Akira Mizuta Lippit et al. ‘Round Table: Showgirls’. Film Quarterly 56.3 (2003): 32–46. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.1525/fq.2003.56.3.32>.
Andrews, David. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. Austin, Tex: University of Texas Press, 2013. Print.
Antony Todd. Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood. London: I.B. Tauris & Co. Ltd, 2012. Print.
Austin, Bruce A. ‘Portrait of a Cult Film Audience: The Rocky Horror Picture Show’. Journal of Communication 31.2 (1981): 43–54. Web. <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. Menstrual Monsters: The Reception of the Ginger Snaps Cult Horror Franchise. [Bristol]: [Intellect], 2006. Print.
Barry K Grant. ‘Science Fiction Double Feature: Ideology in the Cult Film’. The Cult Film Experience: Beyond All Reason. Ed. J P Telotte. 1st ed. Texas film studies series. Austin: University of Texas Press, 1991. 122–137. Web. <https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099>.
Barry Keith Grant. Auteurs and Authorship: A Film Reader. Malden, Mass: Blackwell Publishing, 2008. Print.
Bill Warren. Keep Watching the Skies!: American Science Fiction Movies of the Fifties. 21st century ed. Jefferson, NC: McFarland & Co, 2010. Print.
Church, David. Grindhouse Nostalgia: Memory, Home Video and Exploitation Film Fandom. Edinburgh: Edinburgh University Press, 2015. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.3366/edinburgh/9780748699100.001.0001>.
Clayton, Wickham, and Sarah Harman. Screening Twilight: Critical Approaches to a Cinematic Phenomenon. London: I. B. Tauris, 2014. Print.
Daniel Martin. Extreme Asia: The Rise of Cult Cinema from the Far East. Edinburgh: Edinburgh University Press, 2015. Print.
Danny Peary. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Delacorte Press, 1981. Print.
---. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Delacorte Press, 1981. Print.
David Church. ‘Freakery, Cult Films, and the Problem of Ambivalence’. Journal of Film and Video 63.1 (2011): 03–17. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.1.0003>.
David Lavery, ed. The Essential Cult TV Reader. Essential readers in contemporary media and culture. Lexington, KY: University Press of Kentucky, 2010. Print.
---, ed. The Essential Cult TV Reader. Essential readers in contemporary media and culture. Lexington, KY: University Press of Kentucky, 2010. Print.
David Ray Carter. ‘Cinemasochism: Bad Movies and the People Who Love Them’. In the Peanut Gallery with Mystery Science Theater 3000: Essays on Film, Fandom, Technology, and the Culture of Riffing. Ed. Robert G. Weiner and Shelley E. Barba. Jefferson, N.C.: McFarland, 2011. Print.
Davis, Blair. The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema. New Brunswick, N.J.: Rutgers University Press, 2012. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=894652>.
Dawson Books. The Works of Tim Burton: Margins to Mainstream. Ed. Jeffrey Andrew Weinstock. Basingstoke, Hampshire: Palgrave Macmillan, 2013. Web. <https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9781137370839>.
Deborah Cartmell et al., eds. Trash Aesthetics: Popular Culture and Its Audience. Film/fiction. London: Pluto Press, 1997. Print.
Ebooks Corporation Limited. The Cult TV Book. Ed. Stacey Abbott. London: I.B. Tauris, 2010. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361>.
---. The Cult TV Book. Ed. Stacey Abbott. London: I.B. Tauris, 2010. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=676361>.
Elena Gorfinkel. ‘Cult Film or Cinephilia by Any Other Name’. Cinéaste 34.1 (2008): 33–38. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690730>.
Eric Schaefer. ‘Bold! Daring! Shocking! True!’: A History of Exploitation Films, 1919-1959. Durham, NC: Duke University Press, 1999. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://hdl.handle.net/2027/heb.08295>.
Ernest Mathijs. ‘Bad Reputations: The Reception of “trash” Cinema’. Screen 46.4 (2005): 451–472. Web.
---. ‘Bad Reputations: The Reception of “trash” Cinema’. Screen 46.4 (2005): 451–472. Web.
---. ‘Cult Survey’. N.p., n.d. Web. <http://cultsurvey.org/index.shtml>.
---. ‘Cult Survey’. N.p., n.d. Web. <http://cultsurvey.org/index.shtml>.
