1
Elena Gorfinkel. Cult Film or Cinephilia by Any Other Name. Cinéaste 2008;34:33–8.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690730
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Joe Bob Briggs, J. Hoberman, Damien Love, Tim Lucas, Danny Peary, Jeffrey Sconce and Peter Stanfield. Cult cinema: A critical symposium. Cinéaste 2008;34:43–50.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690732
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Barry K Grant. Science fiction double feature: Ideology in the cult film. In: J P Telotte, ed. The Cult film experience: beyond all reason. Austin: : University of Texas Press 1991. 122–37.https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
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Hunter IQ. Cult film as a guide to life: fandom, adaptation, and identity. New York: : Bloomsbury Academic 2016.
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J P Telotte. Beyond all reason: The nature of the cult. In: J P Telotte, ed. The Cult film experience: beyond all reason. Austin: : University of Texas Press 1991. 5–17.
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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
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Ernest Mathijs, Xavier Mendik, editors. The cult film reader. Maidenhead, England: : McGraw Hill/Open University Press 2008.
8
J. Hoberman, Jonathan Rosenbaum. Midnight movies. New York: : Da Capo Press 1991.
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Danny Peary. Cult movies: the classics, the sleepers, the weird, and the wonderful. New York: : Delacorte Press 1981.
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Matt Hills. Defining Cult TV: Texts, inter-texts and fan audiences. In: Robert C Allen, Annette Hill, eds. The Television Studies Reader. London: : Routledge 2003. 509–23.https://contentstore.cla.co.uk//secure/link?id=72c63a39-cc40-e911-80cd-005056af4099
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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. New York: : Palgrave Macmillan 2016. http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0
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Gwenllian-Jones S, Pearson RE, editors. Cult Television. Minneapolis, Minn: : University of Minnesota Press 2004.
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Ebooks Corporation Limited. The cult TV book. London: : I.B. Tauris 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
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Leon Hunt. Cult British TV comedy: from Reeves and Mortimer to Psychoville. Manchester: : Manchester University Press 2013. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.7228/manchester/9780719083778.001.0001
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John Tulloch, Henry Jenkins. Science fiction audiences: watching Doctor Who and Star Trek. London: : Routledge 1995.
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Mark Jancovich, James Lyons, editors. Quality popular television: cult TV, the industry and fans. London: : British Film Institute 2003.
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David Lavery, editor. The essential cult TV reader. Lexington, KY: : University Press of Kentucky 2010.
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Lavery D. Full of secrets: critical approaches to Twin Peaks. Detroit, MI: : Wayne State University Press 1995.
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Jowett L, Abbott S. TV horror: investigating the darker side of the small screen. London: : I.B. Tauris 2013.
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Jancovich M. Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions. Cultural Studies 2002;16:306–22. doi:10.1080/09502380110107607
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Klinger B. Becoming cult: The Big Lebowski, replay culture and male fans. Screen 2010;51:1–20. doi:10.1093/screen/hjp055
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Henry Jenkins. ‘Get a Life!’: Fans, Poachers, Nomads. In: Textual Poachers: Television Fans and Participatory Culture. New York: : Routledge 1992. 9–49.https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854
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Matt Hills, Dawson Books. Introduction: Who’s who? Academics, fans, scholar fans and fan scholars. In: Fan cultures. London: : 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
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Nathan Hunt. The importance of trivia: ownership, exclusion and authority in science fiction fandom. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, et al., eds. Defining cult movies: the cultural politics of oppositional taste. Manchester: : Manchester University Press 2003.
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Sanjek D. Fans’ Notes: The Horror Film Fanzine. Literature/Film Quarterly Published Online First: 1990.https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/1297358723?accountid=14540
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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.
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Geraghty L. Cult collectors: nostalgia, fandom and collecting popular culture. London: : Routledge 2014.
