[1]
Elena Gorfinkel, ‘Cult Film or Cinephilia by Any Other Name’, Cinéaste, vol. 34, no. 1, pp. 33–38, 2008 [Online]. Available: 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, vol. 34, no. 1, pp. 43–50, 2008 [Online]. Available: 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 The Cult film experience: beyond all reason, 1st ed., vol. Texas film studies series, J P Telotte, Ed. Austin: University of Texas Press, 1991, pp. 122–137 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
[4]
I. Q. Hunter, Cult film as a guide to life: fandom, adaptation, and identity. New York: Bloomsbury Academic, 2016.
[5]
J P Telotte, ‘Beyond all reason: The nature of the cult’, in The Cult film experience: beyond all reason, 1st ed., vol. Texas film studies series, J P Telotte, Ed. Austin: University of Texas Press, 1991, pp. 5–17.
[6]
Jamie Sexton and Ernest Mathijs, ‘Introduction’, in Cult Cinema, Wiley-Blackwell; 1 edition, 22AD, pp. 1–10 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632
[7]
Ernest Mathijs and Xavier Mendik, Eds., The cult film reader. Maidenhead, England: McGraw Hill/Open University Press, 2008.
[8]
J. Hoberman and Jonathan Rosenbaum, Midnight movies. New York: Da Capo Press, 1991.
[9]
Danny Peary, Cult movies: the classics, the sleepers, the weird, and the wonderful. New York: Delacorte Press, 1981.
[10]
Matt Hills, ‘Defining Cult TV: Texts, inter-texts and fan audiences’, in The Television Studies Reader, Robert C Allen and Annette Hill, Eds. London: Routledge, 2003, pp. 509–523 [Online]. Available: 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 Return to Twin Peaks: new approaches to materiality, theory, and genre on television, J. A. Weinstock and C. Spooner, Eds. New York: Palgrave Macmillan, 2016 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0
[12]
S. Gwenllian-Jones and R. E. Pearson, Eds., Cult Television. Minneapolis, Minn: University of Minnesota Press, 2004.
[13]
Ebooks Corporation Limited, The cult TV book. London: I.B. Tauris, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
[14]
Leon Hunt, Cult British TV comedy: from Reeves and Mortimer to Psychoville. Manchester: Manchester University Press, 2013 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.7228/manchester/9780719083778.001.0001
[15]
John Tulloch and Henry Jenkins, Science fiction audiences: watching Doctor Who and Star Trek, vol. Popular fiction series. London: Routledge, 1995.
[16]
Mark Jancovich and James Lyons, Eds., Quality popular television: cult TV, the industry and fans. London: British Film Institute, 2003.
[17]
David Lavery, Ed., The essential cult TV reader, vol. Essential readers in contemporary media and culture. Lexington, KY: University Press of Kentucky, 2010.
[18]
D. Lavery, Full of secrets: critical approaches to Twin Peaks. Detroit, MI: Wayne State University Press, 1995.
[19]
L. Jowett and S. Abbott, TV horror: investigating the darker side of the small screen. London: I.B. Tauris, 2013.
[20]
M. Jancovich, ‘Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions’, Cultural Studies, vol. 16, no. 2, pp. 306–322, Mar. 2002, doi: 10.1080/09502380110107607.
[21]
B. Klinger, ‘Becoming cult: The Big Lebowski, replay culture and male fans’, Screen, vol. 51, no. 1, pp. 1–20, Mar. 2010, 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, New York: Routledge, 1992, pp. 9–49 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854
[23]
Matt Hills and Dawson Books, ‘Introduction: Who’s who? Academics, fans, scholar fans and fan scholars’, in Fan cultures, vol. Sussex studies in culture and communication, London: Routledge, 2002 [Online]. Available: 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 Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Eds. Manchester: Manchester University Press, 2003.
[25]
D. Sanjek, ‘Fans’ Notes: The Horror Film Fanzine’, Literature/Film Quarterly, no. 3, 1990 [Online]. Available: 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 Unruly Pleasures, Graeme Harper and Xavier Mendik, Eds. FAB Press, pp. 187–202.
