Akira Mizuta  Lippit et al. (2003) ‘Round Table: Showgirls’, Film Quarterly, 56(3), pp. 32–46. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.1525/fq.2003.56.3.32.
Andrews, D. (2013) Theorizing art cinemas: foreign, cult, avant-garde, and beyond. Austin, Tex: University of Texas Press.
Antony Todd (2012) Authorship and the films of David Lynch: aesthetic receptions in contemporary Hollywood. London: I.B. Tauris & Co. Ltd.
Austin, B.A. (1981) ‘Portrait of a Cult Film Audience: The Rocky Horror Picture Show’, Journal of Communication, 31(2), pp. 43–54. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1460-2466.1981.tb01227.x.
Barker, M., Mathijs, E. and Mendik, X. (2006) Menstrual monsters: the reception of the Ginger Snaps cult horror franchise. [Bristol]: [Intellect].
Barry K Grant (1991) ‘Science fiction double feature: Ideology in the cult film’, in J P Telotte (ed.) The Cult film experience: beyond all reason. 1st ed. Austin: University of Texas Press, pp. 122–137. Available at: https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099.
Barry Keith Grant (2008) Auteurs and Authorship: A film reader. Malden, Mass: Blackwell Publishing.
Bill Warren (2010) Keep watching the skies!: American science fiction movies of the fifties. 21st century ed. Jefferson, NC: McFarland & Co.
Church, D. (2015) Grindhouse nostalgia: memory, home video and exploitation film fandom. Edinburgh: Edinburgh University Press. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001.
Clayton, W. and Harman, S. (2014) Screening Twilight: critical approaches to a cinematic phenomenon. London: I. B. Tauris.
Daniel Martin (2015) Extreme Asia: the rise of cult cinema from the Far East. Edinburgh: Edinburgh University Press.
Danny Peary (1981a) Cult movies: the classics, the sleepers, the weird, and the wonderful. New York: Delacorte Press.
Danny Peary (1981b) Cult movies: the classics, the sleepers, the weird, and the wonderful. New York: Delacorte Press.
David Church (2011) ‘Freakery, Cult Films, and the Problem of Ambivalence’, Journal of Film and Video, 63(1), pp. 03–17. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.1.0003.
David Lavery (ed.) (2010a) The essential cult TV reader. Lexington, KY: University Press of Kentucky.
David Lavery (ed.) (2010b) The essential cult TV reader. Lexington, KY: University Press of Kentucky.
David Ray Carter (2011) ‘Cinemasochism: Bad movies and the people who love them’, in R.G. Weiner and S.E. Barba (eds) In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing. Jefferson, N.C.: McFarland.
Davis, B. (2012) The battle for the Bs: 1950s Hollywood and the rebirth of low-budget cinema. New Brunswick, N.J.: Rutgers University Press. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=894652.
Dawson Books (2013) The works of Tim Burton: margins to mainstream. Edited by J.A. Weinstock. Basingstoke, Hampshire: Palgrave Macmillan. Available at: https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137370839.
Deborah Cartmell et al. (eds) (1997) Trash aesthetics: popular culture and its audience. London: Pluto Press.
Ebooks Corporation Limited (2010a) The cult TV book. Edited by S. Abbott. London: I.B. Tauris. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361.
Ebooks Corporation Limited (2010b) The cult TV book. Edited by S. Abbott. London: I.B. Tauris. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361.
Elena Gorfinkel (2008) ‘Cult Film or Cinephilia by Any Other Name’, Cinéaste, 34(1), pp. 33–38. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690730.
Eric Schaefer (1999) ‘Bold! Daring! Shocking! True!’: a history of exploitation films, 1919-1959. Durham, NC: Duke University Press. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295.
Ernest Mathijs (2003) ‘The making of a cult reputation: Topicality and controversy in the critical reception of Shivers’, Defining cult movies: the cultural politics of oppositional taste. Edited by Mark Jancovich et al., Inside popular film, pp. 109–126.
