As discussed in session 3 it is possible to tie specific actors to the cult phenomena, but it is also possible to take the notion of cult even further than that. Some film enthusiasts collect memorabilia from a specific series of film, follow the films of a specific director or even praise a specific film studio.
In this lesson we will be continuing the discussion on cult-directors (eg. Peter Jackson, Fritz Lang, Sam Raimi, John Waters, Orson Welles, and others) in order to pinpoint specifically what makes fans praise these specific directors, and ignore other filmmakers.
In addition we shall continue the investigation into the world of B-movies and independent film studios. Universal Pictures originated as a minor player in Hollywood, and made a fortune in the 30s by producing a line of horror films. England’s Hammer Film repeated this success overseas in the 60s. Today the New York based film company Troma, has made cult-films for the last 30 years. One could wonder how is it at all possible to make “instant cult classics”, when some authors claim that it is impossible to create a cult film? The lecture will focus on why are certain genres are more inviting for cult formation, including the notion of exploitation films and independent films.
- Why are certain people attracted to films which are obviously so badly made?
- What is the attraction of a specific company or director over others?
- What makes independent film so interesting?
- Is it possible to create a cult film?
- Is it fair for production companies or distributers to label a film as a “cult film” - do they share the same understanding of cult as the audiences?
Film: Trey Parker, Cannibal the Musical (1996). Screening 22-3, kl 14.00 in room 2.130
Readings: Xavier Mendik & Steven Jay Scheider, “A Tasteless Art: Waters, Kaufman and the Pursuit of ‘Pure’ Gross-out”
Links: Troma’s Website
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