---. ‘The Making of a Cult Reputation: Topicality and Controversy in the Critical Reception of Shivers’. Ed. Mark Jancovich et al. Defining cult movies: the cultural politics of oppositional taste Inside popular film (2003): 109–126. Print.
Ernest Mathijs and Xavier Mendik, eds. The Cult Film Reader. Maidenhead, England: McGraw Hill/Open University Press, 2008. Print.
---, eds. The Cult Film Reader. Maidenhead, England: McGraw Hill/Open University Press, 2008. Print.
Gary Hentzi. ‘Little Cinema of Horrors’. Film Quarterly 46.3 (1993): 22–27. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1212900>.
Geraghty, Lincoln. Cult Collectors: Nostalgia, Fandom and Collecting Popular Culture. London: Routledge, 2014. Print.
---. Popular Media Cultures: Fans, Audiences and Paratexts. Basingstoke: Palgrave Macmillan, 2015. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137350374>.
Gwenllian-Jones, Sara, and Roberta E Pearson, eds. Cult Television. Minneapolis, Minn: University of Minnesota Press, 2004. Print.
---, eds. Cult Television. Minneapolis, Minn: University of Minnesota Press, 2004. Print.
Harry M. Benshoff. ‘Blaxploitation Horror Films: Generic Reappropriation or Reinscription?’ Cinema Journal 39.2 (2000): 31–50. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1225551>.
Helen Merrick. ‘The Readers Feminism Doesn’t See: Feminist Fans, Critics and Science Fiction’. Ed. Deborah Cartmell et al. Trash aesthetics: popular culture and its audience Film/fiction (1997): 48–65. Print.
Henry Jenkins. ‘“Get a Life!”: Fans, Poachers, Nomads’. Textual Poachers: Television Fans and Participatory Culture. Studies in culture and communication. New York: Routledge, 1992. 9–49. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1097854>.
Hill, Rodney F. ‘Science Fiction and the Cult of Ed Wood: Glen or Glenda?, Bride of the Monster, and Plan 9 From Outer Space’. Science Fiction Double Feature: The Science Fiction Film as Cult Text. Ed. J. P. Telotte and Gerald Duchovnay. Vol. 52. Liverpool: Liverpool University Press, 2016. 172–189. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001>.
Hills, Matt. ‘Cult Cinema and the “Mainstreaming” Discourse of Technological Change: Revisiting Subcultural Capital in Liquid Modernity’. New Review of Film and Television Studies 13.1 (2015): 100–121. Web.
---. ‘Cult Movies With and Without Stars: Differentiating Discourses of Stardom’. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Basingstoke: Palgrave Macmillan, 2012. 21–36. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776>.
Hills, Matt, and Jamie Sexton. ‘Cult Cinema and Technological Change’. New Review of Film and Television Studies 13.1 (2015): 1–11. Web.
Hills, Matt, and Rebecca Williams. ‘“It’s All My Interpretation”: Reading Spike through the Subcultural Celebrity of James Marsters’. European Journal of Cultural Studies 8.3 (2005): 345–365. Web.
Hunter, I. Q. Cult Film as a Guide to Life: Fandom, Adaptation, and Identity. New York: Bloomsbury Academic, 2016. Print.
---. ‘Trash Horror and the Cult of the Bad Film’. A Companion to the Horror Film. Ed. Harry M. Benshoff. Chichester, West Sussex: Wiley Blackwell, 2014. 483–500. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.1002/9781118883648>.
I Q Hunter. ‘Beaver Las Vegas! A Fan-Boy’s Defence of Showgirls’. Unruly Pleasures. Ed. Graeme Harper and Xavier Mendik. FAB Press. 187–202. Print.
Iain Robert Smith. ‘Bootleg Archives: Notes on BitTorrent Communities and Issues of Access’. Flow TV 2.14 (2011): n. pag. Web. <http://www.flowjournal.org/2011/06/bootleg-archives/>.
Imelda Whelehan, and Esther Sonnet. ‘Regendered Reading: Tank Girl and Postmodernist Intertextuality’. Ed. Deborah Cartmell et al. Trash aesthetics: popular culture and its audience Film/fiction (1997): 31–47. Print.
‘Intensities: The Journal of Cult Media’. n. pag. Web. <http://intensitiescultmedia.com/>.
J Hoberman. ‘Bad Movies’. Film Comment July/August 1980 (1962): 7–12. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/210240920?accountid=14540>.
