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180-489: The film has achieved cult status over the years, mainly due to the involvement of Ringo Starr , a former member of the Beatles , in one of the roles. A blind but deadly gunman is hired to escort 50 mail order brides to their miner husbands. When he is double-crossed by his friends and a Mexican bandit, he heads for Mexico to settle scores and save the women. Brides This article related to an Italian film of

360-571: A moral panic , which provides opposition. Cultural values transgressed in the film, such as sexual promiscuity, can be attacked by proxy, through attacks on the film. These concerns can vary from culture to culture, and they need not be at all similar. However, Mathijs says the film must invoke metacommentary for it to be more than simply culturally important. While referencing previous arguments, critics may attack its choice of genre or its very right to exist. By taking stances on these varied issues, critics assure their own relevance while helping to elevate

540-484: A 'Share' button). According to marketing professors Andreas Kaplan and Michael Haenlein, to make viral marketing work, three basic criteria must be met, i.e., giving the right message to the right messengers in the right environment: Whereas Kaplan, Haenlein and others reduce the role of marketers to crafting the initial viral message and seeding it, futurist and sales and marketing analyst Marc Feldman, who conducted IMT Strategies' viral marketing study in 2001, carves

720-475: A change in how viral marketing is used and the speed at which information is spread and users interact. This has prompted many companies to use social media as a way to market themselves and their products, with Elsamari Botha and Mignon Reyneke stating that viral messages are "playing an increasingly important role in influencing and shifting public opinion on corporate reputations, brands, and products as well as political parties and public personalities to name but

900-627: A comedy. Jacob deNobel of the Carroll County Times states that films can be perceived as nonsensical or inept when audiences misunderstand avant-garde filmmaking or misinterpret parody. Films such as Rocky Horror can be misinterpreted as "weird for weirdness' sake" by people unfamiliar with the cult films that they parody. deNobel ultimately rejects the use of the label "so bad it's good" as mean-spirited and often misapplied. Alamo Drafthouse programmer Zack Carlson has further said that any film which succeeds in entertaining an audience

1080-573: A commentary track to the DVD release in which he describes it as a feminist film. Films which do not attract enough controversy may be ridiculed and rejected when suggested as cult films. Academic Peter Hutchings, noting the many definitions of a cult film that require transgressive elements, states that cult films are known in part for their excesses. Both subject matter and its depiction are portrayed in extreme ways that break taboos of good taste and aesthetic norms. Violence, gore, sexual perversity, and even

1260-659: A cost-effective advantage. The Internet makes it possible for a campaign to go viral very fast; it can, so to speak, make a brand famous overnight. However, the Internet and social media technologies themselves do not make a brand viral; they just enable people to share content to other people faster. Therefore, it is generally agreed that a campaign must typically follow a certain set of guidelines in order to potentially be successful: Wilert Puriwat and Suchart Tripopsakul, who read over countless academic journals on viral marketing, gathered there knowledge to propose what they called

1440-409: A credible source for customers' decision-making process. Neilsen reported that 80% of consumers appreciated a recommendation of their acquaintances, as they have reasons to trust in their friends delivering the messages without benefits and helping them reduce perceived risks behind choices. The main risk coming from the company is for it to target the wrong influencer or segment. Once the content

1620-521: A cult blockbuster and a cult film. Although a mainstream epic, Star Wars has provided its fans with a spirituality and culture outside of the mainstream. Fans, in response to the popularity of these blockbusters, will claim elements for themselves while rejecting others. For example, in the Star Wars film series, mainstream criticism of Jar Jar Binks focused on racial stereotyping; although cult film fans will use that to bolster their arguments, he

1800-640: A cult following in Albania, as they were among the few Western films allowed by the country's Communist rulers. The Wizard of Oz (1939) and its star, Judy Garland , hold special significance to American and British gay culture, although it is a widely viewed and historically important film in greater American culture. Similarly, James Dean and his brief film career have become icons of alienated youth. Cult films can have such niche appeal that they are only popular within certain subcultures, such as Reefer Madness (1936) and Hemp for Victory (1942) among

1980-741: A cult following, especially now that home video makes fans difficult to count. As these cult films become more popular, they can bring varied responses from fans that depend on different interpretations, such as camp , irony, genuine affection, or combinations thereof. Earnest fans, who recognize and accept the film's faults, can make minor celebrities of the film's cast, though the benefits are not always clear. Cult film stars known for their camp can inject subtle parody or signal when films should not be taken seriously. Campy actors can also provide comic book supervillains for serious, artistic-minded films. This can draw fan acclaim and obsession more readily than subtle, method -inspired acting. Mark Chalon Smith of

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2160-799: A cult following. His persistent vision saw him received as an auteur worthy of academic study; director John Waters attributes this to Meyer's ability to create complicated, sexually charged films without resorting to explicit sex. Myrna Oliver described Doris Wishman 's exploitation films as "crass, coarse, and camp ... perfect fodder for a cult following." "Sick films", the most disturbing and graphically transgressive films, have their own distinct cult following; these films transcend their roots in exploitation, horror, and art films. In 1960s and 1970s America, exploitation and art films shared audiences and marketing, especially in New York City's grindhouse cinemas. Mathijs and Sexton state that genre

2340-452: A cult hit when it was broadcast on the satirical television show Mystery Science Theater 3000 ; cast member Trace Beaulieu cited these educational shorts as his favorite to mock on the show. Mark Jancovich states that cult audiences are drawn to these films because of their "very banality or incoherence of their political positions", unlike traditional cult films, which achieve popularity through auteurist radicalism. Mark Shiel explains

2520-425: A deliberate move. Between 1996 and 1997, Hotmail was one of the first internet businesses to become extremely successful utilizing viral marketing techniques by inserting the tagline "Get your free e-mail at Hotmail" at the bottom of every e-mail sent out by its users. Hotmail was able to sign up 12 million users in 18 months. At the time, this was historically the fastest growth of any user based media company. By

2700-420: A different role for marketers which pushes the 'art' of viral marketing much closer to 'science'. To clarify and organize the information related to potential measures of viral campaigns, the key measurement possibilities should be considered in relation to the objectives formulated for the viral campaign. In this sense, some of the key cognitive outcomes of viral marketing activities can include measures such as

2880-538: A dubbed version though it earned over $ 100M internationally. Foreign cinema can put a different spin on popular genres, such as Japanese horror , which was initially a cult favorite in America. Asian imports to the West are often marketed as exotic cult films and of interchangeable national identity, which academic Chi-Yun Shin criticizes as reductive. Foreign influence can affect fan response, especially on genres tied to

3060-521: A few." In business, it is indicated that people prefer interaction with humans to a logo. Influencers build up a relationship between a brand and their customers. Companies would be left behind if they neglected the trend of influencers in viral marketing, as over 60% of global brands have used influencers in marketing in 2016. Influencers correlate to the level of customers' involvement in companies' marketing. First, unintentional influences, because of brand satisfaction and low involvement, their action

3240-517: A film as continuing a director's creative vision are likely to accept it as cult. According to academic Greg Taylor, auteur theory also helped to popularize cult films when middlebrow audiences found an accessible way to approach avant-garde film criticism. Auteur theory provided an alternative culture for cult film fans while carrying the weight of scholarship. By requiring repeated viewings and extensive knowledge of details, auteur theory naturally appealed to cult film fans. Taylor further states that this

3420-544: A form of subcultural capital ; knowledge of cult films proves that one is "authentic" or "non-mainstream". They can be used to provoke an outraged response from the mainstream, which further defines the subculture, as only members could possibly tolerate such deviant entertainment. More accessible films have less subcultural capital; among extremists, banned films will have the most. By referencing cult films, media can identify desired demographics, strengthen bonds with specific subcultures, and stand out among those who understand

