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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.
Horror is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes.
Wheeler Winston Dixon is an American filmmaker and scholar. He is an expert on film history, theory and criticism. His scholarship has particular emphasis on François Truffaut, Jean-Luc Godard, American experimental cinema and horror films. He has written extensively on numerous aspects of film, including his books A Short History of Film and A History of Horror. From 1999 through the end of 2014, he was co-editor, along with Gwendolyn Audrey Foster, of the Quarterly Review of Film and Video. He is regarded as a top reviewer of films. In addition, he is notable as an experimental American filmmaker with films made over several decades, and the Museum of Modern Art exhibited his works in 2003. He taught at Rutgers University, The New School in New York, the University of Amsterdam in the Netherlands, and as of May 2020, is the James E. Ryan professor emeritus of film studies at the University of Nebraska in Lincoln.
Extreme cinema is a subgenre used for films distinguished by its use of excessive sex and violence, and depiction of extreme acts such as mutilation and torture. It recently specializes in genre film, mostly both horror and drama.
Suburban Gothic is a subgenre of Gothic fiction, art, film and television, focused on anxieties associated with the creation of suburban communities, particularly in the United States and the Western world, from the 1950s and 1960s onwards.
New Extreme Films describes a range of transgressive films made at the turn of the 21st century that sparked controversy, and provoked significant debate and discussion. They were notable for including graphic images of violence, especially sexual violence and rape, as well as explicit sexual imagery.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
This is a bibliography of reference works on film by genre.
A list of reference works on the horror genre of film.
John Edgar Browning is an American author, editor, and scholar known for his nonfiction works about the horror genre and vampires in film, literature, and culture. Previously a visiting lecturer at the Georgia Institute of Technology, he is now a professor of liberal arts at the Savannah College of Art and Design in Atlanta, Georgia.
Tom Stempel is an American film scholar and critic. He is a Professor Emeritus in Film at Los Angeles City College, where he taught from 1971 to 2011.
The Gothic romance film is a Gothic film with feminine appeal. Diane Waldman wrote in Cinema Journal that Gothic films in general "permitted the articulation of feminine fear, anger, and distrust of the patriarchal order" and that such films during World War II and afterward "place an unusual emphasis on the affirmation of feminine perception, interpretation, and lived experience". Between 1940 and 1948, the Gothic romance film was prevalent in Hollywood, being produced by well-known directors and actors. The best-known films of the era were Rebecca (1940), Suspicion (1941), and Gaslight (1944). Less well-known films were Undercurrent (1946) and Sleep, My Love (1948). Waldman describes these films' Gothic rubric: "A young inexperienced woman meets a handsome older man to whom she is alternately attracted and repelled." Other films from the decade include The Enchanted Cottage (1945) and The Heiress (1949).
References
- ↑ Shepard, Richard F. (September 24, 1982). "FILM, 'AMITYVILLE II: THE POSSESSION'". The New York Times . Retrieved 2015-07-23.
- 1 2 3 4 "Themes » Domestic Abuse". AllMovie . Retrieved 2015-07-23.
- ↑ Dargis, Manohla (July 10, 2014). "From Baby Fat to Stubble: Growing Up in Real Time". The New York Times . Retrieved 2015-02-18.
- ↑ Rabin, Nathan (April 19, 2002). "Break Up". The A.V. Club . Retrieved December 19, 2013.
- 1 2 3 4 Moody, Stu (March 15, 2015). "6 Domestic Violence Movies That Are Hard To Watch". Screen Junkies . Retrieved 2015-07-23.
- ↑ Hudson, Jenise (2012). "The Backhand of Backlash: Troubling the Gender Politics of Domestic Violence Scenes in Tyler Perry's The Family That Preys". In Ritzenhoff, Karen A.; Randell, Karen (eds.). Screening the Dark Side of Love: From Euro-Horror to American Cinema. Palgrave Macmillan. pp. 169–180. ISBN 978-0-230-34154-8.
- ↑ Canby, Vincent (January 11, 1991). "Not Without My Daughter (1990)". The New York Times . Retrieved 2015-07-23.
- ↑ Erickson, Hal (2014). "The Purple Rose of Cairo (1985)". Movies & TV Dept. The New York Times . Baseline & All Movie Guide. Archived from the original on 2014-03-01. Retrieved 2015-07-20.
- ↑ Silvio, Carl; Vinci, Tony M. (2007). Culture, Identities, and Technology in the Star Wars Films: Essays on the Two Trilogies. McFarland. p. 141. ISBN 978-0-7864-2910-3.
- ↑ Muir, John Kenneth (2013). Horror Movies of the 1980s. McFarland & Company. p. 625. ISBN 9780786455010.
- ↑ Stanley, Maureen Tobin (2012). "Liberating Mythography: The Intertextual Discourse between Mythological Banishment and Domestic Violence as Exile in Take My Eyes (Te doy mis ojos)". In Zinn, Gesa; Stanley, Maureen Tobin (eds.). Exile Through a Gendered Lens: Women's Displacement in Recent European History, Literature, and Cinema. Palgrave Macmillan. pp. 99–118. ISBN 978-0-230-33999-6.