J. Hoberman and Jonathan Rosenbaum. Midnight Movies. New York: Da Capo Press, 1991. Print.
---. Midnight Movies. New York: Da Capo Press, 1991. Print.
J P Telotte. ‘Beyond All Reason: The Nature of the Cult’. The Cult Film Experience: Beyond All Reason. Ed. J P Telotte. 1st ed. Texas film studies series. Austin: University of Texas Press, 1991. 5–17. Print.
---, ed. The Cult Film Experience: Beyond All Reason. 1st ed. Texas film studies series. Austin: University of Texas Press, 1991. Web. <https://contentstore.cla.co.uk//secure/link?id=71c63a39-cc40-e911-80cd-005056af4099>.
Jacinda Read. ‘The Cult of Masculinity: From Fan-Boys to Academic Bad-Boys’. Ed. Mark Jancovich et al. Defining cult movies: the cultural politics of oppositional taste Inside popular film (2003): 54–70. Print.
Jamie Sexton. ‘From Bad to Good and Back to Bad Again? Cult Cinema and Its Unstable Trajectory’. B Is for Bad Cinema. Ed. Claire Perkins and Constantine Verevis. N.p. 129–148. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847>.
Jamie Sexton, and Ernest Mathijs. ‘Cult Stardom’. Cult Cinema. N.p. 76–85. Web. <http://GLA.eblib.com/patron/FullRecord.aspx?p=792632>.
---. ‘Introduction’. Cult Cinema. Wiley-Blackwell; 1 edition, 22AD. 1–10. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632>.
Jamie Sexton, Matt Hills, ed. ‘Transnational Cinemas: Vol 8, No 1’. (2017): n. pag. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com/toc/rtrc20/8/1?nav=tocList>.
Jancovich, Mark. ‘Cult Fictions: Cult Movies, Subcultural Capital and the Production of Cultural Distinctions’. Cultural Studies 16.2 (2002): 306–322. Web.
---. ‘Cult Fictions: Cult Movies, Subcultural Capital and the Production of Cultural Distinctions’. Cultural Studies 16.2 (2002): 306–322. Web.
Jeffrey Sconce. ‘Esper, the Renunciator: Teaching “Bad” Movies to Good Students’. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Ed. Mark Jancovich et al. Inside popular film. Manchester: Manchester University Press, 2003. 14–34. Print.
---. ‘Movies: A Century of Failure’. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Ed. Jeffrey Sconce. Durham, NC: Duke University Press, 2007. 273–310. Print.
---, ed. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Durham, NC: Duke University Press, 2007. Print.
---. ‘“Trashing” the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style’. Screen 36.4 (1995): 371–393. Web.
Jeffrey Todd Adams. The Cinema of the Coen Brothers: Hard-Boiled Entertainments. Directors’ Cuts series. New York: Columbia University Press, 2015. Print.
Jim Smith. Tarantino. Virgin film. London: Virgin Books, 2005. Print.
Joan Hawkins. Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press, 2000. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492>.
---. Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press, 2000. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492>.
---. ‘From Horror to Avant-Garde: Tod Browning’s Freaks’. Cutting Edge: Art Horror and the Horrific Avant-Garde. University of Minnesota Press, 2000. 141–168. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=310492>.
---. ‘Sleaze Mania, Euro-Trash, and High Art: The Place of European Art Films in American Low Culture’. Film Quarterly 53.2 (2000): 14–29. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/1213717>.
Joanne Hollows. ‘The Masculinity of Cult’. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Ed. Mark Jancovich et al. Inside popular film. Manchester: Manchester University Press, 2003. 35–53. Web. <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. ‘Cult Cinema: A Critical Symposium’. Cinéaste 34.1 (2008): 43–50. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690732>.
John Tulloch and Henry Jenkins. Science Fiction Audiences: Watching Doctor Who and Star Trek. Popular fiction series. London: Routledge, 1995. Print.
---. Science Fiction Audiences: Watching Doctor Who and Star Trek. Popular fiction series. London: Routledge, 1995. Print.
Jowett, Lorna. ‘Representation: Exploring Issues of Sex, Gender, and Race in Cult Television’. The Cult TV Book. Ed. Stacey Abbott. London: I.B. Tauris, 2010. 107–113. Web. <http://GLA.eblib.com/patron/FullRecord.aspx?p=676361>.