Ernest Mathijs (2005a) ‘Bad reputations: the reception of “trash” cinema’, Screen, 46(4), pp. 451–472. Available at: https://doi.org/10.1093/screen/46.4.451.
Ernest Mathijs (2005b) ‘Bad reputations: the reception of “trash” cinema’, Screen, 46(4), pp. 451–472. Available at: https://doi.org/10.1093/screen/46.4.451.
Ernest Mathijs (no date a) Cult Survey. Available at: http://cultsurvey.org/index.shtml.
Ernest Mathijs (no date b) Cult Survey. Available at: http://cultsurvey.org/index.shtml.
Ernest Mathijs and Xavier Mendik (eds) (2008a) The cult film reader. Maidenhead, England: McGraw Hill/Open University Press.
Ernest Mathijs and Xavier Mendik (eds) (2008b) The cult film reader. Maidenhead, England: McGraw Hill/Open University Press.
Gary Hentzi (1993) ‘Little Cinema of Horrors’, Film Quarterly, 46(3), pp. 22–27. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1212900.
Geraghty, L. (2014) Cult collectors: nostalgia, fandom and collecting popular culture. London: Routledge.
Geraghty, L. (2015) Popular media cultures: fans, audiences and paratexts. Basingstoke: Palgrave Macmillan. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137350374.
Gwenllian-Jones, S. and Pearson, R.E. (eds) (2004a) Cult Television. Minneapolis, Minn: University of Minnesota Press.
Gwenllian-Jones, S. and Pearson, R.E. (eds) (2004b) Cult Television. Minneapolis, Minn: University of Minnesota Press.
Harry M. Benshoff (2000) ‘Blaxploitation Horror Films: Generic Reappropriation or Reinscription?’, Cinema Journal, 39(2), pp. 31–50. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1225551.
Helen Merrick (1997) ‘The readers feminism doesn’t see: Feminist fans, critics and science fiction’, Trash aesthetics: popular culture and its audience. Edited by Deborah Cartmell et al., Film/fiction, pp. 48–65.
Henry Jenkins (1992) ‘“Get a Life!”: Fans, Poachers, Nomads’, in Textual Poachers: Television Fans and Participatory Culture. New York: Routledge, pp. 9–49. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854.
Hill, R.F. (2016) ‘Science fiction and the cult of Ed Wood: Glen or Glenda?, Bride of the Monster, and Plan 9 From Outer Space’, in J.P. Telotte and G. Duchovnay (eds) Science fiction double feature: the science fiction film as cult text. Liverpool: Liverpool University Press, pp. 172–189. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001.
Hills, M. (2012) ‘Cult Movies With and Without Stars: Differentiating Discourses of Stardom’, in Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: Palgrave Macmillan, pp. 21–36. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776.
Hills, M. (2015) ‘Cult cinema and the “mainstreaming” discourse of technological change: revisiting subcultural capital in liquid modernity’, New Review of Film and Television Studies, 13(1), pp. 100–121. Available at: https://doi.org/10.1080/17400309.2014.982928.
Hills, M. and Sexton, J. (2015) ‘Cult cinema and technological change’, New Review of Film and Television Studies, 13(1), pp. 1–11. Available at: https://doi.org/10.1080/17400309.2014.989007.
Hills, M. and Williams, R. (2005) ‘“It’s all my interpretation”: Reading Spike through the subcultural celebrity of James Marsters’, European Journal of Cultural Studies, 8(3), pp. 345–365. Available at: https://doi.org/10.1177/1367549405054866.
Hunter, I.Q. (2014) ‘Trash Horror and the Cult of the Bad Film’, in H.M. Benshoff (ed.) A companion to the horror film. Chichester, West Sussex: Wiley Blackwell, pp. 483–500. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1002/9781118883648.
Hunter, I.Q. (2016) Cult film as a guide to life: fandom, adaptation, and identity. New York: Bloomsbury Academic.
I Q Hunter (no date) ‘Beaver Las Vegas! A fan-boy’s defence of Showgirls’, in Graeme Harper and Xavier Mendik (eds) Unruly Pleasures. FAB Press, pp. 187–202.
