The Routledge Companion to Cult Cinema

1. Auflage 2019
ISBN: 978-1-138-95027-6
Verlag: Taylor & Francis Ltd

Buch, Englisch, 520 Seiten, Format (B × H): 141 mm x 222 mm, Gewicht: 1048 g

Reihe: Routledge Media and Cultural Studies Companions

The Routledge Companion to Cult Cinema offers an overview of the field of cult cinema – films at the margin of popular culture and art that have received exceptional cultural visibility and status mostly because they break rules, offend, and challenge understandings of achievement (some are so bad they’re good, others so good they remain inaccessible).

Cult cinema is no longer only comprised of the midnight movie or the extreme genre film. Its range has widened and the issues it broaches have become battlegrounds in cultural debates that typify the first quarter of the twenty-first century. Sections are introduced with the major theoretical frameworks, philosophical inspirations, and methodologies for studying cult films, with individual chapters excavating the most salient criticism of how the field impacts cultural discourse at large. Case studies include the worst films ever; exploitation films; genre cinema; multiple media formats cult cinema is expressed through; issues of cultural, national, and gender representations; elements of the production culture of cult cinema; and, throughout, aspects of the aesthetics of cult cinema – its genre, style, look, impact, and ability to yank viewers out of their comfort zones.

The Routledge Companion to Cult Cinema goes beyond the traditional scope of Anglophone and North American cinema by including case studies of East and South Asia, continental Europe, the Middle East, and Latin America, making it an innovative and important resource for researchers and students alike.

Autoren/Hrsg.

Mathijs, Ernest

Sexton, Jamie

Fachgebiete

• Sozialwissenschaften Soziologie | Soziale Arbeit Spezielle Soziologie Mediensoziologie
• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften

Inhaltsverzeichnis

Introduction: The Cult Cinema Studies Experience

PART I: GENRES AND CYCLES

Genres, Cycles, and Modes

- ‘Naughty’, ‘Nasty’, ‘Culty’: Exploitation Film – Ernest Mathijs

- Underground Film and Cult Cinema – Glyn Davis

- Cult-Art Cinema: Defining Cult-Art Ambivalence – David Andrews

- "It happens by accident": Failed Intentions, Incompetence, and Sincerity in Badfilm – Becky Bartlett

- Cult Horror Cinema – Steffen Hantke

- Cult Science Fiction Cinema – Mark Bould

- Cult Comedy Cinema and the Cultic, Comic Mode – Seth Soulstein

- The Italian Giallo – Alexia Kannas

PART II: GLOBAL AND LOCAL CULT CINEMA

Global and Local Cult Cinema

- Latsploitation – Dolores Tierney

- Iranian Cult Cinema - Babak Tabarraee

- Rebels Without a Cause: The Bombay Cult Film – Vibhushan Subba

- East Asian Cult Cinema – Robyn Citizen

- Anime Is (Not) Cult: Gainax and the Limits of Cult Cinema – Rayna Dennison

- Blaxploitation – Harry M. Benshoff

PART III: CRITICAL CONCEPTS

Critical Concepts

- Cult Cinema and Gender – Brenda Austin-Smith

- Cult Cinema and Nostalgia – Renee Middlemost

- Oc/cult Film and Video – Anna Powell

- Transgression in Cult Cinema– Thomas Joseph Watson

- Access All Areas? Anglo-American Film Censorship and Cult Cinema in the Digital Era – Emma Pett

- Cult Cinema and Camp – Julia Mendenhall

PART IV: EXHIBITION, DISTRIBUTION

Cult Film Distribution and Exhibition

- Midnight Movies- Carter Moulton

- Drive-in and Grindhouse Theaters – David Church

- Blood Cults: Historicising the North American "shot on video" horror movie – Johnny Walker

- Cult Cinema in the Digital Age – Iain Robert Smith

- Cult Cinema and Film Festivals – Russ Hunter

PART V: FANDOM

Cult Fandom

- Conventions and Cosplay – Lynn Zuberbnis

- Grown Woman Shit: A Case for Magic Mike XXL as Cult Text – Amanda Ann Klein

- The Cut between Us: Digital Remix and the Expression of Self – Jennifer Ng

- The Professionalised Fandom of Careers in Cult: "Passionate Work" within Academia and Industry – Matt Hills

PART VI: MUSIC AND SOUND

Sound and Music in Cult Film

- Cult Musicals – Ethan de Seife

- Cult Soundtracks (Music) – James Wierzbicki

- Sounding Out Cult Cinema: The ‘Bad’, the ‘Weird’ and the ‘Old’ – Nessa Johnston

PART VII: AESTHETICS AND INTERMEDIALITY

Cult Film Aesthetics

- Inside an Actor's Scrapbook: Heath Ledger's Aesthetic Practice of Unbalancing– Jörg Sternagel

- Special Effects and the Cult Film: Cult Film Production and Analogue Nostalgia on the Digital Effects Pipeline – Leon Gurevitch

- Production Play: Sets, Props, and Costumes in Cult Films – Tamao Nakahara

- Cult Film and Adaptation – I.Q. Hunter

- Cult Film – Cult Television – Stacey Abbott

PART VIII: AUTEURS

Cult Auteurs

- "It’s a strange world": David Lynch – Jeffrey Andrew Weinstock

- "You guys always bring me the very best violence": Making the Case for Joss Whedon’s The Avengers and Serenity as Mainstream Cult – Erin Giannini

- Anti-Auteur: The Films of Roberta Findlay – Alexandra Heller-Nicholas

- Anna Biller – Jennifer O’Meara

- Alejandro Jodorowsky and El Topo – Antonio Lazaro-Reboll

PART IX: ACTORS

Cult Cinema Acting

- Judy Garland – Steven Cohan

- From the Other Side of the Wind: Dennis Hopper – Adrian Martin

- Barbara Steele – Nia Edwards-Behi

- Bruce Lee: Cult (Film) Icon– Paul Bowman

- All He Needs Is Love: The Cult of Klaus Kinski – Ian Cooper

- Crispin Glover – Sarah Thomas

Über Autor(innen)

Ernest Mathijs is Professor of Film Studies at the University of British Columbia, Vancouver, Canada. He teaches and writes on cult cinema. With Jamie Sexton he has written Cult Cinema (2011). He is the co-author of 100 Cult Films and the author of The Cinema of David Cronenberg.

Jamie Sexton is Senior Lecturer in Film and Television Studies at Northumbria University, UK. He is author of Cultographies: Stranger Than Paradise (2018) and co-author with Ernest Mathijs of Cult Cinema (2011). He is currently writing a monograph on American independent cinema and indie music cultures.