Download Cult Cinema by Ernest Mathijs PDF

By Ernest Mathijs

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

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

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Through this classifier Hoberman separates surrealist, delirious films, from films maudits and truly bad films, of which he sees Ed Wood’s Plan 9 from Outer Space as the top. An important impetus to the celebration of badness came from satirical columnist Joe Bob Briggs, who set up the Hubcap Awards (the “Hubbys”) in the early 1980s. These “so-called ‘Drive-In Academy Awards’ were presented at horror conventions or on college campuses and featured prizes for ‘Best Slimeball’, ‘Best Kung-Fu’, and ‘Best Mindless Sex Comedy’” (English 2005: 93).

This chapter looks at cult cinema from the angle of political economy. It pays close attention to labor, funding and entrepreneurship, marketing, niche promotion, exhibition culture, and black markets. Production Culture Studying the production and business routines of films known as cult can provide valuable insights into the conditions that help shape the prefigurations of those receptions. This chapter aims to do that by painting the contexts of inception, labor, production, the aid of technology in the creation of films, and the attitudes, routines and practices as a culture in itself – a community very much like the kind anthropologists study.

Through this classifier Hoberman separates surrealist, delirious films, from films maudits and truly bad films, of which he sees Ed Wood’s Plan 9 from Outer Space as the top. An important impetus to the celebration of badness came from satirical columnist Joe Bob Briggs, who set up the Hubcap Awards (the “Hubbys”) in the early 1980s. These “so-called ‘Drive-In Academy Awards’ were presented at horror conventions or on college campuses and featured prizes for ‘Best Slimeball’, ‘Best Kung-Fu’, and ‘Best Mindless Sex Comedy’” (English 2005: 93).

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