3600-461: A form of resistance against progress and capitalistic ideas of a time-based economy. By virtue of the time travel plot, Back to the Future permits nostalgia for both the 1950s and 1980s. Many members of its nostalgic cult following are too young to have been alive during those periods, which Emma Pett interprets as fondness for retro aesthetics, nostalgia for when they saw the film rather than when it

3780-484: A function of marketers' objectives. Some of them include the most known online and social media statistics such as number and quality of shares, views, product reviews, and comments. Consumers' brand engagement can be measured through the K-factor, the number of followers, friends, registered users, and time spent on the website. Indicators that are more bottom-line oriented focus on consumers' actions after acknowledging

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3960-410: A future now that people have such diverse options in both availability and catalog, though fans eager to experience the worst films ever made can lead to lucrative showings for local theaters and merchandisers. Chuck Kleinhans states that the difference between a guilty pleasure and a cult film can be as simple as the number of fans; David Church raises the question of how many people it takes to form

4140-441: A gendered component to the celebration of transgressive themes in cult films, where male terms are used to describe films outside the mainstream while female terms are used to describe mainstream, conformist cinema. Jacinda Read's expansion states that cult films, despite their potential for empowerment of the marginalized, are more often used by politically incorrect males. Knowledgeable about feminism and multiculturalism, they seek

4320-456: A good influencer with endorsement work. This conception is similar to celebrity marketing. Based on a survey, 69% of company marketing department and 74% of agencies are currently working with celebrities in the UK. The celebrity types come along with their working environment. Traditional celebrities are considered singers, dancers, actors or models. These types of public characters are continuing to be

4500-597: A group, and Shiel criticizes this recontextualization as cultural commodification . In 2008, Cineaste asked a range of academics for their definition of a cult film. Several people defined cult films primarily in terms of their opposition to mainstream films and conformism, explicitly requiring a transgressive element, though others disputed the transgressive potential, given the demographic appeal to conventional moviegoers and mainstreaming of cult films. Jeffrey Andrew Weinstock instead called them mainstream films with transgressive elements. Most definitions also required

4680-411: A gun. Ad Week writes that cult B films, when released on home video, market themselves and need only enough advertising to raise curiosity or nostalgia. Animation can provide wide open vistas for stories. The French film Fantastic Planet (1973) explored ideas beyond the limits of traditional, live-action science fiction films. Ralph Bakshi 's career has been marked with controversy: Fritz

4860-403: A lasting following is described by Matt Singer, who states that the phrase is an oxymoron. Cult films are often approached in terms of auteur theory , which states that the director's creative vision drives a film. This has fallen out of favor in academia, creating a disconnect between cult film fans and critics. Matt Hills states that auteur theory can help to create cult films; fans that see

5040-404: A legendary reputation as they were discussed and debated in alternative weeklies, such as The Village Voice . Home video would finally allow general audiences to see them, which gave many people their first taste of underground film. Ernest Mathijs says that cult films often disrupt viewer expectations, such as giving characters transgressive motivations or focusing attention on elements outside

5220-739: A liberal attitude towards the breaking of cultural taboos". Mondo films like Faces of Death mix real and fake footage freely, and they gain their cult following through the outrage and debate over authenticity that results. Like "so bad it's good" cult films, old propaganda and government hygiene films may be enjoyed ironically by more modern audiences for the camp value of the outdated themes and outlandish claims made about perceived social threats, such as drug use. Academic Barry K. Grant states that Frank Capra 's Why We Fight World War II propaganda films are explicitly not cult, because they are "slickly made and have proven their ability to persuade an audience." The sponsored film Mr. B Natural became

5400-556: A mainstreaming effect on cult films and cultish behavior, though some collectors would be unlikely to self-identify as cult film fans. Film critic Joe Bob Briggs began reviewing drive-in theater and cult films, though he faced much criticism as an early advocate of exploitation and cult films. Briggs highlights the mainstreaming of cult films by pointing out the respectful obituaries that cult directors have received from formerly hostile publications and acceptance of politically incorrect films at mainstream film festivals. This acceptance

5580-486: A national identity; when they become more global in scope, questions of authenticity may arise. Filmmakers and films ignored in their own country can become the objects of cult adoration in another, producing perplexed reactions in their native country. Cult films can also establish an early viability for more mainstream films, both for filmmakers and national cinema. The early cult horror films of Peter Jackson were so strongly associated with his homeland that they affected

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5760-416: A need to combat huge target cynicism the insight was that people reject things pushed at them but seek out things that elude them. Chiat / Day created a 'stealth' campaign to go after influencers and opinion leaders, using street teams for the first time in brand marketing and layered an intricate omni-channel web of info and intrigue. Insiders picked up on it and spread the word. Within 6 months, PlayStation

5940-457: A new fictional world based on nostalgic views of the past. In martial arts movies, there is the movie Bloodsport (1988) with Jean-Claude Van Damme as well as Road House (1989) with Patrick Swayze . Cult films may also subvert nostalgia, such as The Big Lebowski , which introduces many nostalgic elements and then reveals them as fake and hollow. Scott Pilgrim vs. the World (2010)

6120-474: A nostalgic factor. These films, ritually watched every season, give a sense of community and shared nostalgia to viewers. New films often have trouble making inroads against the institutions of It's a Wonderful Life (1946) and Miracle on 34th Street (1947). These films provide mild criticism of consumerism while encouraging family values. Halloween, on the other hand, allows for flaunting society's taboos and testing one's fears. Horror films have appropriated

6300-414: A paper by Duncan Watts and colleagues entitled: "Everyone's an influencer", the most common risk in viral marketing is that of the influencer not passing on the message, which can lead to the failure of the viral marketing campaign. A second risk is that the influencer modifies the content of the message. A third risk is that influencers pass on the wrong message. This can result from a misunderstanding or as

6480-431: A preexisting knowledge of trivia, non-fans can be excluded. Previous articles and controversies can also be alluded to without explanation. Casual readers and non-fans will thus be left out of discussions and debates, as they lack enough information to meaningfully contribute. When fans like a cult film for the wrong reasons, such as casting or characters aimed at mainstream appeal, they may be ridiculed. Thus, fandom can keep

6660-581: A real estate listing for a century-old home in Lansing, Michigan went viral when the listing agent (James Pyle) used the Ghostface character from the Scream movie in marketing photos that showcased the home on Realtor.com and Zillow . The listing went live on September 27, 2019, and quickly began trending on Facebook, garnering 300,000 views in 2 days, at which point a story on the unusual popularity of

6840-537: A realistic goal for Malta's burgeoning film industry. Genre films, B films that strictly adhere to genre limitations, can appeal to cult film fans: given their transgressive excesses, horror films are likely to become to cult films; films like Galaxy Quest (1999) highlight the importance of cult followings and fandom to science fiction; and authentic martial arts skills in Hong Kong action films can drive them to become cult favorites. Cult musicals can range from

7020-456: A rebellion against fascist mores, as he grew from countercultural rebel to mainstream respectability. Transgressive elements that limit a director's appeal in one country can be celebrated or highlighted in another. Takashi Miike has been marketed in the West as a shocking and avant-garde filmmaker despite his many family-friendly comedies, which have not been imported. The transgressive nature of cult films can lead to their censorship. During

7200-435: A refuge from the academic acceptance of these progressive ideals. Their playful and ironic acceptance of regressive lad culture invites, and even dares, condemnation from academics and the uncool. Thus, cult films become a tool to reinforce mainstream values through transgressive content; Rebecca Feasy states that cultural hierarchies can also be reaffirmed through mockery of films perceived to be lacking masculinity. However,

