Cult

Classics

A cult film, 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, an elaborate
subculture that engage in repeated viewings, quoting dialogue, and audience
participation.
This definition excludes films that have been released by major studios with
big budgets, films that try specifically to be a cult film or films that have
become accepted by mainstream audiences and critics.

A cult film is often designated as such "in the eye of the beholder" without
fulfilling any definition. It's often a matter of opinion. One viewer's cult film
may not be judged the same by another viewer.


It is extremely difficult to define a cult film, however they are often
recognised through these qualities;
- Cult films are usually strange, quirky, offbeat and eccentric.
- They are often controversial as they step outside the standard narrative and
technical conventions of their time.
- They can be very stylized, and they are often flawed or unusual in some
striking way.
- Cult films frequently break cultural taboos, and many feature excessive
displays of violence, gore, sexuality and profanity.
- This can lead to controversy, censorship, and outright bans (A Clockwork
Orange was banned in the UK for 27 years).

Some of the techniques that cult films use are intertextual references,
gore(Texas Chainsaw Massacre 1974), loose ends in storylines(2001,
A Space Odyssey, 1968), or the creation of a sense of nostalgia(The
Sound of Music 1965).
Cult films are shocks to the system. They often contain a sense of
innovation aesthetically or thematically; they challenge conventions
and instigate new techniques. Contrary to films that insert small and
careful innovations to avoid upsetting viewers.
Cult films are often referred to as so bad theyre good.

Cult Road films: Easy Rider (1969), Two-Lane Blacktop (1971)

Cult Musicals: The Rocky Horror Picture Show (1975),Tommy (1975), Pink
Floyd: The Wall (1982), The Sound of Music (1965) (the 'sing-along' version)
Cult Blaxploitation: Shaft (1971)
Cult Westerns: Johnny Guitar (1954)
Cult Teen 'Chick-Flicks': Heathers (1989), Clueless (1995)
Cult Sci-Fi: Blade Runner (1982), Repo Man (1984)
Cult Comedy: Harold and Maude (1971), Pee Wee's Big Adventure (1985)
Cult Documentary or Exploitation/Sexploitation Films: Reefer Madness
(1936), Showgirls (1995)

Some directors/producers are more prone to making cult films.

Such as the Coen Brothers, David Lynch and Ed Wood, especially
early in their careers, because of their individualistic perspective and
style.
The Coen Brothers - Miller's Crossing (1990), The Big Lebowski
(1998)

David Lynch - Blue Velvet (1986), Wild at Heart (1990)

Ed Wood - Glen or Glenda? (1953), Plan 9 From Outer Space (1959)

Clubs and events organised by dedicated fanbase (Jameson Cult Film

Club)
Film festivals dedicated to cult film (Toronto After Dark film festival)
Fancy dress events based on cult films (Rocky Horror Picture Show)

Cult film merchandise is often sold including the iconic cult film
posters.

The midnight screening of offbeat films began in the early 1970s in a

few urban areas, particularly New York City.
The screening of nonmainstream films at midnight was aimed at
building a cult film audience, encouraging repeat viewing and social
interaction in what was originally a countercultural setting.
Today the midnight movie screenings still exist (Donnie Darko was
played for 28 consecutive months of midnight screenings at one New
York theatre)

 At first, films could not obtain a cult status unless they had
received a small but devoted audience.
In the early days of cult films, the popularity was achieved through
word of mouth. This meant it took time for these films to truly obtain
the cult status.
However several films today have acquired massive, quick cult
followings, due to spreading virally through social media. Easy access
to cult films via video on demand and file sharing has led some critics
to pronounce the death of cult films.

Early Cult Classics

Modern Cult Classics

The Most Dangerous Game

(1932)

The Little Shop of Horrors

(1960) (remade in 1986)

Reefer Madness (1936)

A Clockwork Orange (1971)

The Wizard of Oz (1939)

The Exorcist (1973)

Fantasia (1940)

Jaws (1975)

It's a Wonderful Life (1946)

The Blues Brothers (1980)

Glen or Glenda? (1953)

The Shining (1980)

Godzilla (1954)

Diner (1982)

Modern Cult Classics

Blue Velvet (1986)
Pulp Fiction (1994)
Fight Club (1999)
American Psycho (2000)
Donnie Darko (2001)
Napoleon Dynamite (2004)
Scott Pilgrim vs. The World
(2010)

 A particular sub genre of cult films which I found intriguing are the
social issues films.
A social issue refers to an issue that influences and is opposed by a
considerable number of individuals within a society.
This cult sub-genre is one that has been explored within the film
industry throughout the decades.
The three social issues films I have decided to focus on are Reefer
Madness (1936), A Clockwork Orange (1971) and Fight Club
(1999).
Each of the films above explore societies influential and frightening
realities.

Reefer Madness is an American cult

propaganda film released in 1936.
A church group financed the
production, who intended for the
film to be shown to parents
attempting to tell them of the
dangers of cannabis use.
The social issue present within
Reefer Madness is the use of
misleading propaganda

The film illustrates an exaggerated

and deceptive story of the outcomes
of marijuana intake.
In a more marijuana enlightened
society today, the film has become a
satire among advocates of the
cannabis policy reform.
Therefore gaining its cult status.

A Clockwork Orange is a 1971 film

which has gained the cult classic
status.
It has done so considering its
controversial and disturbing
qualities.
A Clockwork Orange depicts a
fictional social experiment, however
Kubrick himself is carrying out a
social experiment on the basis of his
hatred of anarchy and totalitarianism
and perhaps how the audience will
react.

The social experiment lies on the

basis that if we are deprived of
the choice between good and
evil, like Alex, do we lose our
humanity.

Fight Club is a 1999 cult film

relevant to the social issue of gender
constructs.
It was a box-office failure considering
the high expectations of the
producers.
However it later gained critical and
commercial success with its DVD
release, establishing its cult status.
The prevalent theme of men and
women being reliant on one another is
a social issue present within Fight
Club.

Marla Singer and the narrators

(Jacks) respective femininity and
masculinity are dependent on
that of the other.
Marlas stereotypical masculine
traits and Jacks contrasting
feminine traits highlight the
social issue of gender constructs
within Fight Club.