Cult Film Reader

ISBN-10: 0335219233
ISBN-13: 9780335219230
Edition: 2007
List price: $49.00 Buy it from $32.75
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Description: ""A really impressive and comprehensive collection of the key writings in the field. The editors have done a terrific job in drawing together the various traditions and providing a clear sense of this rich and rewarding scholarly terrain. This  More...

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Book details

List price: $49.00
Copyright year: 2007
Publisher: McGraw-Hill Education
Publication date: 12/1/2007
Binding: Paperback
Pages: 576
Size: 6.75" wide x 9.50" long x 1.50" tall
Weight: 2.332
Language: English

""A really impressive and comprehensive collection of the key writings in the field. The editors have done a terrific job in drawing together the various traditions and providing a clear sense of this rich and rewarding scholarly terrain. This collection is as wild and diverse as the films that it covers. Fascinating." Mark Jancovich, Professor of Film and Television Studies, University of East Anglia, UK "It's about time the lunatic fans and loyal theorists of cult movies were treated to a book they can call their own. The effort and knowledge contained in "The Cult Film Reader" will satisfy even the most ravenous zombie's desire for detail and insight. This book will gnaw, scratch and infect you just like the cult films themselves." Brett Sullivan, Director of Ginger Snaps Unleashed and The Chair ""The Cult Film Reader" is a great film text book and a fun read." John Landis, Director of The Blues Brothers, An American Werewolf in London and Michael Jackson's Thriller" Whether defined by horror, kung-fu, sci-fi, sexploitation, kitsch musical or 'weird world cinema', cult movies and their global followings are emerging as a distinct subject of film and media theory, dedicated to dissecting the world's unruliest images. This book is the world's first reader on cult film. It brings together key works in the field on the structure, form, status, and reception of cult cinema traditions. Including work from key established scholars in the field such as Umberto Eco, Janet Staiger, Jeffrey Sconce, Henry Jenkins, and Barry Keith Grant, as well as new perspectives on the gradually developing canon of cult cinema, the book not only presents an overview of ways in whichcult cinema can be approached, it also re-assesses the methods used to study the cult text and its audiences. With editors' introductions to the volume and to each section, the book is divided into four clear thematic areas of study - The Conceptions of Cult; Cult Case Studies; National and International Cults; and Cult Consumption - to provide an accessible overview of the topic. It also contains an extensive bibliography for further related readings. Written in a lively and accessible style, "The Cult Film Reader" dissects some of biggest trends, icons, auteurs and periods of global cult film production. Films discussed include "Casablanca," "The Rocky Horror Picture Show," "Eraserhead," "The Texas Chainsaw Massacre," "Showgirls" and "Ginger Snaps," "Essays by: Jinsoo An; Jane Arthurs; Bruce Austin; Martin Barker; Walter Benjamin; Harry Benshoff; Pierre Bourdieu; Noel Carroll; Steve Chibnall; Umberto Eco; Nezih Erdogan; Welch Everman; John Fiske; Barry Keith Grant; Joan Hawkins; Gary Hentzi; Matt Hills; Ramaswami Harindranath; J.Hoberman; Leon Hunt; I.Q. Hunter; Mark Jancovich; Henry Jenkins; Anne Jerslev; Siegfried Kracauer; Gina Marchetti; Tom Mes; Gary Needham; Sheila J. Nayar; Annalee Newitz; Lawrence O'Toole; Harry Allan Potamkin; Jonathan Rosenbaum; Andrew Ross; David Sanjek; Eric Schaefer; Steven Jay Schneider; Jeffrey Sconce; Janet Staiger; J.P. Telotte; Parker Tyler; Jean Vigo; Harmony Wu"

Contributors
Foreword
Cult corner: acknowledgements
Publisher's acknowledgements
Editorial introduction: What is cult film?
Note on the organization of materials
The concepts of cult
Introduction
'Film cults'
'The work of art in the age of mechanical reproduction'
'Notes on "camp"'
'Uses of camp'
'Casablanca: Cult movies and intertextual collage'
'Science fiction double feature: Ideology in the cult film'
'Semiotics by instinct: "Cult film" as a signifying practice between film and audience'
'"Trashing" the academy: Taste, excess and an emerging politics of cinematic style'
'Sleaze mania, Euro-trash and high art: The place of European art films in American low culture'
'Media fandom, neoreligiosity and cult(ural) studies'
'Cult fictions: Cult movies, subcultural capital and the production of cultural distinctions'
Cult case studies
Introduction
'Un chien andalou'
'The anxiety of influence: Georges Franju and the medical horrorshows of Jess Franco'
'The obscene seen: Spectacle and transgression in postwar burlesque films'
'Orson Welles and the big experimental film cult'
'Little cinema of horrors'
'What is a cult horror film?'
'Blaxploitation horror films: Generic reappropriation or reinscription?'
'Carter in context'
'The future of allusion: Hollywood in the seventies (and beyond)'
'Hitchcock in Texas: Intertextuality in the face of blood and gore'
'The essential evil in/of Eraserhead (or, Lynch to the contrary)'
'The cult of horror'
'The Blair Witch Project: Film and the internet'
National and international cults
Introduction
'El Topo: Through the wasteland of the counterculture'
'Playing with genre: An introduction to the Italian giallo'
'Han's Island revisited: Enter the Dragon as transnational cult film'
'Magical girls and atomic bomb sperm: Japanese animation in America'
'The Killer: Cult film and transcultural (mis)reading'
'Trading in horror, cult and matricide: Peter Jackson's phenomenal bad taste and New Zealand fantasies of inter/national cinematic success'
'Invisible representation: The oral contours of a national popular cinema'
'Mute bodies, disembodied voices: Notes on sound in Turkish popular cinema'
'Ichi the Killer'
Cult consumption
Introduction
'Cult of distraction: On Berlin's picture palaces'
'Introduction to Distinction'
'Portrait of a cult film audience: The Rocky Horror Picture Show'
'Subcultural studies and the film audience: Rethinking the film viewing context'
'Fans' notes: The horror film fanzine'
'"Get a life!": Fans, poachers, nomads'
'The cultural economy of fandom'
'The Crash controversy: Reviewing the press'
'Beaver Las Vegas! A fan-boy's defence of Showgirls'
'Menstrual monsters: The reception of the Ginger Snaps cult horror franchise'
Cult bibliography
Index of film titles
General index

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