult following. Like many cult films,

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Betz, Mark (2003). "Art, Exploitation, and Underground". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

2356: 809:

to American and British gay culture, although it is a widely viewed and historically important film in greater American culture. Similarly,

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writes that cult B films, when released on home video, market themselves and need only enough advertising to raise curiosity or nostalgia.

869:, with its large cult following in geek subculture, has been cited as both a cult blockbuster and a cult film. Although a mainstream epic, 5100:"'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" 4618: 876:

Fans, in response to the popularity of these blockbusters, will claim elements for themselves while rejecting others. For example, in the

5604: 6461: 4453:

Feasy, Rebecca (2003). "Sharon Stone, Screen Diva". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

3586:

Hawkins, Joan (2003). "Midnight Sex–Horror Movies". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

254:

focused on the accidental nature of cult followings, arguing that cult film fans consider themselves too savvy to be marketed to, while

7925: 4617:

Cherry, Brigid (2009). "From Cult to Subculture: Reimaginings of Cult Films in Alternative Music Video". In Smith, Iain Robert (ed.).

9255: 4734:

Hunt, Nathan (2003). "The Importance of Trivia". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

4424:

Read, Jacinda (2003). "The Cult of Masculinity". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

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have criticized the current Hollywood system of gambling everything on the opening weekend of these productions. Geoffrey Macnab of

980:

These films include financially fruitless and critically scorned films that have become inadvertent comedies to film buffs, such as

791:

A film can become the object of a cult following within a particular region or culture if it has unusual significance. For example,

327:

become an early cult film, kept alive by a cult following that circulated illegal bootlegs. Academic Chuck Kleinhans identifies the

10043: 7045: 3884:

Hutchings, Peter (2003). "The Argento Effect". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

1034:

programmer Zack Carlson has further said that any film which succeeds in entertaining an audience is good, regardless of irony. In

263:

to accuse cult films of being beyond criticism, as the emphasis is now on personal interpretation rather than critical analysis or

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instead suggests that Hollywood look to capitalize on cult films, which have exploded in popularity on the internet. The rise of

1169:(2010) is another example, containing extensive nostalgia for the music and video gaming culture of the 2000s. Nathan Lee of the 1039: 522:. Even when discussing unrelated projects, interviewers frequently bring up the role, which causes him to tire of discussing it. 3974: 1084:

are amateurish and less influential than claimed, but Waters' outrageous vision cements his place in cult cinema. Films such as

9442: 7792: 6517: 3175:

Hunt, Leon (2003). "Kung Fu Cult Masters". In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.).

7169: 6567: 88:

films shunned by the mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror

8150: 8084: 7856: 7656: 7362: 6966: 6877: 6816: 6416: 6383: 6324: 6291: 6225: 6194: 6069: 5880: 5791: 5681: 5648: 5492: 5408: 5299: 5266: 5233: 5193: 5160: 5079: 5044: 4936: 4743: 4713: 4677: 4632: 4596: 4556: 4527: 4491: 4462: 4437: 4144: 4049: 3897: 3772: 3599: 3502: 3469: 3380: 3248: 3188: 2990: 2765: 2732: 2701: 2640: 2547: 2435: 2275: 2227: 2112: 5997: 3790:""They Don't Call 'em Exploitation Movies for Nothing!": Joe Bob Briggs and the Critical Commentary on I Spit on Your Grave" 1574:

became the seventh highest grossing R-rated film when adjusted for inflation; journalist Matt Singer has questioned whether

643:

gore, sexual perversity, and even the music can be pushed to stylistic excess far beyond that allowed by mainstream cinema.