7380-456: A response. The most exploitative aspects of art films are thus played up and their academic recognition ignored. This flattening of culture follows the popularity of post-structuralism , which rejects a hierarchy of artistic merit and equates exploitation and art. Mathijs and Sexton state that although cult films are not synonymous with exploitation, as is occasionally assumed, this is a key component; they write that exploitation, which exists on

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7560-947: A resurgence, and The Big Lebowski kick-started a new generation. Demographics shifted, and more hip and mainstream audiences were drawn to them. Although studios expressed skepticism, large audiences were drawn to box-office flops, such as The Warriors (1979) gang movie from Walter Hill , Office Space (1999) and Donnie Darko (2001). Modern midnight movies retain their popularity and have been strongly diverging from mainstream films shown at midnight. Mainstream cinemas, eager to disassociate themselves from negative associations and increase profits, have begun abandoning midnight screenings. Although classic midnight movies have dropped off in popularity, they still bring reliable crowds. Although seemingly at odds with each other, art and exploitation films are frequently treated as equal and interchangeable in cult fandom, listed alongside each other and described in similar terms: their ability to provoke

7740-432: A sense of exclusivity by offending mainstream audiences with misogyny, gore, and racism. Obsessive trivia can be used to bore mainstream audiences while building up subcultural capital. Specialist stores on the fringes of society (or websites which prominently partner with hardcore pornographic sites) can be used to reinforce the outsider nature of cult film fandom, especially when they use erotic or gory imagery. By assuming

7920-459: A short period. The term "viral marketing" has also been used pejoratively to refer to stealth marketing campaigns—marketing strategies that advertise a product to people without them knowing they are being marketed to. The emergence of "viral marketing", as an approach to advertisement, has been tied to the popularization of the notion that ideas spread like viruses. The field that developed around this notion, memetics, peaked in popularity in

8100-482: A sign of his popularity, a bronze statue of Ed Wood has been proposed in his hometown, and L'Osservatore Romano , the official newspaper of the Holy See , has courted controversy for its endorsement of cult films and pop culture. When cities attempt to renovate neighborhoods, fans have called attempts to demolish iconic settings from cult films "cultural vandalism". Cult films can also drive tourism, even when it

8280-424: A single unifying feature; instead, they state that cult films are united in their "subcultural ideology" and opposition to mainstream tastes, itself a vague and undefinable term. Cult followings themselves can range from adoration to contempt, and they have little in common except for their celebration of nonconformity – even the bad films ridiculed by fans are artistically nonconformist, albeit unintentionally. At

8460-470: A social network, can be used. The number of reviews for a certain brand or product and the quality assessed by users are indicators of attitudes. Classical measures of consumer attitude toward the brand can be gathered through surveys of consumers. Behavioral measures are very important because changes in consumers' behavior and buying decisions are what marketers hope to see through viral campaigns. There are numerous indicators that can be used in this context as

8640-678: A sponsor company, launched either on their own platform (company web page or social media profile) or on social media websites such as YouTube. Consumers receive the page link from a social media network or copy the entire ad from a website and pass it along through e-mail or posting it on a blog, web page or social media profile. Viral marketing may take the form of video clips , interactive Flash games, advergames , ebooks , brandable software , images , text messages , email messages, or web pages . The most commonly utilized transmission vehicles for viral messages include pass-along based, incentive based, trendy based, and undercover based. However,

8820-416: A strong community aspect, such as obsessed fans or ritualistic behavior. Citing misuse of the term, Mikel J. Koven took a self-described hard-line stance that rejected definitions that use any other criteria. Matt Hills instead stressed the need for an open-ended definition rooted in structuration , where the film and the audience reaction are interrelated and neither is prioritized. Ernest Mathijs focused on

9000-578: A text that stated, “You can still dunk in the dark.” (Filestage) A caption was also included that stated “No Power? No problem.” (Filestage) Due to Oreo’s quick thinking and clever marketing created traction and caused thousands of tweets and retweets. The marketing tactic that Oreo used to bring traction to the Oreo Company is referred to as newsjacking, which companies use to bring more customers to their brand using clever marketing tactics. Spotify Wrapped made its shocking debut in 2016 just in time for

9180-421: A trend to capture audiences through repetitious reissues. The constant use of profanity and drugs in otherwise mainstream, Hollywood films, such as The Big Lebowski , can alienate critics and audiences yet lead to a large cult following among more open-minded demographics not often associated with cult films, such as Wall Street bankers and professional soldiers. Thus, even comparatively mainstream films can satisfy

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9360-495: A truly uncensored cut. Cult films have been falsely claimed to have been banned to increase their transgressive reputation and explain their lack of mainstream penetration. Marketing campaigns have also used such claims to raise interest among curious audiences. Home video has allowed cult film fans to import rare or banned films, finally giving them a chance to complete their collection with imports and bootlegs. Cult films previously banned are sometimes released with much fanfare, and

9540-444: A viral marketing campaign is to widely disseminate marketing content through sharing & liking. Another important factor that drives virality is the propagativity of the content, referring to the ease with which consumers can redistribute it. This includes the effort required to share the content, the network size and type of the chosen distribution medium, and the proximity of shareable content with its means of redistribution (i.e.

9720-555: A while now." Mendik has sought to bring together academic interest and fandom through Cine-Excess , a film festival. I. Q. Hunter states that "it's much easier to be a cultist now, but it is also rather more inconsequential." Citing the mainstream availability of Cannibal Holocaust , Jeffrey Sconce rejects definitions of cult films based on controversy and excess, as they've now become meaningless. Cult films have influenced such diverse industries as cosmetics, music videos, and fashion. Cult films have shown up in less expected places; as

9900-595: Is an important aspect of their popularity. Actors can become typecast as they become strongly associated with such iconic roles. Tim Curry , despite his acknowledged range as an actor, found casting difficult after he achieved fame in The Rocky Horror Picture Show . Even when discussing unrelated projects, interviewers frequently bring up the role, which causes him to tire of discussing it. Mary Woronov , known for her transgressive roles in cult films, eventually transitioned to mainstream films. She

10080-503: Is an important part of cult films; cult films will often mix, mock, or exaggerate the tropes associated with traditional genres. Science fiction, fantasy, and horror are known for their large and dedicated cult followings; as science fiction films become more popular, fans emphasize non-mainstream and less commercial aspects of it. B films , which are often conflated with exploitation, are as important to cult films as exploitation. Teodor Reljic of Malta Today states that cult B films are

10260-513: Is another example, containing extensive nostalgia for the music and video gaming culture of the 2000s. Nathan Lee of the New York Sun identifies the retro aesthetic and nostalgic pastiche in films such as Donnie Darko as factors in its popularity among midnight movie crowds. Author Tomas Crowder-Taraborrelli describes midnight movies as a reaction against the political and cultural conservatism in America, and Joan Hawkins identifies

10440-412: Is any film that has a cult following , although the term is not easily defined and can be applied to a wide variety of films. Some definitions exclude films that have been released by major studios or have big budgets, that try specifically to become cult films, or become accepted by mainstream audiences and critics. Cult films are defined by audience reaction as much as by their content. This may take

10620-1108: Is debate as to whether these popular and accepted films are still cult films. After failing at the cinema, some cult films have become regular fixtures on cable television or profitable sellers on home video. Others have inspired their own film festivals . Cult films can both appeal to specific subcultures and form their own subcultures. Other media that reference cult films can easily identify which demographics they desire to attract and offer savvy fans an opportunity to demonstrate their knowledge. Cult films frequently break cultural taboos, and many feature excessive displays of violence, gore, sexuality, profanity, or combinations thereof. This can lead to controversy, censorship, and outright bans; less transgressive films may attract similar amounts of controversy when critics call them frivolous or incompetent. Films that fail to attract requisite amounts of controversy may face resistance when labeled as cult films. Mainstream films and big budget blockbusters have attracted cult followings similar to more underground and lesser known films; fans of these films often emphasize

