Akira Mizuta Lippit, Noel Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Schaefer, & Jeffrey Sconce. (2003). Round Table: Showgirls. Film Quarterly, 56(3), 32–46. 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. University of Texas Press.
Antony Todd. (2012). Authorship and the films of David Lynch: aesthetic receptions in contemporary Hollywood. 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), 43–54. 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., & Mendik, X. (2006). Menstrual monsters: the reception of the Ginger Snaps cult horror franchise. [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: Vol. Texas film studies series (1st ed, pp. 122–137). University of Texas Press. https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
Barry Keith Grant. (2008). Auteurs and Authorship: A film reader. Blackwell Publishing.
Bill Warren. (2010). Keep watching the skies!: American science fiction movies of the fifties (21st century ed). McFarland & Co.
Church, D. (2015). Grindhouse nostalgia: memory, home video and exploitation film fandom. Edinburgh University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001
Clayton, W., & Harman, S. (2014). Screening Twilight: critical approaches to a cinematic phenomenon. I. B. Tauris.
Daniel Martin. (2015). Extreme Asia: the rise of cult cinema from the Far East. Edinburgh University Press.
Danny Peary. (1981a). Cult movies: the classics, the sleepers, the weird, and the wonderful. Delacorte Press.
Danny Peary. (1981b). Cult movies: the classics, the sleepers, the weird, and the wonderful. Delacorte Press.
David Church. (2011). Freakery, Cult Films, and the Problem of Ambivalence. Journal of Film and Video, 63(1), 03–17. 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: Vol. Essential readers in contemporary media and culture. University Press of Kentucky.
David Lavery (Ed.). (2010b). The essential cult TV reader: Vol. Essential readers in contemporary media and culture. University Press of Kentucky.
David Ray Carter. (2011a). Cinemasochism: Bad movies and the people who love them. In R. G. Weiner & S. E. Barba (Eds.), In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing. McFarland.
Davis, B. (2012). The battle for the Bs: 1950s Hollywood and the rebirth of low-budget cinema. Rutgers University Press. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=894652
Dawson Books. (2013). The works of Tim Burton: margins to mainstream (J. A. Weinstock, Ed.). Palgrave Macmillan. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137370839
Deborah Cartmell, I Q Hunter, Heidi Kaye, & Imelda Whelehan (Eds.). (1997a). Trash aesthetics: popular culture and its audience: Vol. Film/fiction. Pluto Press.
Ebooks Corporation Limited. (2010a). The cult TV book (S. Abbott, Ed.). I.B. Tauris. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
Ebooks Corporation Limited. (2010b). The cult TV book (S. Abbott, Ed.). I.B. Tauris. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
Elena Gorfinkel. (2008). Cult Film or Cinephilia by Any Other Name. Cinéaste, 34(1), 33–38. 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. Duke University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295
Ernest Mathijs. (n.d.-a). Cult Survey. http://cultsurvey.org/index.shtml
Ernest Mathijs. (n.d.-b). Cult Survey. http://cultsurvey.org/index.shtml
Ernest Mathijs. (2003a). 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, 109–126.
Ernest Mathijs. (2005a). Bad reputations: the reception of ‘trash’ cinema. Screen, 46(4), 451–472. https://doi.org/10.1093/screen/46.4.451
Ernest Mathijs. (2005b). Bad reputations: the reception of ‘trash’ cinema. Screen, 46(4), 451–472. https://doi.org/10.1093/screen/46.4.451
Ernest Mathijs & Xavier Mendik (Eds.). (2008a). The cult film reader. McGraw Hill/Open University Press.
Ernest Mathijs & Xavier Mendik (Eds.). (2008b). The cult film reader. McGraw Hill/Open University Press.
Gary Hentzi. (1993). Little Cinema of Horrors. Film Quarterly, 46(3), 22–27. 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. Routledge.
Geraghty, L. (2015). Popular media cultures: fans, audiences and paratexts. Palgrave Macmillan. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137350374
Gwenllian-Jones, S., & Pearson, R. E. (Eds.). (2004a). Cult Television. University of Minnesota Press.
Gwenllian-Jones, S., & Pearson, R. E. (Eds.). (2004b). Cult Television. University of Minnesota Press.
