1.
Elena Gorfinkel. Cult Film or Cinephilia by Any Other Name. Cinéaste. 2008;34(1):33-38. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690730
2.
Joe Bob Briggs, J. Hoberman, Damien Love, Tim Lucas, Danny Peary, Jeffrey Sconce and Peter Stanfield. Cult cinema: A critical symposium. Cinéaste. 2008;34(1):43-50. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690732
3.
Barry K Grant. Science fiction double feature: Ideology in the cult film. In: J P Telotte, ed. The Cult Film Experience: Beyond All Reason. Vol Texas film studies series. 1st ed. University of Texas Press; 1991:122-137. https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
4.
Hunter IQ. Cult Film as a Guide to Life: Fandom, Adaptation, and Identity. Bloomsbury Academic; 2016.
5.
J P Telotte. Beyond all reason: The nature of the cult. In: J P Telotte, ed. The Cult Film Experience: Beyond All Reason. Vol Texas film studies series. 1st ed. University of Texas Press; 1991:5-17.
6.
Jamie Sexton, Ernest Mathijs. Introduction. In: Cult Cinema. Wiley-Blackwell; 1 edition; 22AD:1-10. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632
7.
Ernest Mathijs, Xavier Mendik, eds. The Cult Film Reader. McGraw Hill/Open University Press; 2008.
8.
J. Hoberman, Jonathan Rosenbaum. Midnight Movies. Da Capo Press; 1991.
9.
Danny Peary. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. Delacorte Press; 1981.
10.
Matt Hills. Defining Cult TV: Texts, inter-texts and fan audiences. In: Robert C Allen, Annette Hill, eds. The Television Studies Reader. Routledge; 2003:509-523. https://contentstore.cla.co.uk//secure/link?id=72c63a39-cc40-e911-80cd-005056af4099
11.
Lorna Jowett. Nightmare in red? Twin Peaks parody, homage, intertextuality, and mash-up. In: Weinstock JA, Spooner C, eds. Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television. Palgrave Macmillan; 2016. http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0
12.
Gwenllian-Jones S, Pearson RE, eds. Cult Television. University of Minnesota Press; 2004.
13.
Ebooks Corporation Limited. The Cult TV Book. (Abbott S, ed.). I.B. Tauris; 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
14.
Leon Hunt. Cult British TV Comedy: From Reeves and Mortimer to Psychoville. Manchester University Press; 2013. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.7228/manchester/9780719083778.001.0001
15.
John Tulloch, Henry Jenkins. Science Fiction Audiences: Watching Doctor Who and Star Trek. Vol Popular fiction series. Routledge; 1995.
16.
Mark Jancovich, James Lyons, eds. Quality Popular Television: Cult TV, the Industry and Fans. British Film Institute; 2003.
17.
David Lavery, ed. The Essential Cult TV Reader. Vol Essential readers in contemporary media and culture. University Press of Kentucky; 2010.
18.
Lavery D. Full of Secrets: Critical Approaches to Twin Peaks. Wayne State University Press; 1995.
19.
Jowett L, Abbott S. TV Horror: Investigating the Darker Side of the Small Screen. I.B. Tauris; 2013.
20.
Jancovich M. Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions. Cultural Studies. 2002;16(2):306-322. doi:10.1080/09502380110107607
21.
Klinger B. Becoming cult: The Big Lebowski, replay culture and male fans. Screen. 2010;51(1):1-20. doi:10.1093/screen/hjp055
22.
Henry Jenkins. ‘Get a Life!’: Fans, Poachers, Nomads. In: Textual Poachers: Television Fans and Participatory Culture. Vol Studies in culture and communication. Routledge; 1992:9-49. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854
23.
Matt Hills, Dawson Books. Introduction: Who’s who? Academics, fans, scholar fans and fan scholars. In: Fan Cultures. Vol Sussex studies in culture and communication. Routledge; 2002. 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
24.
Nathan Hunt. The importance of trivia: ownership, exclusion and authority in science fiction fandom. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol Inside popular film. Manchester University Press; 2003.
25.
Sanjek D. Fans’ Notes: The Horror Film Fanzine. Literature/Film Quarterly. 1990;(3). https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/1297358723?accountid=14540
26.
I Q Hunter. Beaver Las Vegas! A fan-boy’s defence of Showgirls. In: Graeme Harper, Xavier Mendik, eds. Unruly Pleasures. FAB Press; :187-202.
