[1]
Akira Mizuta  Lippit et al. 2003. Round Table: Showgirls. Film Quarterly. 56, 3 (2003), 32–46.
[2]
Andrews, D. 2013. Theorizing art cinemas: foreign, cult, avant-garde, and beyond. University of Texas Press.
[3]
Antony Todd 2012. Authorship and the films of David Lynch: aesthetic receptions in contemporary Hollywood. I.B. Tauris & Co. Ltd.
[4]
Austin, B.A. 1981. Portrait of a Cult Film Audience: The Rocky Horror Picture Show. Journal of Communication. 31, 2 (Jun. 1981), 43–54.
[5]
Barker, M. et al. 2006. Menstrual monsters: the reception of the Ginger Snaps cult horror franchise. [Intellect].
[6]
Barry K Grant 1991. Science fiction double feature: Ideology in the cult film. The Cult film experience: beyond all reason. J P Telotte, ed. University of Texas Press. 122–137.
[7]
Barry Keith Grant 2008. Auteurs and Authorship: A film reader. Blackwell Publishing.
[8]
Bill Warren 2010. Keep watching the skies!: American science fiction movies of the fifties. McFarland & Co.
[9]
Church, D. 2015. Grindhouse nostalgia: memory, home video and exploitation film fandom. Edinburgh University Press.
[10]
Clayton, W. and Harman, S. 2014. Screening Twilight: critical approaches to a cinematic phenomenon. I. B. Tauris.
[11]
Cult Survey: http://cultsurvey.org/index.shtml.
[12]
Cult Survey: http://cultsurvey.org/index.shtml.
[13]
Daniel Martin 2015. Extreme Asia: the rise of cult cinema from the Far East. Edinburgh University Press.
[14]
Danny Peary 1981. Cult movies: the classics, the sleepers, the weird, and the wonderful. Delacorte Press.
[15]
Danny Peary 1981. Cult movies: the classics, the sleepers, the weird, and the wonderful. Delacorte Press.
[16]
David Church 2011. Freakery, Cult Films, and the Problem of Ambivalence. Journal of Film and Video. 63, 1 (2011), 03–17.
[17]
David Lavery ed. 2010. The essential cult TV reader. University Press of Kentucky.
[18]
David Lavery ed. 2010. The essential cult TV reader. University Press of Kentucky.
[19]
David Ray Carter 2011. Cinemasochism: Bad movies and the people who love them. In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing. R.G. Weiner and S.E. Barba, eds. McFarland.
[20]
Davis, B. 2012. The battle for the Bs: 1950s Hollywood and the rebirth of low-budget cinema. Rutgers University Press.
[21]
Dawson Books 2013. The works of Tim Burton: margins to mainstream. Palgrave Macmillan.
[22]
Deborah Cartmell et al. eds. 1997. Trash aesthetics: popular culture and its audience. Pluto Press.
[23]
Ebooks Corporation Limited 2010. The cult TV book. I.B. Tauris.
[24]
Ebooks Corporation Limited 2010. The cult TV book. I.B. Tauris.
[25]
Elena Gorfinkel 2008. Cult Film or Cinephilia by Any Other Name. Cinéaste. 34, 1 (2008), 33–38.
[26]
Eric Schaefer 1999. ‘Bold! Daring! Shocking! True!’: a history of exploitation films, 1919-1959. Duke University Press.
[27]
Ernest Mathijs 2005. Bad reputations: the reception of ‘trash’ cinema. Screen. 46, 4 (Dec. 2005), 451–472. DOI:https://doi.org/10.1093/screen/46.4.451.
[28]
Ernest Mathijs 2005. Bad reputations: the reception of ‘trash’ cinema. Screen. 46, 4 (Dec. 2005), 451–472. DOI:https://doi.org/10.1093/screen/46.4.451.
[29]
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. Inside popular film, (2003), 109–126.
[30]
Ernest Mathijs and Xavier Mendik eds. 2008. The cult film reader. McGraw Hill/Open University Press.
[31]
Ernest Mathijs and Xavier Mendik eds. 2008. The cult film reader. McGraw Hill/Open University Press.