Iain Robert Smith (2011) ‘Bootleg Archives: Notes on BitTorrent Communities and Issues of Access’, Flow TV, 2(14). Available at: http://www.flowjournal.org/2011/06/bootleg-archives/.
Imelda Whelehan and Esther Sonnet (1997) ‘Regendered reading: Tank Girl and Postmodernist Intertextuality’, Trash aesthetics: popular culture and its audience. Edited by Deborah Cartmell et al., Film/fiction, pp. 31–47.
‘Intensities: The Journal of Cult Media’ (no date). Available at: http://intensitiescultmedia.com/.
J Hoberman (1962) ‘Bad Movies’, Film Comment, (July/August 1980), pp. 7–12. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/210240920?accountid=14540.
J. Hoberman and Jonathan Rosenbaum (1991a) Midnight movies. New York: Da Capo Press.
J. Hoberman and Jonathan Rosenbaum (1991b) Midnight movies. New York: Da Capo Press.
J P Telotte (1991) ‘Beyond all reason: The nature of the cult’, in J P Telotte (ed.) The Cult film experience: beyond all reason. 1st ed. Austin: University of Texas Press, pp. 5–17.
J P Telotte (ed.) (1991) The Cult film experience: beyond all reason. 1st ed. Austin: University of Texas Press. Available at: https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099.
Jacinda Read (2003) ‘The cult of masculinity: From fan-boys to academic bad-boys’, Defining cult movies: the cultural politics of oppositional taste. Edited by Mark Jancovich et al., Inside popular film, pp. 54–70.
Jamie Sexton (no date) ‘From Bad to Good and Back to Bad Again? Cult Cinema and Its Unstable Trajectory’, in Claire Perkins and Constantine Verevis (eds) B Is for Bad Cinema, pp. 129–148. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847.
Jamie Sexton and Ernest Mathijs (22AD) ‘Introduction’, in Cult Cinema. Wiley-Blackwell; 1 edition, pp. 1–10. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632.
Jamie Sexton and Ernest Mathijs (no date) ‘Cult Stardom’, in Cult Cinema, pp. 76–85. Available at: http://GLA.eblib.com/patron/FullRecord.aspx?p=792632.
Jamie Sexton, M.H. (ed.) (2017) ‘Transnational Cinemas: Vol 8, No 1’. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com/toc/rtrc20/8/1?nav=tocList.
Jancovich, M. (2002a) ‘Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions’, Cultural Studies, 16(2), pp. 306–322. Available at: https://doi.org/10.1080/09502380110107607.
Jancovich, M. (2002b) ‘Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions’, Cultural Studies, 16(2), pp. 306–322. Available at: https://doi.org/10.1080/09502380110107607.
Jeffrey Sconce (1995) ‘“Trashing” the academy: taste, excess, and an emerging politics of cinematic style’, Screen, 36(4), pp. 371–393. Available at: https://doi.org/10.1093/screen/36.4.371.
Jeffrey Sconce (2003) ‘Esper, the renunciator: Teaching “bad” movies to good students’, in Mark Jancovich et al. (eds) Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press, pp. 14–34.
Jeffrey Sconce (2007a) ‘Movies: A century of failure’, in Jeffrey Sconce (ed.) Sleaze artists: cinema at the margins of taste, style, and politics. Durham, NC: Duke University Press, pp. 273–310.
Jeffrey Sconce (ed.) (2007b) Sleaze artists: cinema at the margins of taste, style, and politics. Durham, NC: Duke University Press.
Jeffrey Todd Adams (2015) The cinema of the Coen brothers: hard-boiled entertainments. New York: Columbia University Press.
Jim Smith (2005) Tarantino. London: Virgin Books.
Joan Hawkins (2000a) Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492.
Joan Hawkins (2000b) Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492.
Joan Hawkins (2000) ‘From horror to avant-garde: Tod Browning’s Freaks’, in Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press, pp. 141–168. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492.