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Zubernis LS, Larsen K. Fandom at the crossroads: celebration, shame and fan/producer relationships. Newcastle: : Cambridge Scholars 2012.
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McCulloch R. ‘Most people bring their own spoons’: The Room’s participatory audiences as comedy mediators. Participations 2011;8.http://www.participations.org/Volume%208/Issue%202/2d%20McCulloch.pdf
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Austin BA. Portrait of a Cult Film Audience: The Rocky Horror Picture Show. Journal of Communication 1981;31:43–54.https://ezproxy.lib.gla.ac.uk/login?url=https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1460-2466.1981.tb01227.x
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Church D. Grindhouse nostalgia: memory, home video and exploitation film fandom. Edinburgh: : Edinburgh University Press 2015. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001
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Sexton J, Mathijs E. The Cult Auteur. In: Cult cinema: an introduction. Malden, Massachusetts: : John Wiley & Sons Ltd 2011. 67–75.http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
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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. Liverpool: : Liverpool University Press 2016. 172–89.http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
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Routt WD. Bad For Good. Intensities: The Journal of Cult Mediahttps://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf
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Barry Keith Grant. Auteurs and Authorship: A film reader. Malden, Mass: : Blackwell Publishing 2008.
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Robert S. Birchard. Edward D. Wood, Jr.: Some Notes on a Subject for Further Research. Film History 1995;7:450–5.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/3815384
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Michael J Bowen. Doris Wishman meets the avant-garde. Underground USA: filmmaking beyond the Hollywood canon 2002;:109–22.
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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. Durham, NC: : Duke University Press 2007. 47–70.
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Roger Corman, Jim Jerome. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: : Random House 1989.
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Antony Todd. Authorship and the films of David Lynch: aesthetic receptions in contemporary Hollywood. London: : I.B. Tauris & Co. Ltd 2012.
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Dawson Books. The works of Tim Burton: margins to mainstream. Basingstoke, Hampshire: : Palgrave Macmillan 2013. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137370839
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Jeffrey Todd Adams. The cinema of the Coen brothers: hard-boiled entertainments. New York: : Columbia University Press 2015.
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Pezzotta E. Stanley Kubrick: adapting the sublime. Jackson: : University Press of Mississippi 2013. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1181931
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Jim Smith. Tarantino. London: : Virgin Books 2005.
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Hills M. Cult Movies With and Without Stars: Differentiating Discourses of Stardom. In: Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: : Palgrave Macmillan 2012. 21–36.http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
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Thomas S. ‘Marginal moments of spectacle’: Character Actors, Cult Stardom and Hollywood Cinema. In: Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: : Palgrave Macmillan 2012. 37–54.http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
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Kate Egan, Sarah Thomas, editors. Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: : Palgrave Macmillan 2012. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
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Jamie Sexton, Ernest Mathijs. Cult Stardom. In: Cult Cinema.76–85.http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
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Roberta E Pearson. ‘Bright particular star’: Patrick Stewart, Jean-Luc Picard, and Cult Television. Cult television 2004;:61–82.
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Rebecca Feasey. ‘Sharon Stone, screen diva’: Stardom, femininity and cult fandom. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, et al., eds. Defining cult movies: the cultural politics of oppositional taste. Manchester: : Manchester University Press 2003. 172–84.
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Oppenheim P. Grave expectations: Vampira and her audiences, 1954-1956. Intensities: The Journal of Cult Media Published Online First: 2013.https://intensitiescultmedia.files.wordpress.com/2014/02/p-oppenheim-grave-expectations.pdf
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Mikita Brottman. Star cults/ cult stars: Cinema, psychosis, celebrity, death. In: Graeme Harper, Xavier Mendik, eds. Unruly Pleasures. FAB Press 103–20.
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Hills M, Williams R. ‘It’s all my interpretation’: Reading Spike through the subcultural celebrity of James Marsters. European Journal of Cultural Studies 2005;8:345–65. doi:10.1177/1367549405054866
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Wade Jennings. The star as cult icon: Judy Garland. In: The Cult film experience: beyond all reason. Austin: : University of Texas Press 1991.
