Akira Mizuta Lippit, Noel Burch, Chon Noriega, Ara Osterweil, Linda Williams, Eric Schaefer, and 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, David. 2013. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. Austin, Tex: University of Texas Press.
Antony Todd. 2012. Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood. London: I.B. Tauris & Co. Ltd.
Austin, Bruce 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, Martin, Ernest Mathijs, and Xavier Mendik. 2006. Menstrual Monsters: The Reception of the Ginger Snaps Cult Horror Franchise. [Bristol]: [Intellect].
Barry K Grant. 1991. ‘Science Fiction Double Feature: Ideology in the Cult Film’. In The Cult Film Experience: Beyond All Reason, edited by J P Telotte, 1st ed, Texas film studies series:122–37. Austin: 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. Malden, Mass: Blackwell Publishing.
Bill Warren. 2010. Keep Watching the Skies!: American Science Fiction Movies of the Fifties. 21st century ed. Jefferson, NC: McFarland & Co.
Church, David. 2015. Grindhouse Nostalgia: Memory, Home Video and Exploitation Film Fandom. Edinburgh: Edinburgh University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001.
Clayton, Wickham, and Sarah Harman. 2014. Screening Twilight: Critical Approaches to a Cinematic Phenomenon. London: I. B. Tauris.
Daniel Martin. 2015. Extreme Asia: The Rise of Cult Cinema from the Far East. Edinburgh: Edinburgh University Press.
Danny Peary. 1981a. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Delacorte Press.
———. 1981b. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Delacorte Press.
David Church. 2011. ‘Freakery, Cult Films, and the Problem of Ambivalence’. Journal of Film and Video 63 (1): 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. Lexington, KY: University Press of Kentucky.
———, ed. 2010b. The Essential Cult TV Reader. Vol. Essential readers in contemporary media and culture. Lexington, KY: University Press of Kentucky.
David Ray Carter. 2011a. ‘Cinemasochism: Bad Movies and the People Who Love Them’. In In the Peanut Gallery with Mystery Science Theater 3000: Essays on Film, Fandom, Technology, and the Culture of Riffing, edited by Robert G. Weiner and Shelley E. Barba. Jefferson, N.C.: McFarland.
Davis, Blair. 2012. The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema. New Brunswick, N.J.: Rutgers University Press. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=894652.
Dawson Books. 2013. The Works of Tim Burton: Margins to Mainstream. Edited by Jeffrey Andrew Weinstock. Basingstoke, Hampshire: Palgrave Macmillan. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137370839.
Deborah Cartmell, I Q Hunter, Heidi Kaye, and Imelda Whelehan, eds. 1997a. Trash Aesthetics: Popular Culture and Its Audience. Vol. Film/fiction. London: Pluto Press.
Ebooks Corporation Limited. 2010a. The Cult TV Book. Edited by Stacey Abbott. London: I.B. Tauris. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361.
———. 2010b. The Cult TV Book. Edited by Stacey Abbott. London: 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. Durham, NC: Duke University Press. https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295.
Ernest Mathijs. 2003a. ‘The Making of a Cult Reputation: Topicality and Controversy in the Critical Reception of Shivers’. Edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis. Defining Cult Movies: The Cultural Politics of Oppositional Taste Inside popular film: 109–26.
———. 2005a. ‘Bad Reputations: The Reception of “trash” Cinema’. Screen 46 (4): 451–72. https://doi.org/10.1093/screen/46.4.451.
———. 2005b. ‘Bad Reputations: The Reception of “trash” Cinema’. Screen 46 (4): 451–72. https://doi.org/10.1093/screen/46.4.451.
———. n.d. ‘Cult Survey’. http://cultsurvey.org/index.shtml.
———. n.d. ‘Cult Survey’. http://cultsurvey.org/index.shtml.
Ernest Mathijs and Xavier Mendik, eds. 2008a. The Cult Film Reader. Maidenhead, England: McGraw Hill/Open University Press.
———, eds. 2008b. The Cult Film Reader. Maidenhead, England: 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, Lincoln. 2014. Cult Collectors: Nostalgia, Fandom and Collecting Popular Culture. London: Routledge.
———. 2015. Popular Media Cultures: Fans, Audiences and Paratexts. Basingstoke: Palgrave Macmillan. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137350374.