Joan Hawkins (2000c) ‘Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture’, Film Quarterly, 53(2), pp. 14–29. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1213717.
Joanne Hollows (2003) ‘The Masculinity of Cult’, in Mark Jancovich et al. (eds) Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press, pp. 35–53. Available at: https://contentstore.cla.co.uk/secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099.
Joe Bob Briggs, J. Hoberman, Damien Love, Tim Lucas, Danny Peary, Jeffrey Sconce and Peter Stanfield (2008) ‘Cult cinema: A critical symposium’, Cinéaste, 34(1), pp. 43–50. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690732.
John Tulloch and Henry Jenkins (1995a) Science fiction audiences: watching Doctor Who and Star Trek. London: Routledge.
John Tulloch and Henry Jenkins (1995b) Science fiction audiences: watching Doctor Who and Star Trek. London: Routledge.
Jowett, L. (2010) ‘Representation: Exploring issues of sex, gender, and race in cult television’, in S. Abbott (ed.) The cult TV book. London: I.B. Tauris, pp. 107–113. Available at: http://GLA.eblib.com/patron/FullRecord.aspx?p=676361.
Jowett, L. and Abbott, S. (2013) TV horror: investigating the darker side of the small screen. London: I.B. Tauris.
Kate Egan (2007) Trash or treasure?: censorship and the changing meanings of the video nasties. Manchester: Manchester University Press.
Kate Egan and Sarah Thomas (eds) (2012a) Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: Palgrave Macmillan. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776.
Kate Egan and Sarah Thomas (eds) (2012b) Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: Palgrave Macmillan. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776.
Kevin Heffernan (2007) ‘Art house or house of exorcism? The changing distribution and reception contexts of Mario Bava’s Lisa and the Devil’, in Jeffrey Sconce (ed.) Sleaze artists: cinema at the margins of taste, style, and politics. Durham, NC: Duke University Press, pp. 144–166.
Klinger, B. (2010) ‘Becoming cult: The Big Lebowski, replay culture and male fans’, Screen, 51(1), pp. 1–20. Available at: https://doi.org/10.1093/screen/hjp055.
Lavery, D. (1995) Full of secrets: critical approaches to Twin Peaks. Detroit, MI: Wayne State University Press.
Leon Hunt (2003) ‘Kung Fu cult masters: Stardom, performance and “authenticity” in Hong Kong martial arts films’, in Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press.
Leon Hunt (2013) Cult British TV comedy: from Reeves and Mortimer to Psychoville. Manchester: Manchester University Press. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.7228/manchester/9780719083778.001.0001.
Lisa Bode (2010) ‘Transitional tastes: Teen girls and genre in the critical reception of Twilight’, Continuum: Journal of Media & Cultural Studies, 24(5), pp. 707–719. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com./doi/full/10.1080/10304312.2010.505327.
Lorna Jowett (2016) ‘Nightmare in red? Twin Peaks parody, homage, intertextuality, and mash-up’, in J.A. Weinstock and C. Spooner (eds) Return to Twin Peaks: new approaches to materiality, theory, and genre on television. New York: Palgrave Macmillan. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0.
MacDowell, J. and Zborowski, J. (2013) ‘The aesthetics of “so bad it’s good”: Value, intention, and The Room’, Intensities: The Journal of Cult Media [Preprint], (6). Available at: https://intensitiescultmedia.files.wordpress.com/2014/01/j-macdowell-j-zborowski-the-aesthetics-of-so-bad-its-good1.pdf.
Mark Jancovich (1996) Rational fears: American horror in the 1950s. Manchester: Manchester University Press.
Mark Jancovich (2000) ‘“A Real Shocker”: Authenticity, genre and the struggle for distinction’, Continuum, 14(1), pp. 23–35. Available at: https://doi.org/10.1080/713657675.
Mark Jancovich, Antonio Lazaro Reboll, et al. (eds) (2003) Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press. Available at: https://contentstore.cla.co.uk//secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099.
Mark Jancovich and James Lyons (eds) (2003a) Quality popular television: cult TV, the industry and fans. London: British Film Institute.