Harry M. Benshoff. (2000). Blaxploitation Horror Films: Generic Reappropriation or Reinscription? Cinema Journal, 39(2), 31–50. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1225551
Helen Merrick. (1997b). The readers feminism doesn’t see: Feminist fans, critics and science fiction. Trash Aesthetics: Popular Culture and Its Audience, Film/fiction, 48–65.
Henry Jenkins. (1992). ‘Get a Life!’: Fans, Poachers, Nomads. In Textual Poachers: Television Fans and Participatory Culture: Vol. Studies in culture and communication (pp. 9–49). Routledge. 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 & G. Duchovnay (Eds.), Science fiction double feature: the science fiction film as cult text (Vol. 52, pp. 172–189). Liverpool University Press. 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 (pp. 21–36). Palgrave Macmillan. 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), 100–121. https://doi.org/10.1080/17400309.2014.982928
Hills, M., & Sexton, J. (2015). Cult cinema and technological change. New Review of Film and Television Studies, 13(1), 1–11. https://doi.org/10.1080/17400309.2014.989007
Hills, M., & Williams, R. (2005). ‘It’s all my interpretation’: Reading Spike through the subcultural celebrity of James Marsters. European Journal of Cultural Studies, 8(3), 345–365. 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 (pp. 483–500). Wiley Blackwell. 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. Bloomsbury Academic.
I Q Hunter. (n.d.-a). Beaver Las Vegas! A fan-boy’s defence of Showgirls. In Graeme Harper & Xavier Mendik (Eds.), Unruly Pleasures (pp. 187–202). FAB Press.
Iain Robert Smith. (2011b). Bootleg Archives: Notes on BitTorrent Communities and Issues of Access. Flow TV, 2(14). http://www.flowjournal.org/2011/06/bootleg-archives/
Imelda Whelehan, & Esther Sonnet. (1997c). Regendered reading: Tank Girl and Postmodernist Intertextuality. Trash Aesthetics: Popular Culture and Its Audience, Film/fiction, 31–47.
Intensities: The Journal of Cult Media. (n.d.). http://intensitiescultmedia.com/
J Hoberman. (1962). Bad Movies. Film Comment, July/August 1980, 7–12. https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/210240920?accountid=14540
J. Hoberman & Jonathan Rosenbaum. (1991a). Midnight movies. Da Capo Press.
J. Hoberman & Jonathan Rosenbaum. (1991b). Midnight movies. 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: Vol. Texas film studies series (1st ed, pp. 5–17). University of Texas Press.
J P Telotte (Ed.). (1991a). The Cult film experience: beyond all reason: Vol. Texas film studies series (1st ed). University of Texas Press. https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
Jacinda Read. (2003b). The cult of masculinity: From fan-boys to academic bad-boys. Defining Cult Movies: The Cultural Politics of Oppositional Taste, Inside popular film, 54–70.
Jamie Sexton. (n.d.). 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 (pp. 129–148). https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
Jamie Sexton, & Ernest Mathijs. (n.d.-b). Cult Stardom. In Cult Cinema (pp. 76–85). http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
Jamie Sexton & Ernest Mathijs. (22 C.E.). Introduction. In Cult Cinema (pp. 1–10). Wiley-Blackwell; 1 edition. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632
Jamie Sexton, M. H. (Ed.). (2017). Transnational Cinemas: Vol 8, No 1. 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), 306–322. 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), 306–322. https://doi.org/10.1080/09502380110107607
Jeffrey Sconce. (1995). ‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style. Screen, 36(4), 371–393. https://doi.org/10.1093/screen/36.4.371
Jeffrey Sconce. (2003c). 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 (pp. 14–34). Manchester University Press.
Jeffrey Sconce. (2007a). Movies: A century of failure. In Jeffrey Sconce (Ed.), Sleaze artists: cinema at the margins of taste, style, and politics (pp. 273–310). Duke University Press.
Jeffrey Sconce (Ed.). (2007b). Sleaze artists: cinema at the margins of taste, style, and politics. Duke University Press.
Jeffrey Todd Adams. (2015). The cinema of the Coen brothers: hard-boiled entertainments: Vol. Directors’ Cuts series. Columbia University Press.
Jim Smith. (2005). Tarantino: Vol. Virgin film. Virgin Books.
Joan Hawkins. (2000a). Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press. 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. 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 (pp. 141–168). University of Minnesota Press. 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), 14–29. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1213717
Joanne Hollows. (2003). 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 (pp. 35–53). Manchester University Press. 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), 43–50. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690732
John Tulloch & Henry Jenkins. (1995a). Science fiction audiences: watching Doctor Who and Star Trek: Vol. Popular fiction series. Routledge.