Jowett, Lorna, and Stacey Abbott. TV Horror: Investigating the Darker Side of the Small Screen. London: I.B. Tauris, 2013. Print.
Kate Egan. Trash or Treasure?: Censorship and the Changing Meanings of the Video Nasties. Manchester: Manchester University Press, 2007. Print.
Kate Egan and Sarah Thomas, eds. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Basingstoke: Palgrave Macmillan, 2012. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776>.
---, eds. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Basingstoke: Palgrave Macmillan, 2012. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://link.springer.com/book/10.1057/9781137291776>.
Kevin Heffernan. ‘Art House or House of Exorcism? The Changing Distribution and Reception Contexts of Mario Bava’s Lisa and the Devil’. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Ed. Jeffrey Sconce. Durham, NC: Duke University Press, 2007. 144–166. Print.
Klinger, Barbara. ‘Becoming Cult: The Big Lebowski, Replay Culture and Male Fans’. Screen 51.1 (2010): 1–20. Web.
Lavery, David. Full of Secrets: Critical Approaches to Twin Peaks. Detroit, MI: Wayne State University Press, 1995. Print.
Leon Hunt. Cult British TV Comedy: From Reeves and Mortimer to Psychoville. Manchester: Manchester University Press, 2013. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://dx.doi.org/10.7228/manchester/9780719083778.001.0001>.
---. ‘Kung Fu Cult Masters: Stardom, Performance and “authenticity” in Hong Kong Martial Arts Films’. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Manchester: Manchester University Press, 2003. Print.
Lisa Bode. ‘Transitional Tastes: Teen Girls and Genre in the Critical Reception of Twilight’. Continuum: Journal of Media & Cultural Studies 24.5 (2010): 707–719. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.tandfonline.com./doi/full/10.1080/10304312.2010.505327>.
Lorna Jowett. ‘Nightmare in Red? Twin Peaks Parody, Homage, Intertextuality, and Mash-Up’. Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television. Ed. Jeffrey Andrew Weinstock and Catherine Spooner. New York: Palgrave Macmillan, 2016. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://link.springer.com/10.1007/978-1-137-55695-0>.
MacDowell, James, and James Zborowski. ‘The Aesthetics of “so Bad It’s Good”: Value, Intention, and The Room’. Intensities: The Journal of Cult Media 6 (2013): n. pag. Web. <https://intensitiescultmedia.files.wordpress.com/2014/01/j-macdowell-j-zborowski-the-aesthetics-of-so-bad-its-good1.pdf>.
Mark Jancovich. ‘“A Real Shocker”: Authenticity, Genre and the Struggle for Distinction’. Continuum 14.1 (2000): 23–35. Web.
---, eds. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Inside popular film. Manchester: Manchester University Press, 2003. Web. <https://contentstore.cla.co.uk//secure/link?id=cfe6f540-cc40-e911-80cd-005056af4099>.
---. Rational Fears: American Horror in the 1950s. Manchester: Manchester University Press, 1996. Print.
Mark Jancovich, and James Lyons, eds. Quality Popular Television: Cult TV, the Industry and Fans. London: British Film Institute, 2003. Print.
---, eds. Quality Popular Television: Cult TV, the Industry and Fans. London: British Film Institute, 2003. Print.
Martin, Adrian. ‘What’s Cult Got To Do With It?: In Defense of Cinephile Elitism’. Cinéaste 34.1 (2008): 39–42. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/41690731>.
Martin Barker, Jane Arthurs, and Ramaswami Harindranath. ‘The Crash Controversy: Reviewing the Press’. Ed. Ernest Mathijs and Xavier Mendik. The cult film reader (2008): 456–471. Print.
Mathijs, Ernest, and Jamie Sexton. Cult Cinema: An Introduction. Malden, Massachusetts: John Wiley & Sons Ltd, 2011. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=792632>.
Matt Hills. ‘Defining Cult TV: Texts, Inter-Texts and Fan Audiences’. The Television Studies Reader. Ed. Robert C Allen and Annette Hill. London: Routledge, 2003. 509–523. Web. <https://contentstore.cla.co.uk//secure/link?id=72c63a39-cc40-e911-80cd-005056af4099>.
---. ‘Veronica Mars, Fandom, and the “Affective Economics” of Crowdfunding Poachers’. New Media & Society 17.2 (2015): 183–197. Web.