Gwenllian-Jones, Sara, and Roberta E Pearson, eds. 2004a. Cult Television. Minneapolis, Minn: University of Minnesota Press.
———, eds. 2004b. Cult Television. Minneapolis, Minn: University of Minnesota Press.
Harry M. Benshoff. 2000. ‘Blaxploitation Horror Films: Generic Reappropriation or Reinscription?’ Cinema Journal 39 (2): 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’. Edited by Deborah Cartmell, I Q Hunter, Heidi Kaye, and Imelda Whelehan. 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, Studies in culture and communication:9–49. New York: Routledge. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854.
Hill, Rodney F. 2016. ‘Science Fiction and the Cult of Ed Wood: Glen or Glenda?, Bride of the Monster, and Plan 9 From Outer Space’. In Science Fiction Double Feature: The Science Fiction Film as Cult Text, edited by J. P. Telotte and Gerald Duchovnay, 52:172–89. Liverpool: Liverpool University Press. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001.
Hills, Matt. 2012. ‘Cult Movies With and Without Stars: Differentiating Discourses of Stardom’. In Cult Film Stardom: Offbeat Attractions and Processes of Cultification, 21–36. Basingstoke: Palgrave Macmillan. http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776.
———. 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, Matt, and Jamie Sexton. 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, Matt, and Rebecca Williams. 2005. ‘“It’s All My Interpretation”: Reading Spike through the Subcultural Celebrity of James Marsters’. European Journal of Cultural Studies 8 (3): 345–65. https://doi.org/10.1177/1367549405054866.
Hunter, I. Q. 2014. ‘Trash Horror and the Cult of the Bad Film’. In A Companion to the Horror Film, edited by Harry M. Benshoff, 483–500. Chichester, West Sussex: Wiley Blackwell. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1002/9781118883648.
———. 2016. Cult Film as a Guide to Life: Fandom, Adaptation, and Identity. New York: Bloomsbury Academic.
I Q Hunter. n.d. ‘Beaver Las Vegas! A Fan-Boy’s Defence of Showgirls’. In Unruly Pleasures, edited by Graeme Harper and Xavier Mendik, 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, and Esther Sonnet. 1997c. ‘Regendered Reading: Tank Girl and Postmodernist Intertextuality’. Edited by Deborah Cartmell, I Q Hunter, Heidi Kaye, and Imelda Whelehan. 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, no. July/August 1980: 7–12. https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/210240920?accountid=14540.
J. Hoberman and Jonathan Rosenbaum. 1991a. Midnight Movies. New York: Da Capo Press.
———. 1991b. Midnight Movies. New York: Da Capo Press.
J P Telotte. 1991. ‘Beyond All Reason: The Nature of the Cult’. In The Cult Film Experience: Beyond All Reason, edited by J P Telotte, 1st ed, Texas film studies series:5–17. Austin: University of Texas Press.
———, ed. 1991a. The Cult Film Experience: Beyond All Reason. 1st ed. Vol. Texas film studies series. Austin: 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’. Edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis. 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 B Is for Bad Cinema, edited by Claire Perkins and Constantine Verevis, 129–48. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847.
Jamie Sexton and Ernest Mathijs. 22AD. ‘Introduction’. In Cult Cinema, 1–10. Wiley-Blackwell; 1 edition. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632.
———. n.d. ‘Cult Stardom’. In Cult Cinema, 76–85. http://GLA.eblib.com/patron/FullRecord.aspx?p=792632.
Jamie Sexton, Matt Hills, 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, Mark. 2002a. ‘Cult Fictions: Cult Movies, Subcultural Capital and the Production of Cultural Distinctions’. Cultural Studies 16 (2): 306–22. https://doi.org/10.1080/09502380110107607.
———. 2002b. ‘Cult Fictions: Cult Movies, Subcultural Capital and the Production of Cultural Distinctions’. Cultural Studies 16 (2): 306–22. https://doi.org/10.1080/09502380110107607.
Jeffrey Sconce. 1995. ‘“Trashing” the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style’. Screen 36 (4): 371–93. https://doi.org/10.1093/screen/36.4.371.
———. 2003c. ‘Esper, the Renunciator: Teaching “Bad” Movies to Good Students’. In Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Inside popular film:14–34. Manchester: Manchester University Press.
———. 2007a. ‘Movies: A Century of Failure’. In Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics, edited by Jeffrey Sconce, 273–310. Durham, NC: Duke University Press.