[27]
L. Geraghty, Cult collectors: nostalgia, fandom and collecting popular culture. London: Routledge, 2014.
[28]
L. S. Zubernis and K. Larsen, Fandom at the crossroads: celebration, shame and fan/producer relationships. Newcastle: Cambridge Scholars, 2012.
[29]
R. McCulloch, ‘“Most people bring their own spoons”: The Room’s participatory audiences as comedy mediators’, Participations, vol. 8, no. 2, 2011 [Online]. Available: http://www.participations.org/Volume%208/Issue%202/2d%20McCulloch.pdf
[30]
B. A. Austin, ‘Portrait of a Cult Film Audience: The Rocky Horror Picture Show’, Journal of Communication, vol. 31, no. 2, pp. 43–54, Jun. 1981 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1460-2466.1981.tb01227.x
[31]
D. Church, Grindhouse nostalgia: memory, home video and exploitation film fandom. Edinburgh: Edinburgh University Press, 2015 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001
[32]
J. Sexton and E. Mathijs, ‘The Cult Auteur’, in Cult cinema: an introduction, Malden, Massachusetts: John Wiley & Sons Ltd, 2011, pp. 67–75 [Online]. Available: http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
[33]
R. F. Hill, ‘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, vol. 52, J. P. Telotte and G. Duchovnay, Eds. Liverpool: Liverpool University Press, 2016, pp. 172–189 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
[34]
W. D. Routt, ‘Bad For Good’, Intensities: The Journal of Cult Media, no. 2 [Online]. Available: https://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf
[35]
Barry Keith Grant, Auteurs and Authorship: A film reader. Malden, Mass: Blackwell Publishing, 2008.
[36]
Robert S. Birchard, ‘Edward D. Wood, Jr.: Some Notes on a Subject for Further Research’, Film History, vol. 7, no. 4, pp. 450–455, 1995 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/3815384
[37]
Michael J Bowen, ‘Doris Wishman meets the avant-garde’, Underground USA: filmmaking beyond the Hollywood canon, pp. 109–122, 2002.
[38]
Tania Modleski, ‘Women’s cinema as counterphobic cinema: Doris Wishman as the last auteur’, in Sleaze artists: cinema at the margins of taste, style, and politics, Jeffrey Sconce, Ed. Durham, NC: Duke University Press, 2007, pp. 47–70.
[39]
Roger Corman and Jim Jerome, How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: Random House, 1989.
[40]
Antony Todd, Authorship and the films of David Lynch: aesthetic receptions in contemporary Hollywood. London: I.B. Tauris & Co. Ltd, 2012.
[41]
Dawson Books, The works of Tim Burton: margins to mainstream. Basingstoke, Hampshire: Palgrave Macmillan, 2013 [Online]. Available: 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. New York: Columbia University Press, 2015.
[43]
E. Pezzotta, Stanley Kubrick: adapting the sublime. Jackson: University Press of Mississippi, 2013 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1181931
[44]
Jim Smith, Tarantino, vol. Virgin film. London: Virgin Books, 2005.
[45]
M. Hills, ‘Cult Movies With and Without Stars: Differentiating Discourses of Stardom’, in Cult film stardom: Offbeat attractions and processes of cultification, Basingstoke: Palgrave Macmillan, 2012, pp. 21–36 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
[46]
S. Thomas, ‘“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, pp. 37–54 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776
[47]
Kate Egan and Sarah Thomas, Eds., Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: Palgrave Macmillan, 2012 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
[48]
Jamie Sexton and Ernest Mathijs, ‘Cult Stardom’, in Cult Cinema, pp. 76–85 [Online]. Available: http://GLA.eblib.com/patron/FullRecord.aspx?p=792632
[49]
Roberta E Pearson, ‘“Bright particular star”: Patrick Stewart, Jean-Luc Picard, and Cult Television’, Cult television, pp. 61–82, 2004.
[50]
Rebecca Feasey, ‘“Sharon Stone, screen diva”: Stardom, femininity and cult fandom’, in Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Eds. Manchester: Manchester University Press, 2003, pp. 172–184.