Matt Hills and Dawson Books. ‘Introduction: Who’s Who? Academics, Fans, Scholar Fans and Fan Scholars’. Fan Cultures. Sussex studies in culture and communication. London: Routledge, 2002. Web. <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. Kings of the Bs: Working within the Hollywood System : An Anthology of Film History and Criticism. New York: E. P. Dutton, 1975. Print.
McCulloch, Richard. ‘“Most People Bring Their Own Spoons”: The Room’s Participatory Audiences as Comedy Mediators’. Participations 8.2 (2011): n. pag. Web. <http://www.participations.org/Volume%208/Issue%202/2d%20McCulloch.pdf>.
Mendik, Xavier, and Graeme Harper. Unruly Pleasures: The Cult Film and Its Critics. 1st ed. Guildford, Surrey: FAB Press, 2000. Print.
Michael J Bowen. ‘Doris Wishman Meets the Avant-Garde’. Ed. Xavier Mendik and Stephen Jay Schneider. Underground USA: filmmaking beyond the Hollywood canon (2002): 109–122. Print.
Mikita Brottman. ‘Star Cults/ Cult Stars: Cinema, Psychosis, Celebrity, Death’. Unruly Pleasures. Ed. Graeme Harper and Xavier Mendik. FAB Press. 103–120. Print.
Moya Luckett. ‘Sexploitation as Feminine Territory: The Films of Doris Wishman’. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Ed. Mark Jancovich et al. Inside popular film. Manchester: Manchester University Press, 2003. 142–156. Print.
Nathan Hunt. ‘The Importance of Trivia: Ownership, Exclusion and Authority in Science Fiction Fandom’. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Ed. Mark Jancovich et al. Inside popular film. Manchester: Manchester University Press, 2003. Print.
Oppenheim, Phil. ‘Grave Expectations: Vampira and Her Audiences, 1954-1956’. Intensities: The Journal of Cult Media 6 (2013): n. pag. Web. <https://intensitiescultmedia.files.wordpress.com/2014/02/p-oppenheim-grave-expectations.pdf>.
Paul Watson. ‘There’s No Accounting for Taste: Exploitation Cinema and the Limits of Film Theory’. Ed. Deborah Cartmell et al. Trash aesthetics: popular culture and its audience Film/fiction (1997): 66–83. Print.
Pauline Kael. ‘Trash, Art and the Movies’. Going Steady: Film Writings, 1968-1969. New York: M. Boyars, 1994. 85–130. Web. <https://contentstore.cla.co.uk//secure/link?id=70c63a39-cc40-e911-80cd-005056af4099>.
Pender, Patricia. I’m Buffy and You’re History: Buffy the Vampire Slayer and Contemporary Feminism. London: I.B. Tauris, 2016. Print.
Perkins, Claire, and Constantine Verevis, eds. B Is for Bad Cinema: Aesthetics, Politics, and Cultural Value. Horizons of Cinema. Albany: SUNY Press, 2014. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=3408847>.
Peter Hutchings. ‘The Argento Effect’. Ed. Mark Jancovich et al. Defining cult movies: the cultural politics of oppositional taste Inside popular film (2003): 127–141. Print.
Pett, Emma. ‘A New Media Landscape? The BBFC, Extreme Cinema as Cult, and Technological Change’. New Review of Film and Television Studies 13.1 (2015): 83–99. Web.
Pezzotta, Elisa. Stanley Kubrick: Adapting the Sublime. Jackson: University Press of Mississippi, 2013. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1181931>.
Pierre Bourdieu. ‘Introduction’. Distinction: A Social Critique of the Judgement of Taste. London: Routledge & K. Paul, 1984. 1–7. Web. <https://ebookcentral.proquest.com/lib/gla/detail.action?docID=1433990>.
Rebecca Feasey. ‘“Sharon Stone, Screen Diva”: Stardom, Femininity and Cult Fandom’. Defining Cult Movies: The Cultural Politics of Oppositional Taste. Ed. Mark Jancovich et al. Inside popular film. Manchester: Manchester University Press, 2003. 172–184. Print.
Robert S. Birchard. ‘Edward D. Wood, Jr.: Some Notes on a Subject for Further Research’. Film History 7.4 (1995): 450–455. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/3815384>.
