What is a cult film? This question is notoriously difficult to answer, as it seems that there might be two kinds of cult films, one which is immensely popular, such as Star Wars and Gone With the Wind, and others that are practically unknown, or considered terrible films, such as Plan 9 From Outer Space and Forbidden Planet. It is this last category that seems to be the most commonly understood type of cult film, and also the focus of this course.
What seems unique about cult films is their reception of the films, where the cult following has a radically different conception of the value of the film than the majority. This gives an indication of why standard Hollywood films will never become cult films, since the reading and understanding of these films is usually similar to all members of the audience. This eliminates Star Wars as a potential cult film since the majority of moviegoers enjoy this film. 'Cult' indicates a small following, so the course will focus on films that are generally considered less popular, with the specific exception of Casablanca which can hardly be ignored when discussing cult films.
Through reception theory, this course will aim at discussing why some people find pleasure in what may be considered 'lesser' films, why some films gather a fanatic following, and why some people have aberrant readings of these films. Why does this cult audience read the films in a different way, and yet similar to each other so that the cult may exist? Is this different reading inherent in the film or is it somehow located in the audience?
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No discussion of cult films would be complete without Casablanca. This first lecture will deal with the aesthetics of cult films and what makes a film cult. Casablanca will serve as an illustrative point.
Film: Michael Curtiz, Casablanca (1942).
Reading: Umberto Eco, "Casablanca: Cult Movies and Intertextual Collage."
J.P. Telotte, "Beyond All Reason: The Nature of Cult."2. The Culture of the Cult: A Postmodern Reception
If the cult of the cult film lies in the audience, does that mean that the cult filom is defined by the audience and not the inherent features of the film itself? It does seem that film may be made in one way and yet received in another, and that this reception may change over time.
Despite the fact that Plan 9 From Outer Space is continually voted as the worst film ever made, it has a very strong following and has been released on dvd, even in a deluxe edition! What attracts an audience to this film? This lecture will examine trash aesthetics and audience response.
Film: Ed Wood, Plan 9 From Outer Space (1956)
Reading: Timothy Corrigan (1991), "Film and the Culture of Cult".3. Cult of the Auteur
Made in part to discuss the alternate lifestyles, this film is clearly an exercise in poor taste - quite literally! Being termed - by the director - as 'the most disgusting picture of all time' and 'a trip through decadence' what makes people see this film, and especially see it again? It is hardly a strong narrative or competent acting. This lecture will focus on camp and kitsch.
Film: John Waters, Pink Flamingos (1973)
Readings:4. The Cult of Genre
More than any other type of films sf and horror films have very strong followings, despite the quality of the individual films. B-movies are an obvious part of these cults. There are even production companies specialised in making these B-movies, such as Hammer or Troma. This lecture will focus on why are certain genres more inviting for cult formation, including the notion of exploitation films.
Film:
Reading:5. The Cult of the Star
Bruce Lee is continually seen as the greatest of all martial arts stars, yet his films are now more than thirty years old and the martial arts genre has, in terms of special effects and cinematic style, moved far beyond the films which Bruce Lee made. Why does he remain the icon of martial arts and martial arts films?
Film:
Reading:6. The Midnight Movie
More than the film itself, Rocky Horror is interesting because of the event which going to see the film is. Whether as film or stage play, the audience is expected to partake, performing a variety of actions referred to in the narrative. When watching Rocky Horror in a crowd, do we participate in the text or do we create our own text?
Film: Jim Sharman, The Rocky Horror Picture Show (1975)
Reading:7. The Commercial Cultfilm: The Coen Brothers
The Coen brothers have created a large number of films, most of which have all become cult favourites to some extent. The Big Lebowski may very well represent the ultimate cult film of their entire oeuvre and will be used as a case study.
Film: Joel Coen, The Big Lebowski
Reading:8. A Contemporary Cult Film
Probably the greatest and most anticipated film of 2002, this film had massive problems ever reaching theatres, despite the fact that it gained several extremely positive reviews and awards at film festivals. This film will be an investigation of parody, star power and general mayhem.
Film: Don Coscarelli, Bubba Ho-tep (2002)
Reading: The Bubba Ho-tep website, and excerpts from Bruce Campbell, If Chins Could Kill: Confessions of a B-movie actor.