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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: : Manchester University Press 2003.
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Pierre Bourdieu. Introduction. In: Distinction: a social critique of the judgement of taste. London: : Routledge & K. Paul 1984. 1–7.https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1433990
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David Church. Freakery, Cult Films, and the Problem of Ambivalence. Journal of Film and Video 2011;63:03–17.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.1.0003
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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. 141–68.https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492
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Kate Egan. Trash or treasure?: censorship and the changing meanings of the video nasties. Manchester: : Manchester University Press 2007.
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Paul Watson. There’s no accounting for taste: Exploitation cinema and the limits of film theory. Trash aesthetics: popular culture and its audience 1997;Film/fiction:66–83.
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Ernest Mathijs. The making of a cult reputation: Topicality and controversy in the critical reception of Shivers. Defining cult movies: the cultural politics of oppositional taste 2003;Inside popular film:109–26.
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Xavier Mendik, Stephen Jay Schneider. A tasteless art: Waters, Kaufman and the pursuit of ‘pure’ gross-out. Underground USA: filmmaking beyond the Hollywood canon 2002;:204–20.
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Martin Barker, Jane Arthurs, Ramaswami Harindranath. The Crash controversy: Reviewing the press. The cult film reader 2008;:456–71.
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Pett E. A new media landscape? The BBFC, extreme cinema as cult, and technological change. New Review of Film and Television Studies 2015;13:83–99. doi:10.1080/17400309.2014.982910
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Waters J. Shock value: a tasteful book about bad taste. New York: : Thunder’s Mouth Press 2005.
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Jeffrey Sconce. ‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style. Screen 1995;36:371–93. doi:10.1093/screen/36.4.371
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Hunter IQ. Trash Horror and the Cult of the Bad Film. In: Benshoff HM, ed. A companion to the horror film. Chichester, West Sussex: : Wiley Blackwell 2014. 483–500.http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1002/9781118883648
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MacDowell J, Zborowski J. The aesthetics of ‘so bad it’s good’: Value, intention, and The Room. Intensities: The Journal of Cult Media Published Online First: 2013.https://intensitiescultmedia.files.wordpress.com/2014/01/j-macdowell-j-zborowski-the-aesthetics-of-so-bad-its-good1.pdf
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Ernest Mathijs. Bad reputations: the reception of ‘trash’ cinema. Screen 2005;46:451–72. doi:10.1093/screen/46.4.451
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J Hoberman. Bad Movies. Film Comment 1962;:7–12.https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/210240920?accountid=14540
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Susan Sontag. Notes on ‘Camp’. In: Against Interpretation and Other Essays. London: : Penguin Classics 2009. https://contentstore.cla.co.uk//secure/link?id=d0e6f540-cc40-e911-80cd-005056af4099
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Pauline Kael. Trash, Art and the Movies. In: Going steady: film writings, 1968-1969. New York: : M. Boyars 1994. 85–130.https://contentstore.cla.co.uk//secure/link?id=70c63a39-cc40-e911-80cd-005056af4099
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Jeffrey Sconce. Esper, the renunciator: Teaching ‘bad’ movies to good students. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, et al., eds. Defining cult movies: the cultural politics of oppositional taste. Manchester: : Manchester University Press 2003. 14–34.
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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. Liverpool: : Liverpool University Press 2016. 159–70.http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
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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. Jefferson, N.C.: : McFarland 2011.
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Joanne Hollows. The Masculinity of Cult. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, et al., eds. Defining cult movies: the cultural politics of oppositional taste. Manchester: : Manchester University Press 2003. 35–53.https://contentstore.cla.co.uk/secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099
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Lisa Bode. Transitional tastes: Teen girls and genre in the critical reception of Twilight. Continuum: Journal of Media & Cultural Studies 2010;24:707–19.https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com./doi/full/10.1080/10304312.2010.505327
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Jacinda Read. The cult of masculinity: From fan-boys to academic bad-boys. Defining cult movies: the cultural politics of oppositional taste 2003;Inside popular film:54–70.