———, ed. 2007b. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Durham, NC: Duke University Press.
Jeffrey Todd Adams. 2015. The Cinema of the Coen Brothers: Hard-Boiled Entertainments. Vol. Directors’ Cuts series. New York: Columbia University Press.
Jim Smith. 2005. Tarantino. Vol. Virgin film. London: 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.
———. 2000b. Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492.
———. 2000. ‘From Horror to Avant-Garde: Tod Browning’s Freaks’. In Cutting Edge: Art Horror and the Horrific Avant-Garde, 141–68. University of Minnesota Press. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492.
———. 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 Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Inside popular film:35–53. Manchester: 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 and Henry Jenkins. 1995a. Science Fiction Audiences: Watching Doctor Who and Star Trek. Vol. Popular fiction series. London: Routledge.
———. 1995b. Science Fiction Audiences: Watching Doctor Who and Star Trek. Vol. Popular fiction series. London: Routledge.
Jowett, Lorna. 2010. ‘Representation: Exploring Issues of Sex, Gender, and Race in Cult Television’. In The Cult TV Book, edited by Stacey Abbott, 107–13. London: I.B. Tauris. http://GLA.eblib.com/patron/FullRecord.aspx?p=676361.
Jowett, Lorna, and Stacey Abbott. 2013. TV Horror: Investigating the Darker Side of the Small Screen. London: I.B. Tauris.
Kate Egan. 2007. Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties. Manchester: Manchester University Press.
Kate Egan and Sarah Thomas, eds. 2012a. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Basingstoke: Palgrave Macmillan. https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776.
———, eds. 2012b. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Basingstoke: 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 Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics, edited by Jeffrey Sconce, 144–66. Durham, NC: Duke University Press.
Klinger, Barbara. 2010. ‘Becoming Cult: The Big Lebowski, Replay Culture and Male Fans’. Screen 51 (1): 1–20. https://doi.org/10.1093/screen/hjp055.
Lavery, David. 1995. Full of Secrets: Critical Approaches to Twin Peaks. Detroit, MI: 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: Manchester University Press.
———. 2013. Cult British TV Comedy: From Reeves and Mortimer to Psychoville. Manchester: 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): 707–19. 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 Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television, edited by Jeffrey Andrew Weinstock and Catherine Spooner. New York: Palgrave Macmillan. http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0.
MacDowell, James, and James Zborowski. 2013. ‘The Aesthetics of “so Bad It’s Good”: Value, Intention, and The Room’. Intensities: The Journal of Cult Media, no. 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: Manchester University Press.
———. 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, and Andy Willis, eds. 2003e. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Vol. Inside popular film. Manchester: Manchester University Press. https://contentstore.cla.co.uk//secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099.
Mark Jancovich, and James Lyons, eds. 2003f. Quality Popular Television: Cult TV, the Industry and Fans. London: British Film Institute.
———, eds. 2003g. Quality Popular Television: Cult TV, the Industry and Fans. London: British Film Institute.
Martin, Adrian. 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, and Ramaswami Harindranath. 2008. ‘The Crash Controversy: Reviewing the Press’. Edited by Ernest Mathijs and Xavier Mendik. The Cult Film Reader, 456–71.
Mathijs, Ernest, and Jamie Sexton. 2011. Cult Cinema: An Introduction. Malden, Massachusetts: 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 The Television Studies Reader, edited by Robert C Allen and Annette Hill, 509–23. London: Routledge. https://contentstore.cla.co.uk//secure/link?id=72c63a39-cc40-e911-80cd-005056af4099.
———. 2015. ‘Veronica Mars, Fandom, and the “Affective Economics” of Crowdfunding Poachers’. New Media & Society 17 (2): 183–97. https://doi.org/10.1177/1461444814558909.
Matt Hills and Dawson Books. 2002. ‘Introduction: Who’s Who? Academics, Fans, Scholar Fans and Fan Scholars’. In Fan Cultures. Vol. Sussex studies in culture and communication. London: 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, Todd, and Charles Flynn. 1975. Kings of the Bs: Working within the Hollywood System : An Anthology of Film History and Criticism. New York: E. P. Dutton.
McCulloch, Richard. 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, Xavier, and Graeme Harper. 2000. Unruly Pleasures: The Cult Film and Its Critics. 1st ed. Guildford, Surrey: FAB Press.