10800-405: Is good, regardless of irony. In francophone culture, "so bad it's good" films, known as nanars  [ Fr ] , have given rise to a subculture with dedicated websites such as Nanarland , film festivals and viewings in theaters, as well as various books analyzing the phenomenon. The rise of the Internet and on-demand films has led critics to question whether "so bad it's good" films have

10980-432: Is just to deliver a company's message to a potential user. Secondly, users will become salesmen or promoters for a particular company with incentives. For example, ICQ offered their users benefits to promote a product to their friends. A recent trend in business is to offer incentives to individual users for re-posting an advertisement's message to their own profiles. Marketers and agencies commonly consider celebrities as

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11160-825: Is no longer just an 'expert' but also anyone who delivers and influence on the credibility of a message (e.g. blogger) In 2014, BritMums, network sharing family's daily life, had 6,000 bloggers and 11,300 views per month on average and became endorsers for some particular brand such as Coca-Cola, Morrison. Another case, Aimee Song who had over 3.6m followers on the Instagram page and became Laura Mercier's social media influencers, gaining $ 500,000 monthly. Decision-making process seems to be hard for customers these days. Millers (1956) argued that people suffered from short-term memory. This links to difficulties in customers' decision-making process and Paradox of Choice, as they face various adverts and newspapers daily. Influencers serve as

11340-466: Is not out of character, as cult audiences have a more complex relationship to these concepts: they are more opposed to mainstream values and excessive commercialism than they are anything else. In a global context, popularity can vary widely by territory, especially with regard to limited releases. Mad Max (1979) was an international hit , except in America where it became an obscure cult favorite, ignored by critics and available for years only in

11520-534: Is not universal, though, and some critics have resisted this mainstreaming of paracinema. Beginning in the 1990s, director Quentin Tarantino would have the greatest success in turning cult films mainstream. Tarantino later used his fame to champion obscure cult films that had influenced him and set up the short-lived Rolling Thunder Pictures , which distributed several of his favorite cult films. Tarantino's clout led Phil Hoad of The Guardian to call Tarantino

11700-414: Is online, the sender won't be able to control it anymore. It is therefore vital to aim at a particular segment when releasing the message. This is what happened to the company BlendTech which released videos showing the blender could blend anything, and encouraged users to share videos. This mainly caught the attention of teenage boys who thought it funny to blend and destroy anything they could; even though

11880-717: Is rejected because he represents mainstream appeal and marketing. Also, instead of valuing textual rarity, fans of cult blockbusters will value repeat viewings. They may also engage in behaviors more traditional for fans of cult television and other serial media, as cult blockbusters are often franchised, preconceived as a film series, or both. To reduce mainstream accessibility, a film series can be self-reflexive and full of in-jokes that only longtime fans can understand. Mainstream critics may ridicule commercially successful directors of cult blockbusters, such as James Cameron , Michael Bay , and Luc Besson , whose films have been called simplistic. This critical backlash may serve to embellish

12060-721: Is subjective and never self-evident. This ambiguity leads critics of postmodernism to accuse cult films of being beyond criticism, as the emphasis is now on personal interpretation rather than critical analysis or metanarratives . These inherent dichotomies can lead audiences to be split between ironic and earnest fans. Writing in Defining Cult Movies , Jancovich et al. quote academic Jeffrey Sconce, who defines cult films in terms of paracinema , marginal films that exist outside critical and cultural acceptance: everything from exploitation to beach party musicals to softcore pornography. However, they reject cult films as having

12240-428: Is sustained by other forms of marketing communications, such as public relations or advertising. Bob Gerstley wrote about algorithms designed to identify people with high "social networking potential." Gerstley employed SNP algorithms in quantitative marketing research. In 2004, the concept of the alpha user was coined to indicate that it had now become possible to identify the focal members of any viral campaign,

12420-511: Is unwanted. From Latin America, Alejandro Jodorowsky 's film El Topo (1970) has attracted attention of rock musicians such as John Lennon , Mick Jagger , and Bob Dylan . As far back as the 1970s, Attack of the Killer Tomatoes (1978) was designed specifically to be a cult film, and The Rocky Horror Picture Show was produced by 20th Century Fox , a major Hollywood studio. Over its decades-long release, Rocky Horror became

12600-857: The Los Angeles Times says technical faults may be forgiven if a film makes up for them in other areas, such as camp or transgressive content. Smith states that the early films of John Waters are amateurish and less influential than claimed, but Waters' outrageous vision cements his place in cult cinema. Films such as Myra Breckinridge (1970) and Beyond the Valley of the Dolls (1970) can experience critical reappraisal later, once their camp excess and avant-garde filmmaking are better accepted, and films that are initially dismissed as frivolous are often reassessed as campy. Films that intentionally try to appeal to fans of camp may end up alienating them, as

12780-554: The Alamo Drafthouse has capitalized on cult films and the surrounding culture through inspiration drawn from Rocky Horror and retro promotional gimmickry. They sell out their shows regularly and have acquired a cult following of their own. Academic Bob Batchelor, writing in Cult Pop Culture , states that the internet has democratized cult culture and destroyed the line between cult and mainstream. Fans of even

12960-484: The Los Angeles Times cites the violence and sexual imagery as alienating critics, who did not know what to make of the film. It would go on to become a popular midnight movie and frequently bootlegged by fans, as licensing issues kept it from being released on video for many years. Phil Hoad of The Guardian identifies Akira (1988) as introducing violent, adult Japanese animation (known as anime ) to

13140-515: The cannibal boom , Cannibal Holocaust (1980) was banned in dozens of countries and caused the director to be briefly jailed over fears that it was a real snuff film . Although opposed to censorship, director Ruggero Deodato would later agree with cuts made by the BBFC that removed unsimulated animal killings, which limited the film's distribution. Frequently banned films may introduce questions of authenticity as fans question whether they have seen

13320-523: The intertextuality . Popular films from previous eras may be reclaimed by genre fans long after they have been forgotten by the original audiences. This can be done for authenticity, such as horror fans who seek out now-obscure titles from the 1950s instead of the modern, well-known remakes. Authenticity may also drive fans to deny genre categorization to films perceived as too mainstream or accessible. Authenticity in performance and expertise can drive fan acclaim. Authenticity can also drive fans to decry

13500-435: The sexploitation films of Doris Wishman took a feminist approach which avoids and subverts the male gaze and traditional goal-oriented methods. Wishman's subject matter, though exploitative and transgressive, was always framed in terms of female empowerment and the feminine spectator. Her use of common cult film motifs – female nudity and ambiguous gender – were repurposed to comment on feminist topics. Similarly,

13680-615: The stoner subculture . Beach party musicals, popular among American surfers, failed to find an equivalent audience when imported to the United Kingdom. When films target subcultures like this, they may seem unintelligible without the proper cultural capital . Films which appeal to teenagers may offer subcultural identities that are easily recognized and differentiate various subcultural groups. Films which appeal to stereotypical male activities, such as sports, can easily gain strong male cult followings. Sports metaphors are often used in

13860-412: The "7I's of effective word-of-mouth marketing campaigns." These seven I's can be used to highlight where the success of a viral marketing campaign comes from. While what Puriwat and Tripopsakul publish outlines what makes an effective campaign, there is also forewarnings that negative word-of-mouth messages about a brand or product have more power over a consumers purchasing decision. With that being said,