[32]
Gary Hentzi 1993. Little Cinema of Horrors. Film Quarterly. 46, 3 (1993), 22–27.
[33]
Geraghty, L. 2014. Cult collectors: nostalgia, fandom and collecting popular culture. Routledge.
[34]
Geraghty, L. 2015. Popular media cultures: fans, audiences and paratexts. Palgrave Macmillan.
[35]
Gwenllian-Jones, S. and Pearson, R.E. eds. 2004. Cult Television. University of Minnesota Press.
[36]
Gwenllian-Jones, S. and Pearson, R.E. eds. 2004. Cult Television. University of Minnesota Press.
[37]
Harry M. Benshoff 2000. Blaxploitation Horror Films: Generic Reappropriation or Reinscription? Cinema Journal. 39, 2 (2000), 31–50.
[38]
Helen Merrick 1997. The readers feminism doesn’t see: Feminist fans, critics and science fiction. Trash aesthetics: popular culture and its audience. Film/fiction, (1997), 48–65.
[39]
Henry Jenkins 1992. ‘Get a Life!’: Fans, Poachers, Nomads. Textual Poachers: Television Fans and Participatory Culture. Routledge. 9–49.
[40]
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. Science fiction double feature: the science fiction film as cult text. J.P. Telotte and G. Duchovnay, eds. Liverpool University Press. 172–189.
[41]
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 (Jan. 2015), 100–121. DOI:https://doi.org/10.1080/17400309.2014.982928.
[42]
Hills, M. 2012. Cult Movies With and Without Stars: Differentiating Discourses of Stardom. Cult film stardom: Offbeat attractions and processes of cultification. Palgrave Macmillan. 21–36.
[43]
Hills, M. and Sexton, J. 2015. Cult cinema and technological change. New Review of Film and Television Studies. 13, 1 (Jan. 2015), 1–11. DOI:https://doi.org/10.1080/17400309.2014.989007.
[44]
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 (Aug. 2005), 345–365. DOI:https://doi.org/10.1177/1367549405054866.
[45]
Hunter, I.Q. 2016. Cult film as a guide to life: fandom, adaptation, and identity. Bloomsbury Academic.
[46]
Hunter, I.Q. 2014. Trash Horror and the Cult of the Bad Film. A companion to the horror film. H.M. Benshoff, ed. Wiley Blackwell. 483–500.
[47]
I Q Hunter Beaver Las Vegas! A fan-boy’s defence of Showgirls. Unruly Pleasures. Graeme Harper and Xavier Mendik, eds. FAB Press. 187–202.
[48]
Iain Robert Smith 2011. Bootleg Archives: Notes on BitTorrent Communities and Issues of Access. Flow TV. 2, 14 (2011).
[49]
Imelda Whelehan and Esther Sonnet 1997. Regendered reading: Tank Girl and Postmodernist Intertextuality. Trash aesthetics: popular culture and its audience. Film/fiction, (1997), 31–47.
[50]
J Hoberman 1962. Bad Movies. Film Comment. July/August 1980 (1962), 7–12.
[51]
J. Hoberman and Jonathan Rosenbaum 1991. Midnight movies. Da Capo Press.
[52]
J. Hoberman and Jonathan Rosenbaum 1991. Midnight movies. Da Capo Press.
[53]
J P Telotte 1991. Beyond all reason: The nature of the cult. The Cult film experience: beyond all reason. J P Telotte, ed. University of Texas Press. 5–17.
[54]
J P Telotte ed. 1991. The Cult film experience: beyond all reason. University of Texas Press.
[55]
Jacinda Read 2003. The cult of masculinity: From fan-boys to academic bad-boys. Defining cult movies: the cultural politics of oppositional taste. Inside popular film, (2003), 54–70.
[56]
Jamie Sexton From Bad to Good and Back to Bad Again? Cult Cinema and Its Unstable Trajectory. B Is for Bad Cinema. Claire Perkins and Constantine Verevis, eds. 129–148.
[57]
Jamie Sexton and Ernest Mathijs Cult Stardom. Cult Cinema. 76–85.
[58]
Jamie Sexton and Ernest Mathijs 22AD. Introduction. Cult Cinema. Wiley-Blackwell; 1 edition. 1–10.