27.
Geraghty L. Cult Collectors: Nostalgia, Fandom and Collecting Popular Culture. Routledge; 2014.
28.
Zubernis LS, Larsen K. Fandom at the Crossroads: Celebration, Shame and Fan/Producer Relationships. Cambridge Scholars; 2012.
29.
McCulloch R. ‘Most people bring their own spoons’: The Room’s participatory audiences as comedy mediators. Participations. 2011;8(2). http://www.participations.org/Volume%208/Issue%202/2d%20McCulloch.pdf
30.
Austin BA. Portrait of a Cult Film Audience: The Rocky Horror Picture Show. Journal of Communication. 1981;31(2):43-54. https://ezproxy.lib.gla.ac.uk/login?url=https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1460-2466.1981.tb01227.x
31.
Church D. Grindhouse Nostalgia: Memory, Home Video and Exploitation Film Fandom. Edinburgh University Press; 2015. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001
32.
Sexton J, Mathijs E. The Cult Auteur. In: Cult Cinema: An Introduction. John Wiley & Sons Ltd; 2011:67-75. http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
33.
Hill RF. Science fiction and the cult of Ed Wood: Glen or Glenda?, Bride of the Monster, and Plan 9 From Outer Space. In: Telotte JP, Duchovnay G, eds. Science Fiction Double Feature: The Science Fiction Film as Cult Text. Vol 52. Liverpool University Press; 2016:172-189. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
34.
Routt WD. Bad For Good. Intensities: The Journal of Cult Media. (2). https://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf
35.
Barry Keith Grant. Auteurs and Authorship: A Film Reader. Blackwell Publishing; 2008.
36.
Robert S. Birchard. Edward D. Wood, Jr.: Some Notes on a Subject for Further Research. Film History. 1995;7(4):450-455. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/3815384
37.
Michael J Bowen. Doris Wishman meets the avant-garde. Xavier Mendik, Stephen Jay Schneider, eds. Underground USA: filmmaking beyond the Hollywood canon. Published online 2002:109-122.
38.
Tania Modleski. 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. Duke University Press; 2007:47-70.
39.
Roger Corman, Jim Jerome. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. Random House; 1989.
40.
Antony Todd. Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood. I.B. Tauris & Co. Ltd; 2012.
41.
Dawson Books. The Works of Tim Burton: Margins to Mainstream. (Weinstock JA, ed.). Palgrave Macmillan; 2013. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137370839
42.
Jeffrey Todd Adams. The Cinema of the Coen Brothers: Hard-Boiled Entertainments. Vol Directors’ Cuts series. Columbia University Press; 2015.
43.
Pezzotta E. Stanley Kubrick: Adapting the Sublime. University Press of Mississippi; 2013. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1181931
44.
Jim Smith. Tarantino. Vol Virgin film. Virgin Books; 2005.
45.
Hills M. Cult Movies With and Without Stars: Differentiating Discourses of Stardom. In: Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Palgrave Macmillan; 2012:21-36. http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
46.
Thomas S. ‘Marginal moments of spectacle’: Character Actors, Cult Stardom and Hollywood Cinema. In: Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Palgrave Macmillan; 2012:37-54. http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
47.
Kate Egan, Sarah Thomas, eds. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Palgrave Macmillan; 2012. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
48.
Jamie Sexton, Ernest Mathijs. Cult Stardom. In: Cult Cinema. ; :76-85. http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
49.
Roberta E Pearson. ‘Bright particular star’: Patrick Stewart, Jean-Luc Picard, and Cult Television. Sara Gwenllian-Jones, Roberta E Pearson, eds. Cult television. Published online 2004:61-82.
50.
Rebecca Feasey. ‘Sharon Stone, screen diva’: Stardom, femininity and cult fandom. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol Inside popular film. Manchester University Press; 2003:172-184.
51.
Oppenheim P. Grave expectations: Vampira and her audiences, 1954-1956. Intensities: The Journal of Cult Media. 2013;(6). https://intensitiescultmedia.files.wordpress.com/2014/02/p-oppenheim-grave-expectations.pdf
52.
Mikita Brottman. Star cults/ cult stars: Cinema, psychosis, celebrity, death. In: Graeme Harper, Xavier Mendik, eds. Unruly Pleasures. FAB Press; :103-120.
53.
Hills M, Williams R. ‘It’s all my interpretation’: Reading Spike through the subcultural celebrity of James Marsters. European Journal of Cultural Studies. 2005;8(3):345-365. doi:10.1177/1367549405054866
54.