8903: 8692: 3265: 2505: 699: 3425: 3108: 2907: 1131:(1978) as a film nostalgic about an imagined past that has acquired a nostalgic cult following. Other cult films, such as 323:. Stoker's widow sued the production company and drove it to bankruptcy. All known copies of the film were destroyed, and 10728: 8101: 5372: 4384: 1764: 843: 488: 7884: 3942: 3067: 1459:

themes and outlandish claims made about perceived social threats, such as drug use. Academic Barry K. Grant states that

10490: 9260: 3789: 1293:(1999) highlight the importance of cult followings and fandom to science fiction; and authentic martial arts skills in 376:, popular among those who rejected mainstream Hollywood films. These underground film festivals led to the creation of 7079: 6341: 2045: 1875: 1670:

and retro promotional gimmickry. They sell out their shows regularly and have acquired a cult following of their own.

1137:(1984), create a new fictional world based on nostalgic views of the past. In martial arts movies, there is the movie 7586: 6757: 6158: 4974: 3208: 1353: 769: 89: 5068:"Realising the Cult Blockbuster: The Lord of the Rings Fandom and Residual/Emergent Cult Status in 'The Mainstream'" 1303:(1952), which appeal to cult audiences through nostalgia, camp, and spectacle, to the more non-traditional, such as 712:(1980) was banned in dozens of countries and caused the director to be briefly jailed over fears that it was a real 3649:"Battle Royale – Challenging Global Stereotypes Within the Constructs of a Contemporary Japanese Slasher Film" 1081: 6655: 9607: 8687: 7053: 6894: 5316: 2884: 1422:(1995), which made only $ 57,100 at the box office against its $ 2.8 million budget but sold a million copies on 477:

were so strongly associated with his homeland that they affected the international reputation of New Zealand and

5950: 1280:, which are often conflated with exploitation, are as important to cult films as exploitation. Teodor Reljic of 10723: 10470: 8816: 8627: 7472: 1092: 337: 7500: 6242: 5728:""Hard to Handle": Camp Criticism, Trash-Film Reception, and the Transgressive Pleasures of Myra Breckinridge" 4164: 3397: 881: 10226: 9953: 9570: 8878: 8422: 8245: 6150: 3554: 1716: 1558: 394: 2946: 702:

banned many popular cult films due to issues of sex, violence, and incitement to crime. Released during the

10609: 9841: 9816: 8667: 8647: 7729: 7017: 5965: 5099: 4218: 3626: 1480: 797: 171: 163:

What is a cult film? A cult film is one that has a passionate following, but does not appeal to everybody.

76:, which forms an elaborate subculture, members of which engage in repeated viewings, dialogue-quoting, and 7828: 1066:

more popular, they can bring varied responses from fans that depend on different interpretations, such as

463:

In a global context, popularity can vary widely by territory, especially with regard to limited releases.

10371: 9943: 9496: 9361: 9050: 8378: 7412: 6833: 6627: 6217: 4483: 4429: 4136: 3889: 3764: 3591: 3240: 3180: 2632: 2427: 2293:"Dirty Movies, or: Why Film Scholars Should Stop Worrying About Citizen Kane and Learn to Love Bad Films" 2267: 1757:(1999), other films have attempted to draw online cult fandom with the use of prefabricated cult appeal. 1678: 1165: 354: 4274: 3719: 680: 10381: 9988: 9831: 8476: 8076: 7384: 7317:

Hillis, Aaron; Orange, Michelle; Singer, Matt; Sweeney, R. Emmet; Willmore, Alison (January 15, 2007).

4190: 2183: 2138: 1721: 17: 5698: 1585:, an independent studio, would become known for both its cult following and cult films. In the 1980s, 10391: 9948: 9903: 9811: 9189: 8632: 8592: 8143: 8042: 7701: 7556: 7323: 7290: 7206: 6958: 6869: 6808: 6522: 5258: 2724: 2539: 2479: 1315: 1000: 973:

characterized examples of the "so bad it's good" class of low-budget cult film through books such as

402:

scene or went back underground. Home video would give a second life to box-office flops, as positive

150: 2785: 2292: 331:

as making other early cult films. On their original release, some highly regarded classics from the