Michael J Bowen. 2002a. ‘Doris Wishman Meets the Avant-Garde’. Edited by Xavier Mendik and Stephen Jay Schneider. Underground USA: Filmmaking beyond the Hollywood Canon, 109–22.
Mikita Brottman. n.d. ‘Star Cults/ Cult Stars: Cinema, Psychosis, Celebrity, Death’. In Unruly Pleasures, edited by Graeme Harper and Xavier Mendik, 103–20. FAB Press.
Moya Luckett. 2003h. ‘Sexploitation as Feminine Territory: The Films of Doris Wishman’. In Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Inside popular film:142–56. Manchester: Manchester University Press.
Nathan Hunt. 2003i. ‘The Importance of Trivia: Ownership, Exclusion and Authority in Science Fiction Fandom’. In Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis. Vol. Inside popular film. Manchester: Manchester University Press.
Oppenheim, Phil. 2013. ‘Grave Expectations: Vampira and Her Audiences, 1954-1956’. Intensities: The Journal of Cult Media, no. 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’. Edited by Deborah Cartmell, I Q Hunter, Heidi Kaye, and Imelda Whelehan. 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, 85–130. New York: M. Boyars. https://contentstore.cla.co.uk//secure/link?id=70c63a39-cc40-e911-80cd-005056af4099.
Pender, Patricia. 2016. I’m Buffy and You’re History: Buffy the Vampire Slayer and Contemporary Feminism. London: I.B. Tauris.
Perkins, Claire, and Constantine Verevis, eds. 2014. B Is for Bad Cinema: Aesthetics, Politics, and Cultural Value. Vol. Horizons of Cinema. Albany: SUNY Press. https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847.
Peter Hutchings. 2003j. ‘The Argento Effect’. Edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis. Defining Cult Movies: The Cultural Politics of Oppositional Taste Inside popular film: 127–41.
Pett, Emma. 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, Elisa. 2013. Stanley Kubrick: Adapting the Sublime. Jackson: 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, 1–7. London: 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 Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Inside popular film:172–84. Manchester: Manchester University Press.
Robert S. Birchard. 1995. ‘Edward D. Wood, Jr.: Some Notes on a Subject for Further Research’. Film History 7 (4): 450–55. 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’. Edited by Sara Gwenllian-Jones and Roberta E Pearson. Cult Television, 61–82.
Roger Corman and Jim Jerome. 1989. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: Random House.
Routt, William D. n.d. ‘Bad For Good’. Intensities: The Journal of Cult Media, no. 2. https://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf.
Sanjek, David. 1990. ‘Fans’ Notes: The Horror Film Fanzine’. Literature/Film Quarterly, no. 3. https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/1297358723?accountid=14540.
Sexton, Jamie. 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, Jamie, and Ernest Mathijs. 2011. ‘The Cult Auteur’. In Cult Cinema: An Introduction, 67–75. Malden, Massachusetts: John Wiley & Sons Ltd. http://GLA.eblib.com/patron/FullRecord.aspx?p=792632.
Smith, Iain Robert. 2018. The Hollywood Meme. Edinburgh: EDINBURGH UNIVERSITY PRESS.
Susan Sontag. 2009. ‘Notes on “Camp”’. In Against Interpretation and Other Essays. Vol. Penguin modern classics. London: 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 Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics, edited by Jeffrey Sconce, 47–70. Durham, NC: Duke University Press.
Tatsumi, Takayuki. 2016. ‘Transnational Interactions: District 9, or Apaches in Johannesburg’. In Science Fiction Double Feature: The Science Fiction Film as Cult Text, edited by J. P. Telotte and Gerald Duchovnay. Vol. 52. Liverpool: 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 Science Fiction Double Feature: The Science Fiction Film as Cult Text, edited by J. P. Telotte and Gerald Duchovnay, 52:159–70. Liverpool: Liverpool University Press. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001.
Thomas, Sarah. 2012. ‘“Marginal Moments of Spectacle”: Character Actors, Cult Stardom and Hollywood Cinema’. In Cult Film Stardom: Offbeat Attractions and Processes of Cultification, 37–54. Basingstoke: Palgrave Macmillan. http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776.
Victoria Ruétalo and Dolores Tierney, eds. 2009. Latsploitation, Exploitation Cinemas, and Latin America. Vol. Routledge advances in film studies. London: Routledge.
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