[51]
P. Oppenheim, ‘Grave expectations: Vampira and her audiences, 1954-1956’, Intensities: The Journal of Cult Media, no. 6, 2013 [Online]. Available: https://intensitiescultmedia.files.wordpress.com/2014/02/p-oppenheim-grave-expectations.pdf
[52]
Mikita Brottman, ‘Star cults/ cult stars: Cinema, psychosis, celebrity, death’, in Unruly Pleasures, Graeme Harper and Xavier Mendik, Eds. FAB Press, pp. 103–120.
[53]
M. Hills and R. Williams, ‘“It’s all my interpretation”: Reading Spike through the subcultural celebrity of James Marsters’, European Journal of Cultural Studies, vol. 8, no. 3, pp. 345–365, Aug. 2005, doi: 10.1177/1367549405054866.
[54]
Wade Jennings, ‘The star as cult icon: Judy Garland’, in The Cult film experience: beyond all reason, 1st ed., Austin: 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: Manchester University Press, 2003.
[56]
Pierre Bourdieu, ‘Introduction’, in Distinction: a social critique of the judgement of taste, London: Routledge & K. Paul, 1984, pp. 1–7 [Online]. Available: 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, vol. 63, no. 1, pp. 03–17, 2011 [Online]. Available: 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, pp. 141–168 [Online]. Available: 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: Manchester University Press, 2007.
[60]
Paul Watson, ‘There’s no accounting for taste: Exploitation cinema and the limits of film theory’, Trash aesthetics: popular culture and its audience, vol. Film/fiction, pp. 66–83, 1997.
[61]
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, vol. Inside popular film, pp. 109–126, 2003.
[62]
Xavier Mendik and Stephen Jay Schneider, ‘A tasteless art: Waters, Kaufman and the pursuit of “pure” gross-out’, Underground USA: filmmaking beyond the Hollywood canon, pp. 204–220, 2002.
[63]
Martin Barker, Jane Arthurs, and Ramaswami Harindranath, ‘The Crash controversy: Reviewing the press’, The cult film reader, pp. 456–471, 2008.
[64]
E. Pett, ‘A new media landscape? The BBFC, extreme cinema as cult, and technological change’, New Review of Film and Television Studies, vol. 13, no. 1, pp. 83–99, Jan. 2015, doi: 10.1080/17400309.2014.982910.
[65]
J. Waters, Shock value: a tasteful book about bad taste. New York: Thunder’s Mouth Press, 2005.
[66]
Jeffrey Sconce, ‘“Trashing” the academy: taste, excess, and an emerging politics of cinematic style’, Screen, vol. 36, no. 4, pp. 371–393, Dec. 1995, doi: 10.1093/screen/36.4.371.
[67]
I. Q. Hunter, ‘Trash Horror and the Cult of the Bad Film’, in A companion to the horror film, H. M. Benshoff, Ed. Chichester, West Sussex: Wiley Blackwell, 2014, pp. 483–500 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1002/9781118883648
[68]
J. MacDowell and J. Zborowski, ‘The aesthetics of “so bad it’s good”: Value, intention, and The Room’, Intensities: The Journal of Cult Media, no. 6, 2013 [Online]. Available: 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, vol. 46, no. 4, pp. 451–472, Dec. 2005, doi: 10.1093/screen/46.4.451.
[70]
J Hoberman, ‘Bad Movies’, Film Comment, no. July/August 1980, pp. 7–12, 1962 [Online]. Available: 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, London: Penguin Classics, 2009 [Online]. Available: 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, New York: M. Boyars, 1994, pp. 85–130 [Online]. Available: 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 Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Eds. Manchester: Manchester University Press, 2003, pp. 14–34.
[74]
J. P. Telotte, ‘Robot Monster and the “watchable... terrible” cult/SF film’, in Science fiction double feature: the science fiction film as cult text, vol. 52, J. P. Telotte and G. Duchovnay, Eds. Liverpool: Liverpool University Press, 2016, pp. 159–170 [Online]. Available: 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 In the peanut gallery with Mystery Science Theater 3000: essays on film, fandom, technology, and the culture of riffing, R. G. Weiner and S. E. Barba, Eds. Jefferson, N.C.: McFarland, 2011.
[76]
Joanne Hollows, ‘The Masculinity of Cult’, in Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Eds. Manchester: Manchester University Press, 2003, pp. 35–53 [Online]. Available: 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, vol. 24, no. 5, pp. 707–719, Oct. 2010 [Online]. Available: 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’, Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, pp. 54–70, 2003.
