Cult Film Culture

I’ve never quite understood what classifies a piece of pop culture as “cult worthy.” These somewhat bizarre, often eclectic bands, movies and television shows tend to fall under the general public’s radar, but still go on to have active followings years after their creation. Since I’m particularly interested in film, I’ve spent hours upon hours watching cult film classics, trying to unlock the code that gives insight into the lasting nature of these movies. As I continue to watch cult movies, a question keeps popping up in my mind: what features distinguish these films as special among the mountains of pop culture in the market today?

Let me be a bit more specific. I don’t think that cult classics are all the same. On the contrary, there are many different subdivisions in the category of cult classics.

There are the movies that are “so bad they’re good.” Mid-1900s grindhouse horror films are the best example of this. Movies like Night of the Living Dead (1968) and Pink Flamingos (1972) are two films that were hated by critics and were widely considered to be poorly made movies at the time of their release. And yet, fans today love watching the cheesy dialogue and disgusting gore that often defines these movies. In a way, it seems like quality is being mocked in these films, making these movies one giant inside joke between the viewer and the director.

Not all cult classics feature poor production values and awful acting. Indeed, many films that obtain a cult following are known for being amazingly introspective works of art. Both Donnie Darko (2001) and Blade Runner (1982) are constantly praised for being thought provoking and complex; these films transcend social norms and force viewers to consider fairly esoteric viewpoints. Not only that, but when watching these films, it’s clear that the director has poured his or her heart and soul into the project. These films can often have a polish on them that is rarely seen in mainstream cinema.

While both of these categories attract thousands of eager followers a year, the vast majority of people still feel alienated by the films. They don’t get them. The films are "too weird." Most people would rather watch something more manageable, something more easily understood.

So, the few who stick around are left to decipher the meanings hidden deep with the plots of these movies. “So bad they’re good” cinema and esoteric cinema both have subversive qualities that make them unique. They aren’t trying to fit into the cookie cutter definition of a Hollywood hit. Rather, they’re trying to break that mold, trying to test the limits of filmmaking as an art form. And, usually, critics and the general population shove back, unwilling to accept a change to what they know and love.

Are followers of cult classics looking for an active way to subvert the pop culture that rules Hollywood today? It's quite possible.

Now, cult fans are using the Internet to find others like them. Communities on the Internet have sprouted up in support of these subversive forms of entertainment. These cultish followers don’t have to feel alienated from the general public's often narrow definition of art. They can find comfort in chatting with other avid fans, showing participatory culture in action on message boards and in chat rooms.

Can a producer or a director go into pre-production knowing that he or she will make a cult classic? I doubt it. There’s simply no formula to producing these movies. Once a filmmaker tries to make a cult movie from a formula, that movie loses all of its power to defy conventions.

I wouldn’t be surprised if current day advertisers are looking at cult films as guides towards making viral videos. Advertisers want to create a 30 second spot that has the same powerful emotional effect that 90 minute long cult films have. It’s a monumental task and probably somewhat futile. Advertising is the antithesis of subversive culture.

I’m far off from fully understanding the subcultures related to cult classics. However, I’m endlessly fascinated by the idea of them. Cult classics should be looked at as works of art and not just “weird” films. There’s still a lot to learn from these underdog hits.