[59]
Jamie Sexton, M.H. ed. 2017. Transnational Cinemas: Vol 8, No 1. (2017).
[60]
Jancovich, M. 2002. Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions. Cultural Studies. 16, 2 (Mar. 2002), 306–322. DOI:https://doi.org/10.1080/09502380110107607.
[61]
Jancovich, M. 2002. Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions. Cultural Studies. 16, 2 (Mar. 2002), 306–322. DOI:https://doi.org/10.1080/09502380110107607.
[62]
Jeffrey Sconce 2003. Esper, the renunciator: Teaching ‘bad’ movies to good students. Defining cult movies: the cultural politics of oppositional taste. Mark Jancovich et al., eds. Manchester University Press. 14–34.
[63]
Jeffrey Sconce 2007. Movies: A century of failure. Sleaze artists: cinema at the margins of taste, style, and politics. Jeffrey Sconce, ed. Duke University Press. 273–310.
[64]
Jeffrey Sconce ed. 2007. Sleaze artists: cinema at the margins of taste, style, and politics. Duke University Press.
[65]
Jeffrey Sconce 1995. ‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style. Screen. 36, 4 (Dec. 1995), 371–393. DOI:https://doi.org/10.1093/screen/36.4.371.
[66]
Jeffrey Todd Adams 2015. The cinema of the Coen brothers: hard-boiled entertainments. Columbia University Press.
[67]
Jim Smith 2005. Tarantino. Virgin Books.
[68]
Joan Hawkins 2000. Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press.
[69]
Joan Hawkins 2000. Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press.
[70]
Joan Hawkins 2000. From horror to avant-garde: Tod Browning’s Freaks. Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press. 141–168.
[71]
Joan Hawkins 2000. Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture. Film Quarterly. 53, 2 (2000), 14–29.
[72]
Joanne Hollows 2003. The Masculinity of Cult. Defining cult movies: the cultural politics of oppositional taste. Mark Jancovich et al., eds. Manchester University Press. 35–53.
[73]
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 (2008), 43–50.
[74]
John Tulloch and Henry Jenkins 1995. Science fiction audiences: watching Doctor Who and Star Trek. Routledge.
[75]
John Tulloch and Henry Jenkins 1995. Science fiction audiences: watching Doctor Who and Star Trek. Routledge.
[76]
Jowett, L. 2010. Representation: Exploring issues of sex, gender, and race in cult television. The cult TV book. S. Abbott, ed. I.B. Tauris. 107–113.
[77]
Jowett, L. and Abbott, S. 2013. TV horror: investigating the darker side of the small screen. I.B. Tauris.
[78]
Kate Egan 2007. Trash or treasure?: censorship and the changing meanings of the video nasties. Manchester University Press.
[79]
Kate Egan and Sarah Thomas eds. 2012. Cult film stardom: Offbeat attractions and processes of cultification. Palgrave Macmillan.
[80]
Kate Egan and Sarah Thomas eds. 2012. Cult film stardom: Offbeat attractions and processes of cultification. Palgrave Macmillan.
[81]
Kevin Heffernan 2007. Art house or house of exorcism? The changing distribution and reception contexts of Mario Bava’s Lisa and the Devil. Sleaze artists: cinema at the margins of taste, style, and politics. Jeffrey Sconce, ed. Duke University Press. 144–166.
[82]
Klinger, B. 2010. Becoming cult: The Big Lebowski, replay culture and male fans. Screen. 51, 1 (Mar. 2010), 1–20. DOI:https://doi.org/10.1093/screen/hjp055.
[83]
Lavery, D. 1995. Full of secrets: critical approaches to Twin Peaks. Wayne State University Press.
[84]
Leon Hunt 2013. Cult British TV comedy: from Reeves and Mortimer to Psychoville. Manchester University Press.
[85]
Leon Hunt 2003. Kung Fu cult masters: Stardom, performance and ‘authenticity’ in Hong Kong martial arts films. Defining cult movies: the cultural politics of oppositional taste. Manchester University Press.
[86]
Lisa Bode 2010. Transitional tastes: Teen girls and genre in the critical reception of Twilight. Continuum: Journal of Media & Cultural Studies. 24, 5 (Oct. 2010), 707–719.
