The Concepts of Cult
1.Harry Allan Potamkin (1932), Film Cults.
2. Walter Benjamin (1936). The work of Art in the Age of Mechanical
Reproduction.
3. Susan Sontag (1964). Notes on Camp.
4. Andrew Ross (1989). The Uses of Camp.
5. Umberto Eco (1986). Cult Movies and Intertextual Collage.
6. Barry Keith Grant (1991). Science Fiction Double Feature;
Ideology in the Cult Film.
7. Anne Jerslev (1992). Semiotics by Instinct: Cult Film as a
Signifying Practice between Film and Audience.
8. Jeffrey Sconce (1995). Trashing the Academy: Taste, Excess and
an Emerging Politics of Cinematic Style.
9. Joan Hawkins (2000). Sleaze Mania, Euro-Trash and High Art: the
Place of European Art Films in American Low Culture.
10. Matt Hills (2002). Media Fandom, Neo-Religiosity and Cult(ural)
Studies.
11. Mark Jancovich (2002). Cult Fictions: Cult Movies, Subcultural
Capital and the Production of Cultural Distinctions.
Cult Case Studies
12. Jean Vigo (1932). Un chien
andalou.
13. Joan Hawkins (2000), The Anxiety of Influence: Georges Franju
and the Medical Horror Shows of Jess Franco.
14. Eric Schaefer (1997). The Obscene Seen: Spectacle and
Transgression in Postwar Burlesque Film.
15. Parker Tyler (1963). Orson Welles and the Big Experimental Film
Cult.
16. Gary Hentzi (1993). Little Cinema of Horrors.
17. Welch Everman (1993). What is a Cult Horror Film?
18. Harry Benshoff (2000). Blaxploitation Horror Films: Generic
Reappropriation or Reinscription.
19. Chibnall, Steve (2003). Get Carter in Context.
20. Noel Carroll (1998). The Future of Allusion: Hollywood in the
Seventies (and beyond).
21. Janet Staiger (2000). Hitchcock in Texas: Intertextuality in
the Face of Blood and Gore.
22. Steven Jay Schneider (2004). The Essential Evil in/of
Eraserhead.
23. Lawrence O’Toole (1979). The Cult of Horror.
24. J.P. Telotte (2001). The Blair Witch Project Project: Film and
the Internet.
National and International Cults
25. J. Hoberman and Jonathan Rosenbaum (1983) El Topo: Through the
Wasteland of Counterculture.
26. Gary Needham (2003), Playing with Genre: Defining the Italian
giallo
27. Leon Hunt (2000). Han’s Island Revisited: Enter the Dragon as a
Transnational Cult Film.
28. Annalee Newitz (1995). Magical Girls and Atomic Bomb Sperm;
Japanese Animation in America.
29. Jinsoo An (2001). The Killer: Cult Film and Transcultural
(Mis)Reading.
30. Harmony Wu (2003). Trading in Horror, Cult, and Matricide:
Peter Jackson’s Phenomenal Bad Taste and New Zealand Fantasies of
Inter/National Cinematic Success.
31. Sheila J. Nayar (2004). Invisible Representation; the Oral
Contours of a National Popular Cinema.
32. Nezih Erdogan (2002), Mute Bodies, Disembodied Voices: Notes on
Sound in Turkish Popular Cinema.
33. Tom Mes (2003). Ichi the Killer.
Cult Consumption
34. Siegfried Kracauer (1926), The Cult
of Distraction.
35. Pierre Bourdieu (1979), Distinction.
36. Bruce Austin (1981). Portrait of a Cult Film Audience: the
Rocky Horror Picture Show.
37. Gina Marchetti (1986). Subcultural Studies and the Film
Audience: Rethinking the Film Viewing Context.
38. David Sanjek (1990), Fans' notes: the Horror Film Fanzine.
39. Henry Jenkins (1992). Get a Life: Fans, Poachers, Nomads.
40. John Fiske (1992). The Cultural economy of Fandom.
41. Martin Barker, Jane Arthurs and Ramaswami Harindranath (2001),
The Crash Controversy: Reviewing the Press.
42. I.Q. Hunter (2000) Beaver Las Vegas; a Fan Boy’s Defence of
Showgirls.
43. Martin Barker, Ernest Mathijs & Xavier Mendik (2006), Menstrual
Monsters: the Reception of the Ginger Snaps Cult Horror
Franchise.
Bibliography of Cult Film Resources
Index
Ernest Mathijs heads the Centre for Cinema Studies at the University of British Columbia, Canada.
Xavier Mendik is Director of the Cult Film Archive and Convenor of the MA in Cult Film and TV at Brunel University, UK.
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