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By Ernest Mathijs, Jamie Sexton(auth.)
Cult Cinema: an Introduction provides the 1st in-depth educational exam of all features of the sector of cult cinema, together with audiences, genres, and theoretical views.
- Represents the 1st exhaustive creation to cult cinema
- Offers a scholarly remedy of a hotly contested subject on the heart of present educational debate
- Covers viewers reactions, aesthetics, genres, theories of cult cinema, in addition to old insights into the subject
Content:
Chapter 1 Cult Reception Contexts (pages 11–25):
Chapter 2 The Cult Cinema industry (pages 26–35):
Chapter three status, Awards, and fairs (pages 36–45):
Chapter four Censorship and feedback (pages 46–56):
Chapter five Fandom and tradition (pages 57–66):
Chapter 6 The Cult Auteur (pages 67–75):
Chapter 7 Cult Stardom (pages 76–85):
Chapter eight Camp and Paracinema (pages 86–96):
Chapter nine Transgression and Freakery (pages 97–107):
Chapter 10 Gender and Sexuality (pages 108–119):
Chapter eleven Transnationalism and Orientalism (pages 120–130):
Chapter 12 faith and Utopia (pages 131–141):
Chapter thirteen Exploitation and B videos (pages 143–154):
Chapter 14 Underground and Avant?Garde Cinema (pages 155–163):
Chapter 15 Cult Cinema and medicine (pages 164–171):
Chapter sixteen Cult Cinema and song (pages 172–183):
Chapter 17 Classical Hollywood Cults (pages 184–193):
Chapter 18 Cult Horror Cinema (pages 194–204):
Chapter 19 Cult technological know-how Fiction Cinema (pages 205–213):
Chapter 20 Cult Blockbusters (pages 214–223):
Chapter 21 Intertextuality and Irony (pages 224–233):
Chapter 22 Meta?Cult (pages 234–242):
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Additional resources for Cult Cinema: An Introduction
Example text
It’s not just a paycheck issue. I’m old school. You just gotta love the work. And one of the bad things that happened when everything went digital was suddenly – compared to the old days – there were enormous sums of money thrown around . . When this Hollywood cycle goes bust, we’ll see a lot of these folks go away. And the nerds like us will still be there – doing the work. ” Occasionally, companies and crews straddle the distinction between cult and mainstream: the KNB EFX company of special effects combines work for blockbuster Hollywood productions with smaller, more “streetwise” productions with lots of cult potential, like the Ginger Snaps films, From Dusk ‘till Dawn or Splice.
We have moved in this chapter from cult cinema’s paradigmatic exemplar, the midnight movie, and the smallest possible unit of perception, the spectator, to the largest possible, a society, and we have identified the cult experience on each of these levels. Needless to say all of these levels inform each other. In conclusion, we would like to highlight one aspect that we briefly touched upon in our summary of the history of the midnight movie, namely the fact that in several cases the cult is less lived than performed.
Quite the contrary, marketing campaigns accompanying films that became cults have often found themselves struggling to achieve any direction at all, drowning as they were in a sea of numerous little, uncontrolled stories surrounding the films. Even films whose big budgets and strong backing would presume tight control over prefiguration, can succumb to legends and accidents which may lead to cult receptions. ” But they had underestimated how the character Hannibal had sedimented into popular consciousness as a cult monster, and how circulating tales had already affected a Hannibal film’s reputation.