[79]
M. Barker, E. Mathijs, and X. Mendik, Menstrual monsters: the reception of the Ginger Snaps cult horror franchise. [Bristol]: [Intellect], 2006.
[80]
Imelda Whelehan and Esther Sonnet, ‘Regendered reading: Tank Girl and Postmodernist Intertextuality’, Trash aesthetics: popular culture and its audience, vol. Film/fiction, pp. 31–47, 1997.
[81]
Helen Merrick, ‘The readers feminism doesn’t see: Feminist fans, critics and science fiction’, Trash aesthetics: popular culture and its audience, vol. Film/fiction, pp. 48–65, 1997.
[82]
Moya Luckett, ‘Sexploitation as feminine territory: The films of Doris Wishman’, in Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Eds. Manchester: Manchester University Press, 2003, pp. 142–156.
[83]
W. Clayton and S. Harman, Screening Twilight: critical approaches to a cinematic phenomenon. London: I. B. Tauris, 2014.
[84]
P. Pender, I’m Buffy and you’re history: Buffy the vampire slayer and contemporary feminism. London: I.B. Tauris, 2016.
[85]
L. Jowett, ‘Representation: Exploring issues of sex, gender, and race in cult television’, in The cult TV book, S. Abbott, Ed. London: I.B. Tauris, 2010, pp. 107–113 [Online]. Available: 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, vol. 53, no. 2, pp. 14–29, 2000 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1213717
[87]
J. Sexton, ‘The allure of otherness: transnational cult film fandom and the exoticist assumption’, Transnational Cinemas, vol. 8, no. 1, pp. 5–19, Jan. 2017, doi: 10.1080/20403526.2016.1245922.
[88]
M. H. Jamie Sexton, Ed., ‘Transnational Cinemas: Vol 8, No 1’, 2017 [Online]. Available: 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, vol. 46, no. 4, pp. 451–472, Dec. 2005, doi: 10.1093/screen/46.4.451.
[90]
Joan Hawkins, Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press, 2000 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492
[91]
Peter Hutchings, ‘The Argento effect’, Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film, pp. 127–141, 2003.
[92]
Daniel Martin, Extreme Asia: the rise of cult cinema from the Far East. Edinburgh: 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 Sleaze artists: cinema at the margins of taste, style, and politics, Jeffrey Sconce, Ed. Durham, NC: Duke University Press, 2007, pp. 144–166.
[94]
Victoria Ruétalo and Dolores Tierney, Eds., Latsploitation, exploitation cinemas, and Latin America, vol. Routledge advances in film studies. London: Routledge, 2009.
[95]
I. R. Smith, The Hollywood Meme. Edinburgh: EDINBURGH UNIVERSITY PRESS, 2018.
[96]
T. Tatsumi, ‘Transnational interactions: District 9, or Apaches in Johannesburg’, in Science fiction double feature: the science fiction film as cult text, vol. 52, J. P. Telotte and G. Duchovnay, Eds. Liverpool: Liverpool University Press, 2016 [Online]. Available: http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001
[97]
D. Andrews, Theorizing art cinemas: foreign, cult, avant-garde, and beyond. Austin, Tex: University of Texas Press, 2013.
[98]
A. Martin, ‘What’s Cult Got To Do With It?: In Defense of Cinephile Elitism’, Cinéaste, vol. 34, no. 1, pp. 39–42, 2008 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690731
[99]
M. Hills and J. Sexton, ‘Cult cinema and technological change’, New Review of Film and Television Studies, vol. 13, no. 1, pp. 1–11, Jan. 2015, doi: 10.1080/17400309.2014.989007.
[100]
Ernest Mathijs, ‘Cult Survey’. [Online]. Available: http://cultsurvey.org/index.shtml
[101]
Jamie Sexton, ‘From Bad to Good and Back to Bad Again? Cult Cinema and Its Unstable Trajectory’, in B Is for Bad Cinema, Claire Perkins and Constantine Verevis, Eds. pp. 129–148 [Online]. Available: 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, vol. 17, no. 2, pp. 183–197, Feb. 2015, doi: 10.1177/1461444814558909.
