Lethem exfoliates Carpenter's paranoid satire in a series of penetrating, free-associational forays into the context of a story that peels the human masks off the ghoulish overlords of capitalism. They Live by D. Harlan Wilson. Born out of the cultural flamboyance and anxiety of the s, They Live is a hallmark of John Carpenter's singular canon, combining the aesthetics of multiple genres and leveling an attack against the politics of Reaganism and the Cold War.
Withnail and us: cult films and film cults in British cinema by Justin Smith. Withnail and Us charts the journey of cult in culture through an exploration of British cult films and their fans. Use this index to find articles about cult films. Selected movie titles To find more cult films, search the library's online catalog. Portrays the decadence and debauchery that marked the reign of the Roman emperor Caligula from A. A clockwork orange by Stanley Kubrick. Stamping, whomping, stealing, singing, tap-dancing, violating, Derby-topped hooligan Alex has a good time -- at the tragic expense of others.
His journey from amoral punk to brainwashed proper citizen and back again forms the dynamic arc of Stanley Kubrick's future-shock vision of the Anthony Burgess novel. The Ed Wood collection: a salute to incompetence.
Freaks by Tod Browning. A group of freaks take revenge on a trapeze artist and her boyfriend after years of abuse. Filmed using real circus performers. Fritz the cat by Ralph Bakshi. An animated film about Fritz, an alleycat student in New York City during the s who seeks new and varied experiences. Without the tangibility of public interaction, just how many strange devotees of a given film constitute a new cult audience, anyway? Many films that were once available only through mail-order catalogs, fan conventions, and bootleg VHS trading are now readily available on DVD, leading cultists to seek out even more obscure rarities.
As technologies have evolved and cult viewing has moved behind closed doors, fans have reconnected with each other in the quasipublic, virtual spaces created by web sites, blogs, and discussion fora—which arguably allow for more dialogic, communal interaction than the cult film fanzines and newsletters they have partially replaced.
While cultish activity on the Internet has not necessarily been a reliable predictor of box-office success see Grindhouse or long-term cult investments see the short-lived Snakes on a Plane fad , it has increasingly caught the attention of film industries eager to maximize profits by reappropriating fan tastes.
Following Henry Jenkins, this development might suggest that the struggle is intensifying between media producers and the fans who actively rework material from those media to fit their own desires. David Church is a Ph. Cult status is tied to the social situation of film reception, and this implies fans. For example, fifty years ago, Marx brothers films could be considered cult films since screenings brought out dedicated enthusiasts who often knew many of the lines, their favorite scenes and gags, etc.
Freshmen were initiated into the ritual viewing, and, by the time they were juniors, could call out their favorite lines, anticipate every plot point, etc. One exception: broadcast TV contributed to cult fandom with late-night-hosted horror films with hosts like Elvira, or by showing sure-fire hits during ratings week such as Casablanca —widely known as an audience grabber every time.
In prevideotape days the group experience was essential to the cult experience. The supreme example was The Rocky Horror Picture Show , which became a weekly repeat experience for a young audience that came in costume, sang the songs, and acted out in the theater.
There are still festivals and special occasions for theatrical cult such as theme and event weekends, but the vast expansion of opportunities to view—and importantly review—films on tape and DVD have changed the game.
Cult films are films that are loved, adored, valued by a self-selecting group of cinephiles. Of course some films collect dedicated subculture viewers such as the gay male fandom for Judy Garland films. And some films expand into multiple forms including profitable serialization, spinoffs, costumes, and conventions: Star Wars is the supreme example. For the individual viewer, the cult film provides the singular pleasure of adoration.
In general, cult films stand outside the canon of widely accepted works. But, they can become canonical over time. Thus at one time Hitchcock was generally thought of as a talented technician, but no artist, but auteur critics elevated him to canonical status. The French adored Jerry Lewis, who became a French cult figure. Some cultists want everyone to share their enthusiasm. They want to validate their cult works, but they also want to keep those films from gaining a wider audience that would dilute their taste culture.