John Tulloch & Henry Jenkins. (1995b). Science fiction audiences: watching Doctor Who and Star Trek: Vol. Popular fiction series. Routledge.
Jowett, L. (2010). Representation: Exploring issues of sex, gender, and race in cult television. In S. Abbott (Ed.), The cult TV book (pp. 107–113). I.B. Tauris. http://GLA.eblib.com/patron/FullRecord.aspx?p=676361
Jowett, L., & Abbott, S. (2013). TV horror: investigating the darker side of the small screen. I.B. Tauris.
Kate Egan. (2007). Trash or treasure?: censorship and the changing meanings of the video nasties. Manchester University Press.
Kate Egan & Sarah Thomas (Eds.). (2012a). Cult film stardom: Offbeat attractions and processes of cultification. Palgrave Macmillan. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
Kate Egan & Sarah Thomas (Eds.). (2012b). Cult film stardom: Offbeat attractions and processes of cultification. Palgrave Macmillan. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
Kevin Heffernan. (2007c). 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 (pp. 144–166). Duke University Press.
Klinger, B. (2010). Becoming cult: The Big Lebowski, replay culture and male fans. Screen, 51(1), 1–20. https://doi.org/10.1093/screen/hjp055
Lavery, D. (1995). Full of secrets: critical approaches to Twin Peaks. Wayne State University Press.
Leon Hunt. (2003d). 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.
Leon Hunt. (2013). Cult British TV comedy: from Reeves and Mortimer to Psychoville. Manchester University Press. 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), 707–719. 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 & C. Spooner (Eds.), Return to Twin Peaks: new approaches to materiality, theory, and genre on television. Palgrave Macmillan. http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0
MacDowell, J., & Zborowski, J. (2013). The aesthetics of ‘so bad it’s good’: Value, intention, and The Room. Intensities: The Journal of Cult Media, 6. 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 University Press.
Mark Jancovich. (2000). ‘A Real Shocker’: Authenticity, genre and the struggle for distinction. Continuum, 14(1), 23–35. https://doi.org/10.1080/713657675
Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, & Andy Willis (Eds.). (2003e). Defining cult movies: the cultural politics of oppositional taste: Vol. Inside popular film. Manchester University Press. https://contentstore.cla.co.uk//secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099
Mark Jancovich, & James Lyons (Eds.). (2003f). Quality popular television: cult TV, the industry and fans. British Film Institute.
Mark Jancovich, & James Lyons (Eds.). (2003g). Quality popular television: cult TV, the industry and fans. British Film Institute.
Martin, A. (2008). What’s Cult Got To Do With It?: In Defense of Cinephile Elitism. Cinéaste, 34(1), 39–42. https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690731
Martin Barker, Jane Arthurs, & Ramaswami Harindranath. (2008). The Crash controversy: Reviewing the press. The Cult Film Reader, 456–471.
Mathijs, E., & Sexton, J. (2011). Cult cinema: an introduction. John Wiley & Sons Ltd. 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 & Annette Hill (Eds.), The Television Studies Reader (pp. 509–523). Routledge. 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), 183–197. https://doi.org/10.1177/1461444814558909
Matt Hills & Dawson Books. (2002). Introduction: Who’s who? Academics, fans, scholar fans and fan scholars. In Fan cultures: Vol. Sussex studies in culture and communication. Routledge. 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., & Flynn, C. (1975). Kings of the Bs: working within the Hollywood system : an anthology of film history and criticism. E. P. Dutton.
McCulloch, R. (2011). ‘Most people bring their own spoons’: The Room’s participatory audiences as comedy mediators. Participations, 8(2). http://www.participations.org/Volume%208/Issue%202/2d%20McCulloch.pdf
Mendik, X., & Harper, G. (2000). Unruly pleasures: the cult film and its critics (1st ed). FAB Press.
Michael J Bowen. (2002a). Doris Wishman meets the avant-garde. Underground USA: Filmmaking beyond the Hollywood Canon, 109–122.
Mikita Brottman. (n.d.-c). Star cults/ cult stars: Cinema, psychosis, celebrity, death. In Graeme Harper & Xavier Mendik (Eds.), Unruly Pleasures (pp. 103–120). FAB Press.