9893: 8913: 8908: 8776: 8617: 8240: 8009: 6684:"Producing Transnational Cult Media- Neon Genesis Evangelion and Ghost in the Shell in Circulation" 5317:"MOMMIE DEAREST – Midnight Screening of 1981 Cult Classic! « Long-standing Beach Cinematheque" 5032: 4624: 3915:"Terrible Acting, Flimsy Sets, Wanton Misogyny ... Tommy Wiseau's The Room Becomes a Cult Hit" 2215: 1623: 1086: 975: 806: 615:

contextual response. Cultural topics make the film relevant and can lead to controversy, such as a

500: 229: 9958: 3140: 2370: 2208:"Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s" 10738: 9883: 9761: 9213: 9017: 8220: 8191: 7930: 6086: 6020: 3453: 1913: 1753: 1523: 1294: 1122: 1031: 982: 620: 591: 332: 44: 8047: 7440: 7380:"Pilgrim's Progress: Cult director Edgar Wright Guides Michael Cera in Genre-Bending Comic Romp" 7318: 5548: 4966: 3855: 3007: 2422:

Jancovich, Mark; Reboll, Antonio Làzaro; Stringer, Julian; Willis, Andy (2003). "Introduction".

518:, despite his acknowledged range as an actor, found casting difficult after he achieved fame in 10155: 10103: 9968: 9689: 9481: 9290: 9162: 8995: 8898: 8883: 8677: 8565: 7174: 6923:"Robot roll call! 'Mystery Science Theater 3000' cast share favorite episodes as show turns 25" 6749: 4638: 4251: 1299: 1297:

can drive them to become cult favorites. Cult musicals can range from the traditional, such as

1149: 536: 506: 392:. Midnight movies became more popular and mainstream by the 1970s, peaking with the release of 208: 77: 7645:

Cult Pop Culture: How the Fringe Became Mainstream: How the Fringe Became Mainstream, Volume 1

7346: 6950: 6719: 6400: 6369: 6308: 6275: 6178: 6058:

Cult Pop Culture: How the Fringe Became Mainstream: How the Fringe Became Mainstream, Volume 1

5864: 5632: 5464: 5250: 5217: 5067: 4891: 4697: 4544: 4516:

Cult Pop Culture: How the Fringe Became Mainstream: How the Fringe Became Mainstream, Volume 1

3720:"'Most people bring their own spoons': The Room's Participatory Audiences as Comedy Mediators" 2685: 1618:

some critics have resisted this mainstreaming of paracinema. Beginning in the 1990s, director

10339: 9898: 9540: 9430: 9087: 8070: 7861: 7640: 6861: 6800: 6211: 6053: 5775: 5665: 5553: 5283: 5177: 5140: 4920: 4580: 4104: 4033: 3979: 3486: 3012: 2974: 2749: 2718: 2563: 2531: 2259: 2050: 1144: 988: 629:(2003). Critics can also polarize audiences and lead debates, such as how Joe Bob Briggs and 554: 478: 267:. These inherent dichotomies can lead audiences to be split between ironic and earnest fans. 10376: 7233: 6433: 6142: 4661: 4511: 4079: 3529: 3364: 670: 10733: 10692: 10589: 10485: 10148: 9851: 9716: 9528: 9462: 8873: 8810: 8805: 8682: 8496: 8449: 8331: 8282: 8181: 8136: 7981: 7084: 6438: 6408: 6316: 6283: 6091: 5609: 5436: 5348: 5291: 5225: 5185: 4588: 3952: 2982: 2915: 2850: 2757: 2693: 2143: 1852: 1847: 1727: 1626:, which distributed several of his favorite cult films. Tarantino's clout led Phil Hoad of 1532: 1448: 1348: 1342:(1973) explored ideas beyond the limits of traditional, live-action science fiction films. 1021: 683:, an artistic revival supported by the fascists. As late as the 1980s, critics still cited 635: 603: 563: 7613:"Waxing Lyrical: David Lynch on His New Passion - and Why He May Never Make Another Movie" 7183: 1949: 559: 456:

said, "I didn't set out to make cult films. I wanted to make box-office hits." Writing in