14040-572: The "hubs" who were most influential. Alpha users could be targeted for advertising purposes most accurately in mobile phone networks, due to their personal nature. In early 2013 the first ever Viral Summit was held in Las Vegas. The summit attempted to identify similar trends in viral marketing methods for various media. According to the book Contagious: Why Things Catch On , there are six key factors that drive virality. They are organized in an acronym called STEPPS which stands for: The goal of

14220-466: The 1970s and early 1980s, a wave of explicit, graphic exploitation films caused controversy. Called " video nasties " within the UK, they ignited calls for censorship and stricter laws on home video releases, which were largely unregulated. Consequently, the British Board of Film Classification banned many popular cult films due to issues of sex, violence, and incitement to crime. Released during

14400-684: The 1970s is a stub . You can help Misplaced Pages by expanding it . This 1970s Western film–related article is a stub . You can help Misplaced Pages by expanding it . Cult film A cult film or cult movie , also commonly referred to as a cult classic , is a film that has acquired a cult following . Cult films are known for their dedicated, passionate fanbase , which forms an elaborate subculture, members of which engage in repeated viewings, dialogue-quoting, and audience participation . Inclusive definitions allow for major studio productions, especially box-office bombs , while exclusive definitions focus more on obscure, transgressive films shunned by

14580-611: The 1970s, peaking with the release of The Rocky Horror Picture Show (1975), which finally found its audience several years after its release. Eventually, the rise of home video would marginalize midnight movies once again, after which many directors joined the burgeoning independent film scene or went back underground. Home video would give a second life to box-office flops, as positive word-of-mouth or excessive replay on cable television led these films to develop an appreciative audience, as well as obsessive replay and study. For example, The Beastmaster (1982), despite its failure at

14760-405: The 1990s. As this then began to influence marketing gurus , it took on a life of its own in that new context. The brief career of Australian pop singer Marcus Montana is largely remembered as an early example of viral marketing. In early 1989, thousands of posters declaring "Marcus is Coming" were placed around Sydney , generating discussion and interest within the media and the community about

14940-440: The 2006 FIFA Football World Cup, shared Zinedine Zidane's headbutt against Italy and engaged more than 1.5 million viewers in less than the very first hour. Secondly, it enhances the credibility of messages. These trust-based relationships grab the audience's attention, create customers' demand, increase sales and loyalty, or simply drive customers' attitude and behavior. In the case of Coke, Millennials changed their mind about

15120-429: The 7I's are as follow: Using these seven described aspects of viral marketing, the two ran a statistical test utilizing a survey of 286 people on their thoughts of recent viral marketing efforts. The questions in the survey gauged whether each point from the 7I's were met in the campaign using Likert scale questions and ended with questions on brand preference and brand recognition. While many conclusions were drawn from

15300-756: The Cat (1972), the first animated film to be rated "X" by the MPAA , provoked outrage for its racial caricatures and graphic depictions of sex, and Coonskin (1975) was decried as racist. Bakshi recalls that older animators had tired of "kid stuff" and desired edgier work, whereas younger animators hated his work for "destroying the Disney images". Eventually, his work would be reassessed and cult followings, which include Quentin Tarantino and Robert Rodriguez , developed around several of his films. Heavy Metal (1981) faced similar denunciations from critics. Donald Liebenson of

15480-603: The Internet through comments or likes. This trend captured by marketers who are used to explore new potential customers. Agencies are placing social media stars alongside singers and musicians at the top of the heap of celebrity types they had worked with. And there are more than 28% of company marketers having worked with one social media celebrity in the previous year. Using influencers in viral marketing provides companies several benefits. It enables companies to spend little time and budget on their marketing communication and brand awareness promotion. For example, Alberto Zanot, in

15660-944: The Rings trilogy . Mathijs states that cult films and fandom frequently involve nontraditional elements of time and time management. Fans will often watch films obsessively, an activity that is viewed by the mainstream as wasting time yet can be seen as resisting the commodification of leisure time. They may also watch films idiosyncratically: sped up, slowed down, frequently paused, or at odd hours. Cult films themselves subvert traditional views of time – time travel, non-linear narratives, and ambiguous establishments of time are all popular. Mathijs also identifies specific cult film viewing habits, such as viewing horror films on Halloween, sentimental melodrama on Christmas, and romantic films on Valentine's Day. These films are often viewed as marathons where fans can gorge themselves on their favorites. Mathijs states that cult films broadcast on Christmas have

15840-717: The Shell films, for example, provided Japanese fans with enough bonus material and spinoffs that it encouraged cult tendencies. Markets that did not support the sale of these materials saw less cult activity. The claymation film Gumby: The Movie (1995), which made only $ 57,100 at the box office against its $ 2.8 million budget but sold a million copies on VHS alone, was subsequently released on DVD and remastered in high definition for Blu-ray due to its strong cult following. Like many cult films, RiffTrax made their own humorous audio commentary for Gumby: The Movie in 2021. Sensationalistic documentaries called mondo films replicate

16020-533: The Ugandan action comedy film Who Killed Captain Alex? (2010). Similarly, Paul Verhoeven 's Showgirls (1995) bombed in theaters but developed a cult following on video. Catching on, Metro-Goldwyn-Mayer capitalized on the film's ironic appeal and marketed it as a cult film. Sometimes, fans will impose their own interpretation of films which have attracted derision, such as reinterpreting an earnest melodrama as

16200-519: The West and paving the way for later works. Anime, according to academic Brian Ruh, is not a cult genre, but the lack of individual fandoms inside anime fandom itself lends itself to a bleeding over of cult attention and can help spread works internationally. Anime, which is frequently presented as a series (with movies either rising from existing series, or spinning off series based on the film), provides its fans with alternative fictional canons and points of view that can drive fan activity. The Ghost in

16380-522: The accidental nature of cult followings, arguing that cult film fans consider themselves too savvy to be marketed to, while Jonathan Rosenbaum rejected the continued existence of cult films and called the term a marketing buzzword. Mathijs suggests that cult films help to understand ambiguity and incompleteness in life given the difficulty in even defining the term. That cult films can have opposing qualities – such as good and bad, failure and success, innovative and retro – helps to illustrate that art

16560-472: The affectivity of a disturbing film, will be ridiculed for their lack of authenticity. The critic Michael Medved characterized examples of the "so bad it's good" class of low-budget cult film through books such as The Golden Turkey Awards . These films include financially fruitless and critically scorned films that have become inadvertent comedies to film buffs, such as Plan 9 from Outer Space (1957), Mommie Dearest (1981), The Room (2003), and

16740-554: The background bringing further awareness to the makeup brand. In June 2023, McDonald's inadvertently took advantage of viral marketing with the rollout of Grimace's Birthday Meal, and more specifically, the Grimace Shake . During its release, a popular trend emerged where people would take videos of themselves drinking the Grimace Shake and then would be found in disturbing positions with purple goo (assumed to be from

16920-465: The best viral marketing campaigns of 2012 and won "Best Out-of-Nowhere Video Campaign" at the 2012 AdAge Viral Video Awards. During the 2013 Super Bowl, the Mercedes-Benz stadium unfortunately suffered from a massive power outage. Due to this outage Oreo took advantage of the power outage and created a viral marketing campaign, a black and white image with an Oreo incorporated. The image included

17100-467: The boundaries of simple definitions, and these exploitative art films and artistic exploitation films would go on to influence American cult films. Much like later cult films, these early exploitation films encouraged audience participation, influenced by live theater and vaudeville. Modern cult films grew from 1960s counterculture and underground films , popular among those who rejected mainstream Hollywood films. These underground film festivals led to