Moya Luckett. (2003h). 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 (pp. 142–156). Manchester University Press.
Nathan Hunt. (2003i). 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.
Oppenheim, P. (2013). Grave expectations: Vampira and her audiences, 1954-1956. Intensities: The Journal of Cult Media, 6. https://intensitiescultmedia.files.wordpress.com/2014/02/p-oppenheim-grave-expectations.pdf
Paul Watson. (1997d). There’s no accounting for taste: Exploitation cinema and the limits of film theory. Trash Aesthetics: Popular Culture and Its Audience, Film/fiction, 66–83.
Pauline Kael. (1994). Trash, Art and the Movies. In Going steady: film writings, 1968-1969 (pp. 85–130). M. Boyars. 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. I.B. Tauris.
Perkins, C., & Verevis, C. (Eds.). (2014). B is for bad cinema: aesthetics, politics, and cultural value: Vol. Horizons of Cinema. SUNY Press. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
Peter Hutchings. (2003j). The Argento effect. Defining Cult Movies: The Cultural Politics of Oppositional Taste, Inside popular film, 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), 83–99. https://doi.org/10.1080/17400309.2014.982910
Pezzotta, E. (2013). Stanley Kubrick: adapting the sublime. University Press of Mississippi. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1181931
Pierre Bourdieu. (1984). Introduction. In Distinction: a social critique of the judgement of taste (pp. 1–7). Routledge & K. Paul. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1433990
Rebecca Feasey. (2003k). ‘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 (pp. 172–184). Manchester University Press.
Robert S. Birchard. (1995). Edward D. Wood, Jr.: Some Notes on a Subject for Further Research. Film History, 7(4), 450–455. 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, 61–82.
Roger Corman & Jim Jerome. (1989). How I Made a Hundred Movies in Hollywood and Never Lost a Dime. Random House.
Routt, W. D. (n.d.). Bad For Good. Intensities: The Journal of Cult Media, 2. https://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf
Sanjek, D. (1990). Fans’ Notes: The Horror Film Fanzine. Literature/Film Quarterly, 3. 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), 5–19. https://doi.org/10.1080/20403526.2016.1245922
Sexton, J., & Mathijs, E. (2011). The Cult Auteur. In Cult cinema: an introduction (pp. 67–75). John Wiley & Sons Ltd. http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
Smith, I. R. (2018). The Hollywood Meme. EDINBURGH UNIVERSITY PRESS.
Susan Sontag. (2009). Notes on ‘Camp’. In Against Interpretation and Other Essays: Vol. Penguin modern classics. Penguin Classics. https://contentstore.cla.co.uk//secure/link?id=d0e6f540-cc40-e911-80cd-005056af4099
Tania Modleski. (2007d). 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 (pp. 47–70). Duke University Press.
Tatsumi, T. (2016). Transnational interactions: District 9, or Apaches in Johannesburg. In J. P. Telotte & G. Duchovnay (Eds.), Science fiction double feature: the science fiction film as cult text (Vol. 52). Liverpool University Press. 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 & G. Duchovnay (Eds.), Science fiction double feature: the science fiction film as cult text (Vol. 52, pp. 159–170). Liverpool University Press. 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 (pp. 37–54). Palgrave Macmillan. http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
Victoria Ruétalo & Dolores Tierney (Eds.). (2009). Latsploitation, exploitation cinemas, and Latin America: Vol. Routledge advances in film studies. Routledge.
Wade Jennings. (1991b). The star as cult icon: Judy Garland. In The Cult film experience: beyond all reason (1st ed). University of Texas Press.
Waters, J. (2005). Shock value: a tasteful book about bad taste. Thunder’s Mouth Press.
Weiner, R. G., & Barba, S. E. (2011). In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing. McFarland.
Xavier Mendik, & Stephen Jay Schneider. (2002b). A tasteless art: Waters, Kaufman and the pursuit of ‘pure’ gross-out. Underground USA: Filmmaking beyond the Hollywood Canon, 204–220.
Xavier Mendik & Stephen Jay Schneider (Eds.). (2002). Underground USA: filmmaking beyond the Hollywood canon. Wallflower.
Zubernis, L. S., & Larsen, K. (2012). Fandom at the crossroads: celebration, shame and fan/producer relationships. Cambridge Scholars.
