Cult Cinema: An Introduction by Ernest Mathijs, Jamie Sexton(auth.)

By Ernest Mathijs, Jamie Sexton(auth.)

Cult Cinema: an Introduction offers the 1st in-depth educational exam of all points of the sector of cult cinema, together with audiences, genres, and theoretical views.

  • Represents the 1st exhaustive creation to cult cinema
  • Offers a scholarly therapy of a hotly contested subject on the middle of present educational debate
  • Covers viewers reactions, aesthetics, genres, theories of cult cinema, in addition to ancient insights into the subject

Content:
Chapter 1 Cult Reception Contexts (pages 11–25):
Chapter 2 The Cult Cinema market (pages 26–35):
Chapter three status, Awards, and gala's (pages 36–45):
Chapter four Censorship and feedback (pages 46–56):
Chapter five Fandom and lifestyle (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 video clips (pages 143–154):
Chapter 14 Underground and Avant?Garde Cinema (pages 155–163):
Chapter 15 Cult Cinema and medication (pages 164–171):
Chapter sixteen Cult Cinema and track (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

Sample text

Though one would anticipate that the term “cult” is indiscriminately used, its occurrence is relatively selective. It occurs less in materials that are geared towards a mass public that is not automatically associated with the kind of moviegoing and consumption linked with cult cinema. Put differently, the term “cult” is an exclusive one. That is also evident in its use in press books. It appears predominantly in press materials accompanying films by directors consistently linked to independent and exploitation cinema (Argento, Cronenberg, Lynch, Corman).

But it does not do anything of a wider cultural relevance (see Chapter 21 for an elaboration). Against that view stands another school of thought, which claims that if one looks carefully at the moral and political consequences of the obsession with details, it becomes clear that they can also be used to uproot existing constellations and instead promote revolutionary ideals (Ross 1989; Havis 2008). Thinking through the ideological implications of the “transgressions” of culture that occur in films said to be cult can create imbalances, provoke controversies, and stimulate utopian ideas.

Ernest Mathijs and Jamie Sexton. Ó 2011 Ernest Mathijs and Jamie Sexton. Published 2011 by Blackwell Publishing Ltd. THE CULT CINEMA MARKETPLACE troubles or “behind the scenes” revelations fit the profile, and are willingly leaked, but sometimes they are kept under cover. Cult films differ from this system in that their attitudes of hyperbole and reflexivity seem to be more extreme than those usually accepted as normal. ” Casablanca, with its muchtold production legends, is a famous example of this, but much of the production culture of Hong Kong cult cinema of the 1980s, or Italian horror of the 1970s operates in similar ways.

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