Mark Jancovich and James Lyons (eds) (2003b) Quality popular television: cult TV, the industry and fans. London: British Film Institute.
Martin, A. (2008) ‘What’s Cult Got To Do With It?: In Defense of Cinephile Elitism’, Cinéaste, 34(1), pp. 39–42. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690731.
Martin Barker, Jane Arthurs, and Ramaswami Harindranath (2008) ‘The Crash controversy: Reviewing the press’, The cult film reader. Edited by Ernest Mathijs and Xavier Mendik, pp. 456–471.
Mathijs, E. and Sexton, J. (2011) Cult cinema: an introduction. Malden, Massachusetts: John Wiley & Sons Ltd. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632.
Matt Hills (2003) ‘Defining Cult TV: Texts, inter-texts and fan audiences’, in Robert C Allen and Annette Hill (eds) The Television Studies Reader. London: Routledge, pp. 509–523. Available at: https://contentstore.cla.co.uk//secure/link?id=72c63a39-cc40-e911-80cd-005056af4099.
Matt Hills (2015) ‘Veronica Mars, fandom, and the “Affective Economics” of crowdfunding poachers’, New Media & Society, 17(2), pp. 183–197. Available at: https://doi.org/10.1177/1461444814558909.
Matt Hills and Dawson Books (2002) ‘Introduction: Who’s who? Academics, fans, scholar fans and fan scholars’, in Fan cultures. London: Routledge. Available at: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203361337.
McCarthy, T. and Flynn, C. (1975) Kings of the Bs: working within the Hollywood system : an anthology of film history and criticism. New York: E. P. Dutton.
McCulloch, R. (2011) ‘“Most people bring their own spoons”: The Room’s participatory audiences as comedy mediators’, Participations, 8(2). Available at: http://www.participations.org/Volume%208/Issue%202/2d%20McCulloch.pdf.
Mendik, X. and Harper, G. (2000) Unruly pleasures: the cult film and its critics. 1st ed. Guildford, Surrey: FAB Press.
Michael J Bowen (2002) ‘Doris Wishman meets the avant-garde’, Underground USA: filmmaking beyond the Hollywood canon. Edited by Xavier Mendik and Stephen Jay Schneider, pp. 109–122.
Mikita Brottman (no date) ‘Star cults/ cult stars: Cinema, psychosis, celebrity, death’, in Graeme Harper and Xavier Mendik (eds) Unruly Pleasures. FAB Press, pp. 103–120.
Moya Luckett (2003) ‘Sexploitation as feminine territory: The films of Doris Wishman’, in Mark Jancovich et al. (eds) Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press, pp. 142–156.
Nathan Hunt (2003) ‘The importance of trivia: ownership, exclusion and authority in science fiction fandom’, in Mark Jancovich et al. (eds) Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press.
Oppenheim, P. (2013) ‘Grave expectations: Vampira and her audiences, 1954-1956’, Intensities: The Journal of Cult Media [Preprint], (6). Available at: https://intensitiescultmedia.files.wordpress.com/2014/02/p-oppenheim-grave-expectations.pdf.
Paul Watson (1997) ‘There’s no accounting for taste: Exploitation cinema and the limits of film theory’, Trash aesthetics: popular culture and its audience. Edited by Deborah Cartmell et al., Film/fiction, pp. 66–83.
Pauline Kael (1994) ‘Trash, Art and the Movies’, in Going steady: film writings, 1968-1969. New York: M. Boyars, pp. 85–130. Available at: https://contentstore.cla.co.uk//secure/link?id=70c63a39-cc40-e911-80cd-005056af4099.
Pender, P. (2016) I’m Buffy and you’re history: Buffy the vampire slayer and contemporary feminism. London: I.B. Tauris.
Perkins, C. and Verevis, C. (eds) (2014) B is for bad cinema: aesthetics, politics, and cultural value. Albany: SUNY Press. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847.