Wade Jennings. The star as cult icon: Judy Garland. In: The Cult Film Experience: Beyond All Reason. 1st ed. University of Texas Press; 1991.
55.
Leon Hunt. 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 University Press; 2003.
56.
Pierre Bourdieu. Introduction. In: Distinction: A Social Critique of the Judgement of Taste. Routledge & K. Paul; 1984:1-7. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1433990
57.
David Church. Freakery, Cult Films, and the Problem of Ambivalence. Journal of Film and Video. 2011;63(1):03-17. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.1.0003
58.
Joan Hawkins. From horror to avant-garde: Tod Browning’s Freaks. In: Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press; 2000:141-168. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492
59.
Kate Egan. Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties. Manchester University Press; 2007.
60.
Paul Watson. There’s no accounting for taste: Exploitation cinema and the limits of film theory. Deborah Cartmell, I Q Hunter, Heidi Kaye, Imelda Whelehan, eds. Trash aesthetics: popular culture and its audience. 1997;Film/fiction:66-83.
61.
Ernest Mathijs. The making of a cult reputation: Topicality and controversy in the critical reception of Shivers. Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining cult movies: the cultural politics of oppositional taste. 2003;Inside popular film:109-126.
62.
Xavier Mendik, Stephen Jay Schneider. A tasteless art: Waters, Kaufman and the pursuit of ‘pure’ gross-out. Xavier Mendik, Stephen Jay Schneider, eds. Underground USA: filmmaking beyond the Hollywood canon. Published online 2002:204-220.
63.
Martin Barker, Jane Arthurs, Ramaswami Harindranath. The Crash controversy: Reviewing the press. Ernest Mathijs, Xavier Mendik, eds. The cult film reader. Published online 2008:456-471.
64.
Pett E. A new media landscape? The BBFC, extreme cinema as cult, and technological change. New Review of Film and Television Studies. 2015;13(1):83-99. doi:10.1080/17400309.2014.982910
65.
Waters J. Shock Value: A Tasteful Book about Bad Taste. Thunder’s Mouth Press; 2005.
66.
Jeffrey Sconce. ‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style. Screen. 1995;36(4):371-393. doi:10.1093/screen/36.4.371
67.
Hunter IQ. Trash Horror and the Cult of the Bad Film. In: Benshoff HM, ed. A Companion to the Horror Film. Wiley Blackwell; 2014:483-500. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1002/9781118883648
68.
MacDowell J, Zborowski J. The aesthetics of ‘so bad it’s good’: Value, intention, and The Room. Intensities: The Journal of Cult Media. 2013;(6). https://intensitiescultmedia.files.wordpress.com/2014/01/j-macdowell-j-zborowski-the-aesthetics-of-so-bad-its-good1.pdf
69.
Ernest Mathijs. Bad reputations: the reception of ‘trash’ cinema. Screen. 2005;46(4):451-472. doi:10.1093/screen/46.4.451
70.
J Hoberman. Bad Movies. Film Comment. 1962;(July/August 1980):7-12. https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/210240920?accountid=14540
71.
Susan Sontag. Notes on ‘Camp’. In: Against Interpretation and Other Essays. Vol Penguin modern classics. Penguin Classics; 2009. https://contentstore.cla.co.uk//secure/link?id=d0e6f540-cc40-e911-80cd-005056af4099
72.
Pauline Kael. Trash, Art and the Movies. In: Going Steady: Film Writings, 1968-1969. M. Boyars; 1994:85-130. https://contentstore.cla.co.uk//secure/link?id=70c63a39-cc40-e911-80cd-005056af4099
73.
Jeffrey Sconce. Esper, the renunciator: Teaching ‘bad’ movies to good students. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol Inside popular film. Manchester University Press; 2003:14-34.
74.
Telotte JP. Robot Monster and the ‘watchable... terrible’ cult/SF film. In: Telotte JP, Duchovnay G, eds. Science Fiction Double Feature: The Science Fiction Film as Cult Text. Vol 52. Liverpool University Press; 2016:159-170. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
75.
David Ray Carter. Cinemasochism: Bad movies and the people who love them. In: Weiner RG, Barba SE, eds. In the Peanut Gallery with Mystery Science Theater 3000: Essays on Film, Fandom, Technology, and the Culture of Riffing. McFarland; 2011.