8: 10195: 10068: 10053: 9918: 9821: 9756: 9452: 9413: 9285: 9270: 9097: 8856: 8662: 8637: 8602: 8555: 7564: 6989: 4864: 4302: 3656: 2361: 2178: 2169: 2017: 1666:

has capitalized on cult films and the surrounding culture through inspiration drawn from

1638: 1582: 1204: 1015: 847:, each with their own fandom separate from the mainstream. Academic Emma Pett identifies 757: 575: 237: 225: 7057: 5836: 664:

Films that are influenced by unpopular styles or genres can become cult films. Director

250:, where the film and the audience reaction are interrelated and neither is prioritized. 10599: 10519: 10443: 10329: 10319: 10221: 10113: 10093: 9993: 9973: 9741: 9669: 9575: 9560: 9491: 9196: 9132: 8990: 8970: 8861: 8511: 8432: 8366: 8356: 8319: 7445: 7022: 6998: 6899: 6572: 6466: 5909: 5841: 5640: 5152: 4957: 4669: 4385:"The Other Side of Indonesia: New Order's Indonesian Exploitation Cinema as Cult Films" 4279: 4109: 4074: 3524: 3494: 3461: 3372: 3213: 3204: 3145: 3072: 3034: 2951: 2818: 2026: 1982: 1814: 1591: 1407: 1372: 1242: 921: 849: 708: 625: 583: 483: 255: 164: 31: 6518:"'Light Years' Ahead Of The Pack Animation Brings Rene Laloux's Sci-fi Vision To Life" 2262:. In Jancovich, Mark; Reboll, Antionio Lázaro; Stringer, Julian; Willis, Andy (eds.). 684: 558:(1969), never directed another film again. Despite his cult following, which included 10698: 10649: 10438: 10361: 10211: 10165: 10138: 10133: 10123: 10038: 9998: 9776: 9664: 9654: 9580: 9508: 9388: 9233: 9228: 9157: 9112: 9075: 9012: 9000: 8918: 8866: 8800: 8795: 8771: 8739: 8471: 8466: 8215: 8102:""They Have the Oscars": Oppositional Telebranding and the Cult of the Horror Auteur" 8080: 7895: 7833: 7674:"Cult Classics Take on the Blockbusters as Audiences Switch on to Internet Downloads" 7652: 7358: 7211: 6962: 6873: 6812: 6753: 6632: 6412: 6379: 6320: 6287: 6247: 6221: 6190: 6154: 6119: 6065: 5876: 5787: 5703: 5677: 5644: 5343: 5295: 5262: 5229: 5189: 5156: 5075: 5036: 4996: 4970: 4932: 4739: 4709: 4673: 4628: 4592: 4552: 4523: 4487: 4458: 4433: 4395: 4195: 4140: 4045: 4002: 3893: 3800: 3768: 3595: 3498: 3465: 3376: 3244: 3184: 3099: 3038: 2986: 2841: 2761: 2728: 2697: 2636: 2543: 2471: 2431: 2271: 2219: 1954: 1759: 1619: 1614: 1501: 1497: 1392: 1363: 1237: 1163:, which introduces many nostalgic elements and then reveals them as fake and hollow. 1139: 1076: 854: 775: 649: 597: 579: 441: 342: 279: 274:, Jancovich et al. quote academic Jeffrey Sconce, who defines cult films in terms of 242: 179: 85: 9873: 7806: 5576: 10669: 10659: 10569: 10497: 10480: 10475: 10396: 10324: 10190: 10185: 10175: 10170: 10118: 10058: 10028: 9983: 9846: 9746: 9659: 9622: 9327: 9275: 9201: 9142: 9055: 8851: 8844: 8734: 8607: 8459: 8444: 8408: 8393: 8326: 8297: 8277: 8186: 7802: 7737: 7179: 5745: 5581: 5525: 3679: 2600: 1682: 1663: 1610: 1567: 1418: 1367: 1338: 1159: 830: 826: 821: 436: 399: 389: 373: 133: 97: 7759: 545: 10619: 10544: 10534: 10529: 10514: 10423: 10366: 10265: 10160: 10078: 10073: 10003: 9938: 9858: 9731: 9726: 9699: 9595: 9393: 9356: 9302: 9295: 9248: 9122: 9092: 9005: 8965: 8960: 8893: 8839: 8824: 8744: 8719: 8714: 8652: 8570: 8560: 8521: 8437: 8361: 8287: 8014: 7926:"'Snakes on a Plane' Blog Buzz Forces Hollywood into Overdue Attitude Adjustment" 7678: 7617: 7354: 7295: 7147: 7114: 6838: 6375: 6186: 5872: 5469: 4962: 4705: 3919: 2657: 2105:"Kings of Infinite Space: Cult Television Characters and Narrative Possibilities" 2078: 1809: 1732: 1691: 1358: 1356:, provoked outrage for its racial caricatures and graphic depictions of sex, and 1133: 913: 873:

