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