76.
Joanne Hollows. The Masculinity of Cult. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol Inside popular film. Manchester University Press; 2003:35-53. https://contentstore.cla.co.uk/secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099
77.
Lisa Bode. Transitional tastes: Teen girls and genre in the critical reception of Twilight. Continuum: Journal of Media & Cultural Studies. 2010;24(5):707-719. https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com./doi/full/10.1080/10304312.2010.505327
78.
Jacinda Read. The cult of masculinity: From fan-boys to academic bad-boys. Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining cult movies: the cultural politics of oppositional taste. 2003;Inside popular film:54-70.
79.
Barker M, Mathijs E, Mendik X. Menstrual Monsters: The Reception of the Ginger Snaps Cult Horror Franchise. [Intellect]; 2006.
80.
Imelda Whelehan, Esther Sonnet. Regendered reading: Tank Girl and Postmodernist Intertextuality. Deborah Cartmell, I Q Hunter, Heidi Kaye, Imelda Whelehan, eds. Trash aesthetics: popular culture and its audience. 1997;Film/fiction:31-47.
81.
Helen Merrick. The readers feminism doesn’t see: Feminist fans, critics and science fiction. Deborah Cartmell, I Q Hunter, Heidi Kaye, Imelda Whelehan, eds. Trash aesthetics: popular culture and its audience. 1997;Film/fiction:48-65.
82.
Moya Luckett. Sexploitation as feminine territory: The films of Doris Wishman. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol Inside popular film. Manchester University Press; 2003:142-156.
83.
Clayton W, Harman S. Screening Twilight: Critical Approaches to a Cinematic Phenomenon. I. B. Tauris; 2014.
84.
Pender P. I’m Buffy and You’re History: Buffy the Vampire Slayer and Contemporary Feminism. I.B. Tauris; 2016.
85.
Jowett L. Representation: Exploring issues of sex, gender, and race in cult television. In: Abbott S, ed. The Cult TV Book. I.B. Tauris; 2010:107-113. http://GLA.eblib.com/patron/FullRecord.aspx?p=676361
86.
Joan Hawkins. Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture. Film Quarterly. 2000;53(2):14-29. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1213717
87.
Sexton J. The allure of otherness: transnational cult film fandom and the exoticist assumption. Transnational Cinemas. 2017;8(1):5-19. doi:10.1080/20403526.2016.1245922
88.
Jamie Sexton MH, ed. Transnational Cinemas: Vol 8, No 1. Published online 2017. https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com/toc/rtrc20/8/1?nav=tocList
89.
Ernest Mathijs. Bad reputations: the reception of ‘trash’ cinema. Screen. 2005;46(4):451-472. doi:10.1093/screen/46.4.451
90.
Joan Hawkins. Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press; 2000. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492
91.
Peter Hutchings. The Argento effect. Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining cult movies: the cultural politics of oppositional taste. 2003;Inside popular film:127-141.
92.
Daniel Martin. Extreme Asia: The Rise of Cult Cinema from the Far East. Edinburgh University Press; 2015.
93.
Kevin Heffernan. 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. Duke University Press; 2007:144-166.
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Victoria Ruétalo, Dolores Tierney, eds. Latsploitation, Exploitation Cinemas, and Latin America. Vol Routledge advances in film studies. Routledge; 2009.
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Smith IR. The Hollywood Meme. EDINBURGH UNIVERSITY PRESS; 2018.
96.
Tatsumi T. Transnational interactions: District 9, or Apaches in Johannesburg. In: Telotte JP, Duchovnay G, eds. Science Fiction Double Feature: The Science Fiction Film as Cult Text. Vol 52. Liverpool University Press; 2016. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
97.
Andrews D. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. University of Texas Press; 2013.
98.
Martin A. What’s Cult Got To Do With It?: In Defense of Cinephile Elitism. Cinéaste. 2008;34(1):39-42. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690731
99.
Hills M, Sexton J. Cult cinema and technological change. New Review of Film and Television Studies. 2015;13(1):1-11. doi:10.1080/17400309.2014.989007
100.
Ernest Mathijs. Cult Survey. http://cultsurvey.org/index.shtml
101.
Jamie Sexton. From Bad to Good and Back to Bad Again? Cult Cinema and Its Unstable Trajectory. In: Claire Perkins, Constantine Verevis, eds. B Is for Bad Cinema. ; :129-148. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
102.
