Cult Film : Nicolas Winding Refn's Drive And David Fincher's Fight Club

1774 WordsApr 8, 20158 Pages
The key concept to be explored is genre and my investigation will revolve around focused research on the expansive genre of cult film, as I look to not only elaborate on it, but also try to clarify it. Utilising the work of theorists Sconce, Fiske, Austin and many others, I will base my research around two contrasting texts that are both connected by cult film – Nicolas Winding Refn’s Drive and David Fincher’s Fight Club, analysing not only how their technical and visual codes help to give them cult status, but also how their audience appeal ties in with niche psychometrics and cult film overall. Since its beginnings in the 1950s with movies like Plan 9 from Outer Space and The Blob, cult film has never utilised one set of conventions that has enabled theorists and audiences to clearly define it. It is through this abstract and blurry explanation that we should come to look at its terminology and etymological origins in closer detail, as ‘cult’ is a term that derives from Latin and the word cultus, denoting ‘worship’ and ‘faith’. This literal meaning of commitment and active celebration is best exemplified by Bruce Austin, as he reveals that in many cult film screenings like the notorious The Rocky Horror Picture Show for example, ‘the audience adds its own special effects, such as hurling toasts when a toast is proposed in the film, and squirting one another with water pistols in the rain sequence.’ The argument for this is that a film gains its cult status through the

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