Roberta E Pearson. ‘“Bright Particular Star”: Patrick Stewart, Jean-Luc Picard, and Cult Television’. Ed. Sara Gwenllian-Jones and Roberta E Pearson. Cult television (2004): 61–82. Print.
Roger Corman and Jim Jerome. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: Random House, 1989. Print.
Routt, William D. ‘Bad For Good’. Intensities: The Journal of Cult Media 2 n. pag. Web. <https://intensitiescultmedia.files.wordpress.com/2012/12/routt-bad-for-good.pdf>.
Sanjek, David. ‘Fans’ Notes: The Horror Film Fanzine’. Literature/Film Quarterly 3 (1990): n. pag. Web. <https://ezproxy.lib.gla.ac.uk/login?url=https://search.proquest.com/docview/1297358723?accountid=14540>.
Sexton, Jamie. ‘The Allure of Otherness: Transnational Cult Film Fandom and the Exoticist Assumption’. Transnational Cinemas 8.1 (2017): 5–19. Web.
Sexton, Jamie, and Ernest Mathijs. ‘The Cult Auteur’. Cult Cinema: An Introduction. Malden, Massachusetts: John Wiley & Sons Ltd, 2011. 67–75. Web. <http://GLA.eblib.com/patron/FullRecord.aspx?p=792632>.
Smith, Iain Robert. The Hollywood Meme. Edinburgh: EDINBURGH UNIVERSITY PRESS, 2018. Print.
Susan Sontag. ‘Notes on “Camp”’. Against Interpretation and Other Essays. Penguin modern classics. London: Penguin Classics, 2009. Web. <https://contentstore.cla.co.uk//secure/link?id=d0e6f540-cc40-e911-80cd-005056af4099>.
Tania Modleski. ‘Women’s Cinema as Counterphobic Cinema: Doris Wishman as the Last Auteur’. Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Ed. Jeffrey Sconce. Durham, NC: Duke University Press, 2007. 47–70. Print.
Tatsumi, Takayuki. ‘Transnational Interactions: District 9, or Apaches in Johannesburg’. Science Fiction Double Feature: The Science Fiction Film as Cult Text. Ed. J. P. Telotte and Gerald Duchovnay. Vol. 52. Liverpool: Liverpool University Press, 2016. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001>.
Telotte, J. P. ‘Robot Monster and the “watchable... Terrible” Cult/SF Film’. Science Fiction Double Feature: The Science Fiction Film as Cult Text. Ed. J. P. Telotte and Gerald Duchovnay. Vol. 52. Liverpool: Liverpool University Press, 2016. 159–170. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/liverpool/9781781381830.001.0001>.
Thomas, Sarah. ‘“Marginal Moments of Spectacle”: Character Actors, Cult Stardom and Hollywood Cinema’. Cult Film Stardom: Offbeat Attractions and Processes of Cultification. Basingstoke: Palgrave Macmillan, 2012. 37–54. Web. <http://ezproxy.lib.gla.ac.uk/login?url=http://www.palgraveconnect.com/doifinder/10.1057/9781137291776>.
Victoria Ruétalo and Dolores Tierney, eds. Latsploitation, Exploitation Cinemas, and Latin America. Routledge advances in film studies. London: Routledge, 2009. Print.
Wade Jennings. ‘The Star as Cult Icon: Judy Garland’. The Cult Film Experience: Beyond All Reason. 1st ed. Austin: University of Texas Press, 1991. Print.
Waters, John. Shock Value: A Tasteful Book about Bad Taste. New York: Thunder’s Mouth Press, 2005. Print.
Weiner, Robert G., and Shelley E. Barba. In the Peanut Gallery with Mystery Science Theater 3000: Essays on Film, Fandom, Technology, and the Culture of Riffing. Jefferson, N.C.: McFarland, 2011. Print.
Xavier Mendik, and Stephen Jay Schneider. ‘A Tasteless Art: Waters, Kaufman and the Pursuit of “Pure” Gross-Out’. Ed. Xavier Mendik and Stephen Jay Schneider. Underground USA: filmmaking beyond the Hollywood canon (2002): 204–220. Print.
---, eds. Underground USA: Filmmaking beyond the Hollywood Canon. London: Wallflower, 2002. Print.
Zubernis, Lynn S., and Katherine Larsen. Fandom at the Crossroads: Celebration, Shame and Fan/Producer Relationships. Newcastle: Cambridge Scholars, 2012. Print.
