Defining Cult Movies
From The Art and Popular Culture Encyclopedia
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"Writing in Defining Cult Movies, Jancovich et al. quote academic Jeffrey Sconce, who defines cult films in terms of paracinema, marginal films that exist outside critical and cultural acceptance: everything from exploitation to beach party musicals to softcore pornography. However, they reject cult films as having a single unifying feature; instead, they state that cult films are united in their "subcultural ideology" and opposition to mainstream tastes, itself a vague and undefinable term. Cult followings themselves can range from adoration to contempt, and they have little in common except for their celebration of nonconformity – even the bad films ridiculed by fans are artistically nonconformist, albeit unintentionally. At the same time, they state that bourgeois, masculine tastes are frequently reinforced, which makes cult films more of an internal conflict within the bourgeoisie, rather than a rebellion against it. This results in an anti-academic bias despite the use of formal methodologies, such as defamiliarization. This contradiction exists in many subcultures, especially those dependent on defining themselves in terms of opposition to the mainstream. This nonconformity is eventually co-opted by the dominant forces, such as Hollywood, and marketed to the mainstream."--Sholem Stein |
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Defining Cult Movies : The Cultural Politics of Oppositional Tastes (2003) is a book on cult films by various authors, edited by Mark Jancovich, Antonio Lazaro Reboli, Julian Stringer and Andrew Willis.
About the authors
Mark Jancovich is Reader and Director of the Institute of Film Studies, Antonio Lazaro Reboll is Lector in Hispanic Studies, and Julian Stringer is Lecturer in Film Studies, all at the University of Nottingham. Andrew Willis is Senior Lecturer in Media and Performance at the University of Salford.
Synopsis
This collection concentrates on the analysis of cult movies, how they are defined, who defines them and the cultural politics of these definitions. The definition of the cult movie relies on a sense of its distinction from the "mainstream" or "ordinary." This also raises issues about the perception of it as an oppositional form of cinema, and of its strained relationships to processes of institutionalization and classification. In other words, cult movie fandom has often presented itself as being in opposition to the academy, commercial film industries and the media more generally, but has been far more dependent on these forms than it has usually been willing to admit. The international roster of essayists range over the full and entertaining gamut of cult films from Dario Argento, Spanish horror and Peter Jackson's New Zealand gorefests to sexploitation, kung fu and sci-fi flicks. --from the publisher
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