Everyone uses esthetic discrimination. Just as wine lovers spend an inordinate energy on discriminating among wines and find it fun and gratifying to do so , film cultists can endlessly discuss their beloved objects, be they Italian Giallo horror, beach party movies, Satantango , grindhouse films, early Jackie Chan, J-Horror, etc.
Of course the cultists take great pleasure in their virtually unique taste, but delight in finding a cadre of others, and truly triumph when they can parade that special status among those who are unwashed and unlearned, but eager to be initiated the Harvard freshmen.
Finding others who share your insider love of The Big Lebowski , say, makes you feel good to share your specialized knowledge with others who understand you, whose existence complements your taste, and are not bored with or tired of your passion. All of this is present in the Film Quarterly symposium back in validating Showgirls. Recent cult film culture shows a marked tendency to validate the outsider status of the works as somehow transgressive or subversive of oppressive norms, the dominant ideology, or the existing power structure.
This claim is often made but seldom examined in depth. And since much though not all cult film fandom falls into the demographics of white-boy culture, feminists have been justifiably skeptical of its gender politics. Dunn develops a sophisticated analysis that could serve as a model for many other cult films.
His current research covers Asian Extreme cinema and women warrior films. Mikel J. He also coedits also with Ernest Mathijs the book series on cult films entitled Cultographies for Wallflower Press. The cult film is a film that occupies an asymptotic relationship with mainstream film by virtue of identifiable textual divergences. However, all pretense and pretentiousness aside, it is mainstream cinema with a twist or several twists rather than a wholly separate animal.
This is to suggest that, contra Bruce Kawin, it is not primarily the audience that defines a cult film. Or shifting J. What defines the cult film therefore is the challenge it presents to spectators. Those willing to perform this work reap the rewards of their efforts—the smugness of presumed elite or outsider status. The appreciative spectator of the art-house film has her intellectual credentials validated, the slasher film fan has his intestinal fortitude verified—and each can then look down his or her nose at the assumed banality of mainstream cinema and its vanilla patrons.
To the extent that the cult film makes a spectacle of itself through its self-conscious foregrounding of its differences from mainstream film, cult films are always metafilms, films that foreground the conventions of and expectations surrounding mainstream cinema. This ideally is the primary social value of cult films. Poised on the edge of what should and should not be said and shown, they raise interesting and important questions about the naturalization of particular types of narratives and how narrative functions to naturalize particular ideological worldviews.
The cult film ideally asks us to think about the types of stories we consume, why we enjoy them, and how we respond to those stories. This self-reflexive interrogation of cinema provoked by cult films possesses revolutionary potential. In practice, however, what has increasingly occurred is the hegemonic incorporation of resistance by the major Hollywood studios. Though the popularity of cult films used to spread through midnight screenings in cities and often-borrowed VHS or DVD copies, the internet and digital streaming has increased the admiration of certain cult films exponentially.
Fans of these films worldwide can share their enthusiasm. Few films can have that type of effect on audiences and inspire such dedication from their fans, which makes cult movies perhaps the best type of movies — endless fun for their most devoted fans! Actively scan device characteristics for identification. Use precise geolocation data. Select personalised content. Create a personalised content profile. Measure ad performance. Select basic ads. Create a personalised ads profile.
Select personalised ads. Apply market research to generate audience insights. It's kind of feeling like a cult film. The film narrates a It's kind of hard to believe now, but celebrated cult film The Rocky Horror Picture Show was a complete flop when it opened in Gregg has written and directed the movie, named 'Here Now', which follows up the themes of his cult film Nowhere.
It follows the lives, An unsung genius has managed to wring even more humor out of The Room, the terribly made, probably-not-a-joke-but-maybe cult film that More than films are available for streaming. Greek muses, leg warmers and disco all collided in the cult film Xanadu, and it's happening all over again when the musical opens at The Cult film [online]. Nov ». English words that begin with c. English words that begin with cu.
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