[87]
Lorna Jowett 2016. Nightmare in red? Twin Peaks parody, homage, intertextuality, and mash-up. Return to Twin Peaks: new approaches to materiality, theory, and genre on television. J.A. Weinstock and C. Spooner, eds. Palgrave Macmillan.
[88]
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. 6 (2013).
[89]
Mark Jancovich 2000. ‘A Real Shocker’: Authenticity, genre and the struggle for distinction. Continuum. 14, 1 (Apr. 2000), 23–35. DOI:https://doi.org/10.1080/713657675.
[90]
Mark Jancovich et al. eds. 2003. Defining cult movies: the cultural politics of oppositional taste. Manchester University Press.
[91]
Mark Jancovich 1996. Rational fears: American horror in the 1950s. Manchester University Press.
[92]
Mark Jancovich and James Lyons eds. 2003. Quality popular television: cult TV, the industry and fans. British Film Institute.
[93]
Mark Jancovich and James Lyons eds. 2003. Quality popular television: cult TV, the industry and fans. British Film Institute.
[94]
Martin, A. 2008. What’s Cult Got To Do With It?: In Defense of Cinephile Elitism. Cinéaste. 34, 1 (2008), 39–42.
[95]
Martin Barker et al. 2008. The Crash controversy: Reviewing the press. The cult film reader. (2008), 456–471.
[96]
Mathijs, E. and Sexton, J. 2011. Cult cinema: an introduction. John Wiley & Sons Ltd.
[97]
Matt Hills 2003. Defining Cult TV: Texts, inter-texts and fan audiences. The Television Studies Reader. Robert C Allen and Annette Hill, eds. Routledge. 509–523.
[98]
Matt Hills 2015. Veronica Mars, fandom, and the ‘Affective Economics’ of crowdfunding poachers. New Media & Society. 17, 2 (Feb. 2015), 183–197. DOI:https://doi.org/10.1177/1461444814558909.
[99]
Matt Hills and Dawson Books 2002. Introduction: Who’s who? Academics, fans, scholar fans and fan scholars. Fan cultures. Routledge.
[100]
McCarthy, T. and Flynn, C. 1975. Kings of the Bs: working within the Hollywood system : an anthology of film history and criticism. E. P. Dutton.
[101]
McCulloch, R. 2011. ‘Most people bring their own spoons’: The Room’s participatory audiences as comedy mediators. Participations. 8, 2 (2011).
[102]
Mendik, X. and Harper, G. 2000. Unruly pleasures: the cult film and its critics. FAB Press.
[103]
Michael J Bowen 2002. Doris Wishman meets the avant-garde. Underground USA: filmmaking beyond the Hollywood canon. (2002), 109–122.
[104]
Mikita Brottman Star cults/ cult stars: Cinema, psychosis, celebrity, death. Unruly Pleasures. Graeme Harper and Xavier Mendik, eds. FAB Press. 103–120.
[105]
Moya Luckett 2003. Sexploitation as feminine territory: The films of Doris Wishman. Defining cult movies: the cultural politics of oppositional taste. Mark Jancovich et al., eds. Manchester University Press. 142–156.
[106]
Nathan Hunt 2003. The importance of trivia: ownership, exclusion and authority in science fiction fandom. Defining cult movies: the cultural politics of oppositional taste. Mark Jancovich et al., eds. Manchester University Press.
[107]
Oppenheim, P. 2013. Grave expectations: Vampira and her audiences, 1954-1956. Intensities: The Journal of Cult Media. 6 (2013).
[108]
Paul Watson 1997. There’s no accounting for taste: Exploitation cinema and the limits of film theory. Trash aesthetics: popular culture and its audience. Film/fiction, (1997), 66–83.
[109]
Pauline Kael 1994. Trash, Art and the Movies. Going steady: film writings, 1968-1969. M. Boyars. 85–130.
[110]
Pender, P. 2016. I’m Buffy and you’re history: Buffy the vampire slayer and contemporary feminism. I.B. Tauris.
[111]
Perkins, C. and Verevis, C. eds. 2014. B is for bad cinema: aesthetics, politics, and cultural value. SUNY Press.