Matt Hills. Veronica Mars, fandom, and the ‘Affective Economics’ of crowdfunding poachers. New Media & Society. 2015;17(2):183-197. doi:10.1177/1461444814558909
103.
Jeffrey Sconce. Movies: A century of failure. In: Jeffrey Sconce, ed. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Duke University Press; 2007:273-310.
104.
Hills M. Cult cinema and the ‘mainstreaming’ discourse of technological change: revisiting subcultural capital in liquid modernity. New Review of Film and Television Studies. 2015;13(1):100-121. doi:10.1080/17400309.2014.982928
105.
Iain Robert Smith. Bootleg Archives: Notes on BitTorrent Communities and Issues of Access. Flow TV. 2011;2(14). http://www.flowjournal.org/2011/06/bootleg-archives/
106.
Mathijs E, Sexton J. Cult Cinema: An Introduction. John Wiley & Sons Ltd; 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632
107.
J. Hoberman, Jonathan Rosenbaum. Midnight Movies. Da Capo Press; 1991.
108.
Joan Hawkins. Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press; 2000. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492
109.
Mark Jancovich. ‘A Real Shocker’: Authenticity, genre and the struggle for distinction. Continuum. 2000;14(1):23-35. doi:10.1080/713657675
110.
Jancovich M. Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions. Cultural Studies. 2002;16(2):306-322. doi:10.1080/09502380110107607
111.
Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, Andy Willis, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol Inside popular film. Manchester University Press; 2003. https://contentstore.cla.co.uk//secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099
112.
J P Telotte, ed. The Cult Film Experience: Beyond All Reason. Vol Texas film studies series. 1st ed. University of Texas Press; 1991. https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
113.
Intensities: The Journal of Cult Media. http://intensitiescultmedia.com/
114.
Perkins C, Verevis C, eds. B Is for Bad Cinema: Aesthetics, Politics, and Cultural Value. Vol Horizons of Cinema. SUNY Press; 2014. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
115.
Eric Schaefer. ‘Bold! Daring! Shocking! True!’: A History of Exploitation Films, 1919-1959. Duke University Press; 1999. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295
116.
Ernest Mathijs, Xavier Mendik, eds. The Cult Film Reader. McGraw Hill/Open University Press; 2008.
117.
Kate Egan, Sarah Thomas, eds. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Palgrave Macmillan; 2012. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
118.
Geraghty L. Popular Media Cultures: Fans, Audiences and Paratexts. Palgrave Macmillan; 2015. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137350374
119.
Deborah Cartmell, I Q Hunter, Heidi Kaye, Imelda Whelehan, eds. Trash Aesthetics: Popular Culture and Its Audience. Vol Film/fiction. Pluto Press; 1997.
120.
Harry M. Benshoff. Blaxploitation Horror Films: Generic Reappropriation or Reinscription? Cinema Journal. 2000;39(2):31-50. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1225551
121.
Jeffrey Sconce, ed. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Duke University Press; 2007.
122.
Davis B. The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema. Rutgers University Press; 2012. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=894652
123.
Akira Mizuta Lippit, Noel Burch, Chon Noriega, et al. Round Table: Showgirls. Film Quarterly. 2003;56(3):32-46. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.1525/fq.2003.56.3.32
124.
Xavier Mendik, Stephen Jay Schneider, eds. Underground USA: Filmmaking beyond the Hollywood Canon. Wallflower; 2002.
125.
Mendik X, Harper G. Unruly Pleasures: The Cult Film and Its Critics. 1st ed. FAB Press; 2000.
126.
Mark Jancovich. Rational Fears: American Horror in the 1950s. Manchester University Press; 1996.
127.
Gary Hentzi. Little Cinema of Horrors. Film Quarterly. 1993;46(3):22-27. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1212900
128.
Weiner RG, Barba SE. In the Peanut Gallery with Mystery Science Theater 3000: Essays on Film, Fandom, Technology, and the Culture of Riffing. McFarland; 2011.
129.
Ernest Mathijs. Cult Survey. http://cultsurvey.org/index.shtml
130.
Bill Warren. Keep Watching the Skies!: American Science Fiction Movies of the Fifties. 21st century ed. McFarland & Co; 2010.
131.
McCarthy T, Flynn C. Kings of the Bs: Working within the Hollywood System : An Anthology of Film History and Criticism. E. P. Dutton; 1975.
132.
Danny Peary. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. Delacorte Press; 1981.
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