Peter Hutchings (2003) ‘The Argento effect’, Defining cult movies: the cultural politics of oppositional taste. Edited by Mark Jancovich et al., Inside popular film, pp. 127–141.
Pett, E. (2015) ‘A new media landscape? The BBFC, extreme cinema as cult, and technological change’, New Review of Film and Television Studies, 13(1), pp. 83–99. Available at: https://doi.org/10.1080/17400309.2014.982910.
Pezzotta, E. (2013) Stanley Kubrick: adapting the sublime. Jackson: University Press of Mississippi. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1181931.
Pierre Bourdieu (1984) ‘Introduction’, in Distinction: a social critique of the judgement of taste. London: Routledge & K. Paul, pp. 1–7. Available at: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1433990.
Rebecca Feasey (2003) ‘“Sharon Stone, screen diva”: Stardom, femininity and cult fandom’, in Mark Jancovich et al. (eds) Defining cult movies: the cultural politics of oppositional taste. Manchester: Manchester University Press, pp. 172–184.
Robert S. Birchard (1995) ‘Edward D. Wood, Jr.: Some Notes on a Subject for Further Research’, Film History, 7(4), pp. 450–455. Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/3815384.
Roberta E Pearson (2004) ‘“Bright particular star”: Patrick Stewart, Jean-Luc Picard, and Cult Television’, Cult television. Edited by Sara Gwenllian-Jones and Roberta E Pearson, pp. 61–82.
Roger Corman and Jim Jerome (1989) How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: Random House.
Routt, W.D. (no date) ‘Bad For Good’, Intensities: The Journal of Cult Media [Preprint], (2). Available at: https://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf.
Sanjek, D. (1990) ‘Fans’ Notes: The Horror Film Fanzine’, Literature/Film Quarterly [Preprint], (3). Available at: https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/1297358723?accountid=14540.
Sexton, J. (2017) ‘The allure of otherness: transnational cult film fandom and the exoticist assumption’, Transnational Cinemas, 8(1), pp. 5–19. Available at: https://doi.org/10.1080/20403526.2016.1245922.
Sexton, J. and Mathijs, E. (2011) ‘The Cult Auteur’, in Cult cinema: an introduction. Malden, Massachusetts: John Wiley & Sons Ltd, pp. 67–75. Available at: http://GLA.eblib.com/patron/FullRecord.aspx?p=792632.
Smith, I.R. (2018) The Hollywood Meme. Edinburgh: EDINBURGH UNIVERSITY PRESS.
Susan Sontag (2009) ‘Notes on “Camp”’, in Against Interpretation and Other Essays. London: Penguin Classics. Available at: https://contentstore.cla.co.uk//secure/link?id=d0e6f540-cc40-e911-80cd-005056af4099.
Tania Modleski (2007) ‘Women’s cinema as counterphobic cinema: Doris Wishman as the last auteur’, in Jeffrey Sconce (ed.) Sleaze artists: cinema at the margins of taste, style, and politics. Durham, NC: Duke University Press, pp. 47–70.
Tatsumi, T. (2016) ‘Transnational interactions: District 9, or Apaches in Johannesburg’, in J.P. Telotte and G. Duchovnay (eds) Science fiction double feature: the science fiction film as cult text. Liverpool: Liverpool University Press. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001.
Telotte, J.P. (2016) ‘Robot Monster and the “watchable... terrible” cult/SF film’, in J.P. Telotte and G. Duchovnay (eds) Science fiction double feature: the science fiction film as cult text. Liverpool: Liverpool University Press, pp. 159–170. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001.
Thomas, S. (2012) ‘“Marginal moments of spectacle”: Character Actors, Cult Stardom and Hollywood Cinema’, in Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: Palgrave Macmillan, pp. 37–54. Available at: http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776.
Victoria Ruétalo and Dolores Tierney (eds) (2009) Latsploitation, exploitation cinemas, and Latin America. London: Routledge.
Wade Jennings (1991) ‘The star as cult icon: Judy Garland’, in The Cult film experience: beyond all reason. 1st ed. Austin: University of Texas Press.
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