[103]
Jeffrey Sconce, ‘Movies: A century of failure’, in Sleaze artists: cinema at the margins of taste, style, and politics, Jeffrey Sconce, Ed. Durham, NC: Duke University Press, 2007, pp. 273–310.
[104]
M. Hills, ‘Cult cinema and the “mainstreaming” discourse of technological change: revisiting subcultural capital in liquid modernity’, New Review of Film and Television Studies, vol. 13, no. 1, pp. 100–121, Jan. 2015, doi: 10.1080/17400309.2014.982928.
[105]
Iain Robert Smith, ‘Bootleg Archives: Notes on BitTorrent Communities and Issues of Access’, Flow TV, vol. 2, no. 14, 2011 [Online]. Available: http://www.flowjournal.org/2011/06/bootleg-archives/
[106]
E. Mathijs and J. Sexton, Cult cinema: an introduction. Malden, Massachusetts: John Wiley & Sons Ltd, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632
[107]
J. Hoberman and Jonathan Rosenbaum, Midnight movies. New York: Da Capo Press, 1991.
[108]
Joan Hawkins, Cutting Edge: Art horror and the horrific avant-garde. University of Minnesota Press, 2000 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492
[109]
Mark Jancovich, ‘“A Real Shocker”: Authenticity, genre and the struggle for distinction’, Continuum, vol. 14, no. 1, pp. 23–35, Apr. 2000, doi: 10.1080/713657675.
[110]
M. Jancovich, ‘Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions’, Cultural Studies, vol. 16, no. 2, pp. 306–322, Mar. 2002, doi: 10.1080/09502380110107607.
[111]
Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, Eds., Defining cult movies: the cultural politics of oppositional taste, vol. Inside popular film. Manchester: Manchester University Press, 2003 [Online]. Available: 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, 1st ed., vol. Texas film studies series. Austin: University of Texas Press, 1991 [Online]. Available: https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099
[113]
‘Intensities: The Journal of Cult Media’ [Online]. Available: http://intensitiescultmedia.com/
[114]
C. Perkins and C. Verevis, Eds., B is for bad cinema: aesthetics, politics, and cultural value, vol. Horizons of Cinema. Albany: SUNY Press, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847
[115]
Eric Schaefer, ‘Bold! Daring! Shocking! True!’: a history of exploitation films, 1919-1959. Durham, NC: Duke University Press, 1999 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295
[116]
Ernest Mathijs and Xavier Mendik, Eds., The cult film reader. Maidenhead, England: McGraw Hill/Open University Press, 2008.
[117]
Kate Egan and Sarah Thomas, Eds., Cult film stardom: Offbeat attractions and processes of cultification. Basingstoke: Palgrave Macmillan, 2012 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776
[118]
L. Geraghty, Popular media cultures: fans, audiences and paratexts. Basingstoke: Palgrave Macmillan, 2015 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137350374
[119]
Deborah Cartmell, I Q Hunter, Heidi Kaye, and Imelda Whelehan, Eds., Trash aesthetics: popular culture and its audience, vol. Film/fiction. London: Pluto Press, 1997.
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Jeffrey Sconce, Ed., Sleaze artists: cinema at the margins of taste, style, and politics. Durham, NC: Duke University Press, 2007.
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Akira Mizuta Lippit et al., ‘Round Table: Showgirls’, Film Quarterly, vol. 56, no. 3, pp. 32–46, 2003 [Online]. Available: 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 and Stephen Jay Schneider, Eds., Underground USA: filmmaking beyond the Hollywood canon. London: Wallflower, 2002.
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Gary Hentzi, ‘Little Cinema of Horrors’, Film Quarterly, vol. 46, no. 3, pp. 22–27, 1993 [Online]. Available: https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1212900
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Bill Warren, Keep watching the skies!: American science fiction movies of the fifties, 21st century ed. Jefferson, NC: McFarland & Co, 2010.
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Ebooks Corporation Limited, The cult TV book. London: I.B. Tauris, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361
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John Tulloch and Henry Jenkins, Science fiction audiences: watching Doctor Who and Star Trek, vol. Popular fiction series. London: Routledge, 1995.
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David Lavery, Ed., The essential cult TV reader, vol. Essential readers in contemporary media and culture. Lexington, KY: University Press of Kentucky, 2010.