has provided its fans with a spirituality and culture outside of the mainstream.

761: 717: 644: 470: 415: 408: 384:

itself was an outgrowth of this movement and was first used in the 1970s, though

319: 304: 300: 175: 146: 138: 112: 81: 10253: 5808: 3426:"Cult Film Staple Mary Woronov on Andy Warhol, Roger Corman, and Being Typecast" 1014:(1995) bombed in theaters but developed a cult following on video. Catching on, 10604: 10574: 10554: 10416: 10401: 10346: 10304: 10143: 10098: 10088: 10063: 10018: 10008: 9786: 9766: 9736: 9721: 9679: 9644: 9602: 9590: 9585: 9378: 9349: 9238: 9223: 9167: 9022: 8980: 8491: 8307: 8198: 8106: 7764: 7706: 5970: 5736: 5497: 4991: 4830: 3684: 3336: 3303: 3270: 2012: 1888: 1748: 1606: 1485: 1470: 1454: 1413: 1194: 1190: 1154: 1005: 970: 815: 549: 531: 465: 453: 419: 377: 369: 251: 204: 188: 101: 69: 10460: 10258: 9550: 5432:"Good Bad Taste: 'Rocky Horror Picture Show' and the So Bad It's Good Fallacy" 1921: 10717: 10579: 10559: 10108: 10048: 10033: 9923: 9868: 9863: 9836: 9806: 9771: 9612: 9565: 9555: 9518: 9486: 9476: 9467: 9437: 9307: 9243: 9184: 9179: 9117: 9082: 9027: 8985: 8955: 8945: 8938: 8754: 8702: 8672: 8657: 8612: 8597: 8516: 8383: 8336: 8302: 8262: 8230: 8203: 7797: 7417: 5040: 4798:"Still Abiding After 15 Years: The Laid-Back World of 'Big Lebowski' Worship" 4331:"How 'Battle Royale' Became a Cult Hit and Capitalized on 'The Hunger Games'" 4007: 3621: 3430: 3402: 3104: 2475: 2223: 2164: 1776: 1772: 1601: 1474: 1256: 1127: 1071: 925: 886: 792: 735: 731: 703: 688: 657: 474: 427: 403: 328: 283: 264: 260: 247: 212: 121: 9888: 863:, allow cult film fans to enjoy them on a higher level than the mainstream. 39: 10450: 10433: 10386: 10236: 10180: 9711: 9706: 9637: 9513: 9457: 9408: 9383: 9371: 9102: 8834: 8829: 8766: 8729: 8707: 8697: 8575: 8506: 8486: 8388: 8346: 8252: 8235: 7958: 7533: 7505: 7477: 6773: 6660: 6605: 6025: 5760: 5141:"Chapter 5: From Behind the Masks to Inside: Acting, Authenticity, and the 4802: 4335: 4223: 4160: 3559: 3487:"Prisoner of Cool: Chloë Sevigny, Alternative Stardom and Image Management" 3454:"Chapter 11: Forever Emmanuelle: Sylvia Kristel and Soft-Core Cult Stardom" 2879: 2662: 2567: 2397: 1736: 1708: 1696: 1686: 1628: 1596: 1465: 1401: 1386: 1343: 1289: 1220: 1214: 1177: 1171: 1067: 909: 802: 784: 780: 608: 523: 423: 358: 350: 142: 116: 96:

itself was first used in the 1970s to describe the culture that surrounded

7760:"Collecting the Trash: The Cult of the Ephemeral Clip from VHS to YouTube" 2167:(2008). "What's Cult Got to Do with It? In Defense of Cinephile Elitism." 1504:

is an example of a cult film director who has achieved mainstream success.