17280-447: The box office, became one of the most played movies on American cable television and developed into a cult film. Home video and television broadcasts of cult films were initially greeted with hostility. Joanne Hollows states that they were seen as turning cult films mainstream – in effect, feminizing them by opening them to distracted, passive audiences. Releases from major studios , such as The Big Lebowski (1998), which

17460-447: The creation of midnight movies , which attracted cult followings. The term cult film itself was an outgrowth of this movement and was first used in the 1970s, though cult had been in use for decades in film analysis with both positive and negative connotations. These films were more concerned with cultural significance than the social justice sought by earlier avant-garde films . Midnight movies became more popular and mainstream by

17640-486: The creation of religions, such as Dudeism . For their avoidance of mainstream culture and audiences, enjoyment of irony, and celebration of obscure subcultures, academic Martin Roberts compares cult film fans to hipsters . A film can become the object of a cult following within a particular region or culture if it has unusual significance. For example, Norman Wisdom 's films, friendly to Marxist interpretation, amassed

17820-508: The creative nature of viral marketing enables an "endless amount of potential forms and vehicles the messages can utilize for transmission", including mobile devices. The ultimate goal of marketers interested in creating successful viral marketing programs is to create viral messages that appeal to individuals with high social networking potential (SNP) and that have a high probability of being presented and spread by these individuals and their competitors in their communications with others in

18000-447: The death of cult films now that they have finally become successful and mainstream, are too slick to attract a proper cult following, lack context, or are too easily found online. In response, David Church says that cult film fans have retreated to more obscure and difficult to find films, often using illegal distribution methods, which preserves the outlaw status of cult films. Virtual spaces, such as online forums and fan sites, replace

18180-577: The death of cult films. What is a cult film? A cult film is one that has a passionate following, but does not appeal to everybody. James Bond movies are not cult films, but chainsaw movies are. Just because a movie is a cult film does not automatically guarantee quality: some cult movies are very bad; others are very, very good. Some make an awful lot of money at the box office; others make no money at all . Some are considered quality films; others are exploitation . — Alex Cox in his introduction to The Wicker Man on Moviedrome , 1988 A cult film

18360-404: The early days of cinema. Film critic Harry Allan Potamkin traces them back to 1910s France and the reception of Pearl White , William S. Hart , and Charlie Chaplin , which he described as "a dissent from the popular ritual". Nosferatu (1922) was an unauthorized adaptation of Bram Stoker 's Dracula . Stoker's widow sued the production company and drove it to bankruptcy. All known copies of

18540-472: The effectiveness of viral marketing. As of 2009, two-thirds of the world's Internet population visits a social networking service or blog site at least every week. Facebook alone has over 1 billion active users. In 2009, time spent visiting social media sites began to exceed time spent emailing. A 2010 study found that 52% of people who view news online forward it on through social networks, email, or posts. The introduction of social media has caused

18720-503: The end of the year for which generated so much traction for them. Since Elf is an older brand, they have to get creative in how they market their products to their newer audience. They created a 15 second song called #Eyes lips face in October of 2019 for their customers to utilize in whatever form they choose on social media. Elf stands for eyes, lips and face. Social media can help bring traction and awareness to these brands to bring in

18900-419: The excesses of 1980s fashion and commercialism. Films that are influenced by unpopular styles or genres can become cult films. Director Jean Rollin worked within cinéma fantastique , an unpopular genre in modern France. Influenced by American films and early French fantasists, he drifted between art, exploitation, and pornography. His films were reviled by critics, but he retained a cult following drawn by

19080-880: The fans assumed to be already familiar with the controversy. Personal responsibility is often highlighted, and a strong anti-censorship message may be present. Previously lost scenes cut by studios can be re-added and restore a director's original vision, which draws similar fanfare and acclaim from fans. Imports are sometimes censored to remove elements that would be controversial, such as references to Islamic spirituality in Indonesian cult films. Academics have written of how transgressive themes in cult films can be regressive. David Church and Chuck Kleinhans describe an uncritical celebration of transgressive themes in cult films, including misogyny and racism. Church has also criticized gendered descriptions of transgressive content that celebrate masculinity. Joanne Hollows further identifies

19260-501: The fascist regime within the cloak of exploitation and horror. Unlike most exploitation directors, they were not trying to establish a reputation. They were already established in the art-house world and intentionally chose to work within paracinema as a reaction against the New Spanish Cinema , an artistic revival supported by the fascists. As late as the 1980s, critics still cited Pedro Almodóvar 's anti-macho iconoclasm as

19440-712: The film itself as their reason for attending a showing, but longtime fans often cite the community. Organized fandoms may spread and become popular as a way of introducing new people to the film, as well as theatrical screenings being privileged by the media and fandom itself. Fandom can also be used as a process of legitimation. Fans of cult films, as in media fandom , are frequently producers instead of mere consumers. Unconcerned with traditional views on intellectual property, these fan works are often unsanctioned, transformative, and ignore fictional canon . Like cult films themselves, magazines and websites dedicated to cult films revel in their self-conscious offensiveness. They maintain

19620-410: The film to cult status. Perceived racist and reductive remarks by critics can rally fans and raise the profile of cult films, an example of which would be Rex Reed's comments about Korean culture in his review of Oldboy (2003). Critics can also polarize audiences and lead debates, such as how Joe Bob Briggs and Roger Ebert dueled over I Spit On Your Grave (1978). Briggs would later contribute

19800-588: The film were destroyed, and Nosferatu become an early cult film, kept alive by a cult following that circulated illegal bootlegs. Academic Chuck Kleinhans identifies the Marx Brothers as making other early cult films. On their original release, some highly regarded classics from the Golden Age of Hollywood were panned by critics and audiences, relegated to cult status. The Night of the Hunter (1955)

19980-483: The film's reputation and having watched clips on YouTube, these fans may take the next step and enter the film's fandom. If they are the majority, they may alter or ignore long-standing traditions, such as audience participation rituals; rituals which lack perceived authenticity may be criticized, but accepted rituals bring subcultural capital to veteran fans who introduce them to the newer members. Fans who flaunt their knowledge receive negative reactions. Newer fans may cite

20160-401: The film, distinctive interpretations, and fan works . Hills identifies three different cult followings for The Lord of the Rings , each with their own fandom separate from the mainstream. Academic Emma Pett identifies Back to the Future (1985) as another example of a cult blockbuster. Although the film was an instant hit when released, it has also developed a nostalgic cult following over

20340-452: The film. Cult films can also transgress national stereotypes and genre conventions, such as Battle Royale (2000), which broke many rules of teenage slasher films . The reverse – when films based on cult properties lose their transgressive edge – can result in derision and rejection by fans. Audience participation itself can be transgressive, such as breaking long-standing taboos against talking during films and throwing things at

20520-516: The filmmakers' reception as cult auteurs. In the same way, critics may ridicule fans of cult blockbusters as immature or shallow. Cult films can create their own subculture. Rocky Horror , originally made to exploit the popularity of glam subculture , became what academic Gina Marchetti called a "sub-subculture", a variant that outlived its parent subculture. Although often described as primarily composed of obsessed fans, cult film fandom can include many newer, less experienced members. Familiar with

20700-461: The films become perceived as trying too hard or not authentic. According to academic Brigid Cherry, nostalgia "is a strong element of certain kinds of cult appeal." When Veoh added many cult films to their site, they cited nostalgia as a factor for their popularity. Academic I. Q. Hunter describes cult films as "New Hollywood in extremis " and a form of nostalgia for that period. Ernest Mathijs instead states that cult films use nostalgia as

