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A cult film or cult movie, also commonly referred to as a cult classic, is a film that has acquired a cult following. Cult films are known for their dedicated, passionate fanbase which forms an elaborate subculture, members of which engage in repeated viewings, dialogue-quoting, and audience participation. Inclusive definitions allow for major studio productions, especially box-office bombs, while exclusive definitions focus more on obscure, transgressive films shunned by the mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art. The term cult film itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies, though cult was in common use in film analysis for decades prior to that.
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Film studies is an academic discipline that deals with various theoretical, historical, and critical approaches to cinema as an art form and a medium. It is sometimes subsumed within media studies and is often compared to television studies.
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Francis Edward Dec was an American lawyer and outsider writer who was best known for his typewritten diatribes that he independently mailed and published from the late 1960s onward. His works are characterized by highly accusatory and vulgar attacks, often making use of conglomerate phrases like "Mad Deadly Worldwide Communist Gangster Computer God" to slander people, groups, or companies that he believed were engaging in electronic harassment against him, and gained a cult following from the mid-1980s onward due to his comedic incoherence.
American eccentric cinema is a mode of contemporary American filmmaking that emerged in what has been termed the metamodern or new sincerity. Its attachment to indie cinema has led some to consider it a movement and genre of cinema in the United States. Its key filmmakers, including Wes Anderson, Charlie Kaufman, and Spike Jonze, are at times referred to as the "American Eccentrics". It occurred during the 1990s and 2000s, when indie directors sought to create films that diverted from the style and content of Hollywood franchise films. American eccentric cinema came in opposition to the mainstream ideas of formulaic narratives and the digitisation within films and new technologies that came about during the time period. American eccentric cinema is marked by films that are "deeply concerned with ethics and morality, the obligations of the individual, the effects of family breakdown, and social alienation."
Charlotte Brunsdon is a professor of film and television studies at the University of Warwick and researcher. She was one of the principal researchers of the Nationwide Project.
References
- ↑ Mary Hammond (3 March 2016). Charles Dickens's Great Expectations: A Cultural Life, 1860–2012. Routledge. pp. 12–. ISBN 978-1-317-16825-6.
- ↑ " Film students find beauty in the darkest places". Purdue Exponent, October 8, 2015 By DANIELLE WILKINSON
- ↑ "Should Gloriously Terrible Movies Like The Room Be Considered 'Outsider Art'?". The Atlantic, Adam Rosen Oct 8, 2013
- ↑ "Chicago fans celebrate the return of 'Entourage' by gathering their own". RedEye Chicago. Jun 2, 2015 Lauren Cval.
- ↑ "Google Scholar Report"
- ↑ Steven Jay Schneider; Tony Williams (2005). Horror International. Wayne State University Press. pp. 11–. ISBN 0-8143-3101-7.
- ↑ "Why calling a movie ‘bad’ doesn’t mean what it used to". Adam Nayman, National Post | July 22, 2014
- ↑ Cornrich, Ian (2009). Horror Zone. I.B. Taurus.
- ↑ The Cult Film Reader. Open University Press. 2008.
- ↑ Film Theory and Criticism (3rd ed.). Oxford University Press. 2004.
- ↑ Perkins, Claire (2012). American Smart Cinema. Edinburgh University Press.
- ↑ Jennifer Fisher; Mentoring Artists for Women's Art; DisplayCult (Group of artists) (2006). Technologies of Intuition. YYZ Books. pp. 28–. ISBN 978-0-920397-43-5.
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