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became a cult hit when it was broadcast on the satirical television show

1460: 1376:(1981) faced similar denunciations from critics. Donald Liebenson of the 1282: 1209: 1035: 890: 726: 695: 675: 665: 630: 616: 527: 362: 314: 296: 7002: 6596:"Animation Legend Ralph Bakshi Looks Back at His Cult Classic "Wizards"" 4826:""I'm Riding a Panda!": Japanese Cult Media and Hipster Cosmopolitanism" 4247:"BFI to Screen Uncut Versions of Cult Films as British Censor Turns 100" 2030: 1658:, as retaining more traditional cult activities inside popular culture. 1255:

charged films without resorting to explicit sex. Myrna Oliver described

10654: 10634: 10584: 10564: 10549: 10539: 10455: 10406: 10216: 10023: 9963: 9781: 9674: 9617: 9545: 9503: 9334: 9152: 9137: 9107: 9065: 9034: 8724: 8587: 8351: 8292: 8272: 8162: 8010:"Cowboys, Aliens, Snakes and Sharks: In Praise of Literal Movie Titles" 5373:"'Who Killed Captain Alex?': The Best Worst Film of 2010, Uganda-Style" 5025:"The A.I.P. Beach Movies - Cult Films Depicting Subcultural Activities" 3555:"Lennon, Manson and Me: the Psychedelic Cinema of Alejandro Jodorowsky" 1819: 1654: 1613:

and cult films, though he faced much criticism as an early advocate of

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identifies the retro aesthetic and nostalgic pastiche in films such as

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Soft in the Middle: The Contemporary Softcore Feature in Its Contexts

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Cult Film Stardom: Offbeat Attractions and Processes of Cultification

5633:"Vincent Price and Cult Performance: the Case of Witchfinder General" 5149:

Cult Film Stardom: Offbeat Attractions and Processes of Cultification

4457:. Manchester: University of Manchester Press. pp. 172–174, 182. 4065: 3491:

Cult Film Stardom: Offbeat Attractions and Processes of Cultification

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Cult Film Stardom: Offbeat Attractions and Processes of Cultification

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Cult Film Stardom: Offbeat Attractions and Processes of Cultification

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Sconce, Jeffrey (Winter 2008). "Cult Cinema: A Critical Symposium".

6489:"Streamy Romance: Americans' Love Affair With B Movies Goes Digital" 5951:"Road House: The Long Journey to Reboot a Martial Arts Cult Classic" 5837:"John Hughes Versus the Vampires: The Dilemma of the Midnight Movie" 5465:"Miami Connection Destroys the Myth of 'So Bad They're Good' Movies" 3844:"Of Manias, Shit, and Blood: The Reception of Salò as a 'Sick Film'" 756:

Cult films can be used to help define or create groups as a form of

10351: 10013: 9908: 9694: 9684: 9632: 9322: 8781: 8533: 8210: 7648: 7264: 6927: 6061: 5783: 5673: 4928: 4896: 4519: 4307: 4041: 1987: 1528: 1427: 1305: 1233: 1044: 994: 838: 653: 346: 183: 6434:"The Princess Bride cast, director talk inconceivable(!) cult hit" 5905:"The Must-See Action Movies From The Stars Of "The Expendables 2"" 1396:(1988) as introducing violent, adult Japanese animation (known as 10674: 10356: 10299: 9317: 8072:

Artists in the Audience: Cults, Camp, and American Film Criticism

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Stevens, Kirsten (2009). Cash, Conall; Snow, Samuel Cuff (eds.).

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Defining Cult Movies: The Cultural Politics of Oppositional Taste

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