20880-421: The films of Russ Meyer were a complicated combination of transgressive, mainstream, progressive, and regressive elements. They attracted both acclaim and denouncement from critics and progressives. Transgressive films imported from cultures that are recognizably different yet still relatable can be used to progressively examine issues in another culture. Cult films can be used to help define or create groups as

21060-483: The films' niche appeal and reject the more popular aspects. Fans who like the films for the wrong reasons, such as perceived elements that represent mainstream appeal and marketing, will often be ostracized or ridiculed. Likewise, fans who stray from accepted subcultural scripts may experience similar rejection. Since the late 1970s, cult films have become increasingly popular. Films that once would have been limited to obscure cult followings are now capable of breaking into

21240-453: The form of elaborate and ritualized audience participation , film festivals , or cosplay . Over time, the definition has become more vague and inclusive as it drifts away from earlier, stricter views. Increasing use of the term by mainstream publications has resulted in controversy, as cinephiles argue that the term has become meaningless or "elastic, a catchall for anything slightly maverick or strange". Academic Mark Shiel has criticized

21420-407: The fringes of the mainstream and deals with taboo subjects, is well-suited for cult followings. Academic David Andrews writes that cult softcore films are "the most masculinized, youth-oriented, populist, and openly pornographic softcore area." The sexploitation films of Russ Meyer were among the first to abandon all hypocritical pretenses of morality and were technically proficient enough to gain

21600-513: The gritty subject matter of Italian neorealism , and the shocking images of 1960s exploitation. Some used hardcore pornography and horror, occasionally at the same time. In the 1980s, filmmaker Nick Zedd identified this movement as the Cinema of Transgression and later wrote a manifesto. Popular in midnight showings, they were mainly limited to large urban areas, which led academic Joan Hawkins to label them as "downtown culture". These films acquired

21780-473: The holiday, and many horror films debut on Halloween. Mathijs criticizes the over-cultified, commercialized nature of Halloween and horror films, which, he states feed into each other so much that Halloween has turned into an image or product with no real community. Mathijs states that Halloween horror conventions can provide the missing community aspect. Despite their oppositional nature, cult films can produce celebrities. Like cult films themselves, authenticity

21960-685: The holidays and the end of the year. Spotify created this genius marketing campaign to showcase their users their daily artists listened to for the year. This groundbreaking new feature within Spotify created a domino effect that other brands began to mimic. Spotify showcases your most listened artists in a list from most listened and the list goes down from there. Due to Spotfiys extreme success with this marketing tactic caused their competitor Apple to do something similar, Apple Replay. The cause of this never seen before marketing tactic Spotify garnered 120 million users that Spotify compiled a Spotify wrap at

22140-467: The home. However, the Zillow listing ended up receiving over 20,000 views by October 1, one million views by October 2 and exceeded 1.2 million views by October 3. It was estimated that the combined views of the listings on both sites (Zillow and Realtor.com) exceeded 5 million in 5 days. The listing received a cash offer within 4 days and the immense popularity resulted in the home becoming overbooked during

22320-424: The information provided by marketers. Besides statistics that are related to online traffic, surveys can assess the degree of product or brand knowledge, though this type of measurement is more complicated and requires more resources. Related to consumers' attitudes toward a brand or even toward the marketing communication, different online and social media statistics, including the number of likes and shares within

22500-406: The international reputation of New Zealand and its cinema . As more artistic films emerged, New Zealand was perceived as a legitimate competitor to Hollywood, which mirrored Jackson's career trajectory. Heavenly Creatures (1994) acquired its own cult following, became a part of New Zealand's national identity, and paved the way for big-budget, Hollywood-style epics, such as Jackson's The Lord of

22680-712: The internet. The rise of social media has been a boon to cult films. Sites such as Twitter have displaced traditional venues for fandom and courted controversy from cultural critics who are unamused by campy cult films. After a clip from one of his films went viral , director-producer Roger Corman made a distribution deal with YouTube . Found footage which had originally been distributed as cult VHS collections eventually went viral on YouTube, which opened them to new generations of fans. Films such as Birdemic (2008) and The Room (2003) gained quick, massive popularity, as prominent members of social networking sites discussed them. Their rise as "instant cult classics" bypasses

22860-503: The listing appeared in a local newspaper. Pyle stated that wanted to do something fun and novel for the Halloween season but to keep the photos professional at the same time, and hired photographer Bradley Johnson to take several pictures of him dressed as Ghostface raking leaves in the backyard, preparing to carve a pumpkin in the kitchen, standing on the front and back porches, and peeking out behind curtains and doors. The following day,

23040-423: The living conditions of the artists and the economic prospects of the 1970s. Like the surrealists and dadaists, they not only satirically attacked society but also the very structure of film – a counter-cinema that deconstructs narrative and traditional processes. In the late 1980s and 1990s, midnight movies transitioned from underground showings to home video viewings; eventually, a desire for community brought

23220-642: The mainstream at bay while defining themselves in terms of the " Other ", a philosophical construct divergent from social norms . Commercial aspects of fandom (such as magazines or books) can also be defined in terms of "otherness" and thus valid to consume: consumers purchasing independent or niche publications are discerning consumers, but the mainstream is denigrated. Irony or self-deprecating humor can also be used. In online communities, different subcultures attracted to transgressive films can clash over values and criteria for subcultural capital. Even within subcultures, fans who break subcultural scripts, such as denying

23400-492: The mainstream in the form of hostile critics and censors. Especially when promoted by enthusiastic and knowledgeable programmers, choice of venue can be an important part of expressing individuality. Besides creating new communities, cult films can link formerly disparate groups, such as fans and critics. As these groups intermix, they can influence each other, though this may be resisted by older fans, unfamiliar with these new references. In extreme cases, cult films can lead to

23580-764: The mainstream, and showings of cult films have proved to be a profitable business venture. Overly broad usage of the term has resulted in controversy, as purists state it has become a meaningless descriptor applied to any film that is the slightest bit weird or unconventional; others accuse Hollywood studios of trying to artificially create cult films or use the term as a marketing tactic. Modern films are frequently stated to be an "instant cult classic", occasionally before they are released. Some films have acquired massive, quick cult followings, owing to advertisements and posts made by fans spreading virally through social media . Easy access to cult films via video on demand and peer-to-peer file sharing has led some critics to pronounce

23760-702: The mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art . The term cult film itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies , though cult was in common use in film analysis for decades prior to that. Cult films trace their origin back to controversial and suppressed films kept alive by dedicated fans. In some cases, reclaimed or rediscovered films have acquired cult followings decades after their original release, occasionally for their camp value. Other cult films have since become well-respected or reassessed as classics; there

23940-475: The mainstream. This nonconformity is eventually co-opted by the dominant forces, such as Hollywood, and marketed to the mainstream. Academic Xavier Mendik proposes that films can become cult by virtue of their genre or content, especially if it is transgressive. Due to their rejection of mainstream appeal, Mendik says cult films can be more creative and political; times of relative political instability produce more interesting films. Cult films have existed since

24120-441: The mainstreaming of cult film culture. While critics may champion revolutionary aspects of filmmaking and political interpretation, Hollywood studios and other corporate interests will instead highlight only the aspects that they wish to legitimize in their own films, such as sensational exploitation. Someone like George A. Romero , whose films are both transgressive and subversive, will have the transgressive aspects highlighted while

24300-487: The marketing content, including the number of requests for information, samples, or test-drives. Nevertheless, responses to actual call-to-action messages are important, including the conversion rate. Consumers' behavior is expected to lead to contributions to the bottom line of the company, meaning increase in sales, both in quantity and financial amount. However, when quantifying changes in sales, managers need to consider other factors that could potentially affect sales besides