[112]
Peter Hutchings 2003. The Argento effect. Defining cult movies: the cultural politics of oppositional taste. Inside popular film, (2003), 127–141.
[113]
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 (Jan. 2015), 83–99. DOI:https://doi.org/10.1080/17400309.2014.982910.
[114]
Pezzotta, E. 2013. Stanley Kubrick: adapting the sublime. University Press of Mississippi.
[115]
Pierre Bourdieu 1984. Introduction. Distinction: a social critique of the judgement of taste. Routledge & K. Paul. 1–7.
[116]
Rebecca Feasey 2003. ‘Sharon Stone, screen diva’: Stardom, femininity and cult fandom. Defining cult movies: the cultural politics of oppositional taste. Mark Jancovich et al., eds. Manchester University Press. 172–184.
[117]
Robert S. Birchard 1995. Edward D. Wood, Jr.: Some Notes on a Subject for Further Research. Film History. 7, 4 (1995), 450–455.
[118]
Roberta E Pearson 2004. ‘Bright particular star’: Patrick Stewart, Jean-Luc Picard, and Cult Television. Cult television. (2004), 61–82.
[119]
Roger Corman and Jim Jerome 1989. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. Random House.
[120]
Routt, W.D. Bad For Good. Intensities: The Journal of Cult Media. 2.
[121]
Sanjek, D. 1990. Fans’ Notes: The Horror Film Fanzine. Literature/Film Quarterly. 3 (1990).
[122]
Sexton, J. 2017. The allure of otherness: transnational cult film fandom and the exoticist assumption. Transnational Cinemas. 8, 1 (Jan. 2017), 5–19. DOI:https://doi.org/10.1080/20403526.2016.1245922.
[123]
Sexton, J. and Mathijs, E. 2011. The Cult Auteur. Cult cinema: an introduction. John Wiley & Sons Ltd. 67–75.
[124]
Smith, I.R. 2018. The Hollywood Meme. EDINBURGH UNIVERSITY PRESS.
[125]
Susan Sontag 2009. Notes on ‘Camp’. Against Interpretation and Other Essays. Penguin Classics.
[126]
Tania Modleski 2007. Women’s cinema as counterphobic cinema: Doris Wishman as the last auteur. Sleaze artists: cinema at the margins of taste, style, and politics. Jeffrey Sconce, ed. Duke University Press. 47–70.
[127]
Tatsumi, T. 2016. Transnational interactions: District 9, or Apaches in Johannesburg. Science fiction double feature: the science fiction film as cult text. J.P. Telotte and G. Duchovnay, eds. Liverpool University Press.
[128]
Telotte, J.P. 2016. Robot Monster and the ‘watchable... terrible’ cult/SF film. Science fiction double feature: the science fiction film as cult text. J.P. Telotte and G. Duchovnay, eds. Liverpool University Press. 159–170.
[129]
Thomas, S. 2012. ‘Marginal moments of spectacle’: Character Actors, Cult Stardom and Hollywood Cinema. Cult film stardom: Offbeat attractions and processes of cultification. Palgrave Macmillan. 37–54.
[130]
Victoria Ruétalo and Dolores Tierney eds. 2009. Latsploitation, exploitation cinemas, and Latin America. Routledge.
[131]
Wade Jennings 1991. The star as cult icon: Judy Garland. The Cult film experience: beyond all reason. University of Texas Press.
[132]
Waters, J. 2005. Shock value: a tasteful book about bad taste. Thunder’s Mouth Press.
[133]
Weiner, R.G. and Barba, S.E. 2011. In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing. McFarland.
[134]
Xavier Mendik and Stephen Jay Schneider 2002. A tasteless art: Waters, Kaufman and the pursuit of ‘pure’ gross-out. Underground USA: filmmaking beyond the Hollywood canon. (2002), 204–220.
[135]
Xavier Mendik and Stephen Jay Schneider eds. 2002. Underground USA: filmmaking beyond the Hollywood canon. Wallflower.
[136]
Zubernis, L.S. and Larsen, K. 2012. Fandom at the crossroads: celebration, shame and fan/producer relationships. Cambridge Scholars.
[137]
Intensities: The Journal of Cult Media.