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Barker M, Mathijs E, Mendik X. Menstrual monsters: the reception of the Ginger Snaps cult horror franchise. [Bristol]: : [Intellect] 2006.
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Imelda Whelehan, Esther Sonnet. Regendered reading: Tank Girl and Postmodernist Intertextuality. Trash aesthetics: popular culture and its audience 1997;Film/fiction:31–47.
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Helen Merrick. The readers feminism doesn’t see: Feminist fans, critics and science fiction. Trash aesthetics: popular culture and its audience 1997;Film/fiction:48–65.
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Moya Luckett. Sexploitation as feminine territory: The films of Doris Wishman. In: Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, et al., eds. Defining cult movies: the cultural politics of oppositional taste. Manchester: : Manchester University Press 2003. 142–56.
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Clayton W, Harman S. Screening Twilight: critical approaches to a cinematic phenomenon. London: : I. B. Tauris 2014.
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Pender P. I’m Buffy and you’re history: Buffy the vampire slayer and contemporary feminism. London: : I.B. Tauris 2016.
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Jowett L. Representation: Exploring issues of sex, gender, and race in cult television. In: Abbott S, ed. The cult TV book. London: : I.B. Tauris 2010. 107–13.http://GLA.eblib.com/patron/FullRecord.aspx?p=676361
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Joan Hawkins. Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture. Film Quarterly 2000;53:14–29.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1213717
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Sexton J. The allure of otherness: transnational cult film fandom and the exoticist assumption. Transnational Cinemas 2017;8:5–19. doi:10.1080/20403526.2016.1245922
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Jamie Sexton MH, editor. Transnational Cinemas: Vol 8, No 1. Published Online First: 2017.https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com/toc/rtrc20/8/1?nav=tocList
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Ernest Mathijs. Bad reputations: the reception of ‘trash’ cinema. Screen 2005;46:451–72. doi:10.1093/screen/46.4.451
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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
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Peter Hutchings. The Argento effect. Defining cult movies: the cultural politics of oppositional taste 2003;Inside popular film:127–41.
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Daniel Martin. Extreme Asia: the rise of cult cinema from the Far East. Edinburgh: : Edinburgh University Press 2015.
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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. Durham, NC: : Duke University Press 2007. 144–66.
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Victoria Ruétalo, Dolores Tierney, editors. Latsploitation, exploitation cinemas, and Latin America. London: : Routledge 2009.
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Smith IR. The Hollywood Meme. Edinburgh: : EDINBURGH UNIVERSITY PRESS 2018.
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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. Liverpool: : Liverpool University Press 2016. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
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Andrews D. Theorizing art cinemas: foreign, cult, avant-garde, and beyond. Austin, Tex: : University of Texas Press 2013.
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Martin A. What’s Cult Got To Do With It?: In Defense of Cinephile Elitism. Cinéaste 2008;34:39–42.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690731
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Hills M, Sexton J. Cult cinema and technological change. New Review of Film and Television Studies 2015;13:1–11. doi:10.1080/17400309.2014.989007
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Ernest Mathijs. Cult Survey. http://cultsurvey.org/index.shtml
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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.129–48.https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
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Matt Hills. Veronica Mars, fandom, and the ‘Affective Economics’ of crowdfunding poachers. New Media & Society 2015;17:183–97. doi:10.1177/1461444814558909
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Jeffrey Sconce. 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 2007. 273–310.
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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;13:100–21. doi:10.1080/17400309.2014.982928
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Iain Robert Smith. Bootleg Archives: Notes on BitTorrent Communities and Issues of Access. Flow TV 2011;2.http://www.flowjournal.org/2011/06/bootleg-archives/
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Mathijs E, Sexton J. Cult cinema: an introduction. Malden, Massachusetts: : John Wiley & Sons Ltd 2011. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632
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J. Hoberman, Jonathan Rosenbaum. Midnight movies. New York: : Da Capo Press 1991.
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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
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Mark Jancovich. ‘A Real Shocker’: Authenticity, genre and the struggle for distinction. Continuum 2000;14:23–35. doi:10.1080/713657675
110
Jancovich M. Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions. Cultural Studies 2002;16:306–22. doi:10.1080/09502380110107607
111
Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, et al., editors. Defining cult movies: the cultural politics of oppositional taste. Manchester: : Manchester University Press 2003. https://contentstore.cla.co.uk//secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099
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J P Telotte, editor. The Cult film experience: beyond all reason. 1st ed. Austin: : University of Texas Press 1991. https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
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Intensities: The Journal of Cult Media. http://intensitiescultmedia.com/
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Perkins C, Verevis C, editors. B is for bad cinema: aesthetics, politics, and cultural value. Albany: : SUNY Press 2014. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
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Eric Schaefer. ‘Bold! Daring! Shocking! True!’: a history of exploitation films, 1919-1959. Durham, NC: : Duke University Press 1999. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295
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Ernest Mathijs, Xavier Mendik, editors. The cult film reader. Maidenhead, England: : McGraw Hill/Open University Press 2008.
117
Kate Egan, Sarah Thomas, editors. Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: : 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. Basingstoke: : 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, et al., editors. Trash aesthetics: popular culture and its audience. London: : Pluto Press 1997.
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Harry M. Benshoff. Blaxploitation Horror Films: Generic Reappropriation or Reinscription? Cinema Journal 2000;39:31–50.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1225551
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Jeffrey Sconce, editor. Sleaze artists: cinema at the margins of taste, style, and politics. Durham, NC: : Duke University Press 2007.
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Davis B. The battle for the Bs: 1950s Hollywood and the rebirth of low-budget cinema. New Brunswick, N.J.: : Rutgers University Press 2012. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=894652
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Akira Mizuta Lippit, Noel Burch, Chon Noriega, et al. Round Table: Showgirls. Film Quarterly 2003;56:32–46.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.1525/fq.2003.56.3.32
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Xavier Mendik, Stephen Jay Schneider, editors. Underground USA: filmmaking beyond the Hollywood canon. London: : Wallflower 2002.
125
Mendik X, Harper G. Unruly pleasures: the cult film and its critics. 1st ed. Guildford, Surrey: : FAB Press 2000.
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Mark Jancovich. Rational fears: American horror in the 1950s. Manchester: : Manchester University Press 1996.
127
Gary Hentzi. Little Cinema of Horrors. Film Quarterly 1993;46:22–7.https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1212900
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Weiner RG, Barba SE. In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing. Jefferson, N.C.: : 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. Jefferson, NC: : McFarland & Co 2010.
131
McCarthy T, Flynn C. Kings of the Bs: working within the Hollywood system : an anthology of film history and criticism. New York: : E. P. Dutton 1975.
132
Danny Peary. Cult movies: the classics, the sleepers, the weird, and the wonderful. New York: : Delacorte Press 1981.
133
Gwenllian-Jones S, Pearson RE, editors. Cult Television. Minneapolis, Minn: : University of Minnesota Press 2004.
134
Mark Jancovich, James Lyons, editors. Quality popular television: cult TV, the industry and fans. London: : British Film Institute 2003.
135
Ebooks Corporation Limited. The cult TV book. London: : I.B. Tauris 2010. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
136
John Tulloch, Henry Jenkins. Science fiction audiences: watching Doctor Who and Star Trek. London: : Routledge 1995.
137
David Lavery, editor. The essential cult TV reader. Lexington, KY: : University Press of Kentucky 2010.