24480-456: The marketing of cult films to males, such as emphasizing the "extreme" nature of the film, which increases the appeal to youth subcultures fond of extreme sports. Matt Hills' concept of the "cult blockbuster" involves cult followings inside larger, mainstream films. Although these are big budget, mainstream films, they still attract cult followings. The cult fans differentiate themselves from ordinary fans in several ways: longstanding devotion to

24660-505: The meaning of the mysterious advertisements. The campaign successfully made Montana's musical debut a talking point, but his subsequent music career was a failure. The term viral strategy was first used in marketing in 1995, in a pre- digital marketing era, by a strategy team at Chiat / Day advertising in LA (now TBWA LA), led by Lorraine Ketch and Fred Sattler, for the launch of the first PlayStation for Sony Computer Entertainment . Born from

24840-623: The most commonly used by company marketers. The survey found that 4 in 10 company having worked with these traditional celebrities in the prior year. However, people these years are spending more time on social media rather than traditional media such as TV. The researchers also claim that customers are not firmly believed celebrities are effectively influential. Social media stars such as YouTuber Zoella or Instagrammer Aimee Song are followed by millions of people online. Online celebrities have connection and influence with their followers because they frequently and realisticly converse and interact on

25020-405: The most extreme films. Audiences can also ironically latch on to offensive themes, such as misogyny, using these films as catharsis for the things that they hate most in life. Exploitative, transgressive elements can be pushed to excessive extremes for both humor and satire. Frank Henenlotter faced censorship and ridicule, but he found acceptance among audiences receptive to themes that Hollywood

25200-431: The most obscure films can communicate online with each other in vibrant communities. Although known for their big-budget blockbusters , Steven Spielberg and George Lucas have criticized the current Hollywood system of gambling everything on the opening weekend of these productions. Geoffrey Macnab of The Independent instead suggests that Hollywood look to capitalize on cult films, which have exploded in popularity on

25380-564: The most people possible which is more money for them. Elf created a campaign to bring awareness to their brand. Elf made history with this marketing tactic, being the first makeup company to utilize a song, an original song at that, as a promotion tool. “Elf collaborated with Grammy-winning producer iLL Wayno and rising artist Holla FyeSixWun to create a catchy 15-second clip” (House of Marketers) These artists strategically handpicked specific influencers with big platforms to help further their song. These chosen influencers made videos with Elf's song in

25560-447: The most shocking and transgressive elements of exploitation films. They are usually modeled after "sick films" and cover similar subject matter. In The Cult Film Reader , academics Mathijs and Mendik write that these documentaries often present non-Western societies as "stereotypically mysterious, seductive, immoral, deceptive, barbaric or savage". Though they can be interpreted as racist, Mathijs and Mendik state that they also "exhibit

25740-430: The movement as running the gamut from anarchist to libertarian , united in their anti-establishment attitude and punk aesthetic. These films are resistant to simple categorization and are defined by the fanaticism and ritualistic behaviors of their audiences. Midnight movies require a night life and an audience willing to invest themselves actively. Hawkins states that these films took a rather bleak point of view due to

25920-555: The music can be pushed to stylistic excess far beyond that allowed by mainstream cinema. Film censorship can make these films obscure and make it difficult to find common criteria used to define cult films. Despite this, these films remain well-known and prized among collectors. Fans will occasionally express frustration with dismissive critics and conventional analysis, which they believe marginalizes and misinterprets paracinema. In marketing these films, young men are predominantly targeted. Horror films in particular can draw fans who seek

26100-464: The network effects of the Internet and mobile networks . The concept is often misused or misunderstood, as people apply it to any successful enough story without taking into account the word "viral". Viral advertising is personal and, while coming from an identified sponsor, it does not mean businesses pay for its distribution. Most of the well-known viral ads circulating online are ads paid by

26280-616: The nudity and eroticism. Similarly, Jess Franco chafed under fascist censorship in Spain but became influential in Spain's horror boom of the 1960s. These transgressive films that straddle the line between art and horror may have overlapping cult followings, each with their own interpretation and reasons for appreciating it. The films that followed Jess Franco were unique in their rejection of mainstream art. Popular among fans of European horror for their subversiveness and obscurity, these later Spanish films allowed political dissidents to criticize

26460-418: The number of views, clicks, and hits for specific content, as well as the number of shares in social media , such as likes on Facebook or retweets on Twitter, which demonstrate that consumers processed the information received through the marketing message. Measures such as the number of reviews for a product or the number of members for a campaign web page quantify the number of individuals who have acknowledged

26640-422: The open house and subsequent viewings. Due to the success of the listing, Pyle was scheduled to appear on “Good Morning America” on October 2, 2019. He was quoted as saying that he didn't think he would ever be able to duplicate the success of the listing, but he planned to try some additional variations for future listings. The listing continued to be popular even after the house was off the market. This approach

26820-533: The point of convergence culture when fan speculation began to impact on the film's production. Although it was proclaimed a cult film and major game-changer before it was released, it failed to win either mainstream audiences or maintain its cult following. In retrospect, critic Spencer Kornhaber would call it a serendipitous novelty and a footnote to a "more naive era of the Internet". However, it became influential in both marketing and titling. This trend of "instant cult classics" which are hailed yet fail to attain

27000-402: The product, from parents' drink to the beverage for teens. It built up Millennials' social needs by 'sharing a Coke' with their friends. This created a deep connection with Gen Y, dramatically increased sales (+11% compared with last year) and market share (+1.6%). No doubt that harnessing influencers would be a lucrative business for both companies and influencers. The concept of 'influencer'

27180-418: The rising popularity of cult films as an attempt by cinephiles and scholars to escape the oppressive conformity and mainstream appeal of even independent film, as well as a lack of condescension in both critics and the films; Academic Donna de Ville says it is a chance to subvert the dominance of academics and cinephiles. According to Xavier Mendik, "academics have been really interested in cult movies for quite

27360-429: The same time, they state that bourgeois, masculine tastes are frequently reinforced, which makes cult films more of an internal conflict within the bourgeoisie, rather than a rebellion against it. This results in an anti-academic bias despite the use of formal methodologies, such as defamiliarization . This contradiction exists in many subcultures, especially those dependent on defining themselves in terms of opposition to

27540-408: The screen. According to Mathijs, critical reception is important to a film's perception as cult, through topicality and controversy. Topicality, which can be regional (such as objection to government funding of the film) or critical (such as philosophical objections to the themes), enables attention and a contextual response. Cultural topics make the film relevant and can lead to controversy, such as

27720-488: The seventh highest grossing R-rated film when adjusted for inflation; journalist Matt Singer has questioned whether Rocky Horror ' s popularity invalidates its cult status. Founded in 1974, Troma Entertainment , an independent studio, would become known for both its cult following and cult films. In the 1980s, Danny Peary 's Cult Movies (1981) would influence director Edgar Wright and film critic Scott Tobias of The A.V. Club . The rise of home video would have

27900-497: The shake) splattered across them. McDonald's, while not responsible for the trend themselves, did eventually go on to recognize it in a Twitter post that read (as Grimace): "meee pretending i don't see the grimace shake trendd". While the Grimace's Birthday campaign was already a success for McDonald's, the trend boosted sales even higher and kept them high all the way until the end of the promotion on June 29th. In Autumn 2019,

28080-504: The statistical analysis, the prominent ones to be shared were based around age groups and interaction results. Wilert and Tripopsakul found that viral marketing is a tool that has shown to be more beneficial in targeting a younger demographic than the older audience. They also found that consumers who partook in any interaction with a brands viral marketing campaign more often than not had a positive increase in that brands perception. The growth of social networks significantly contributed to

28260-660: The story was picked up by several radio stations, including K102.5 in Kalamazoo, WCRZ in Burton, WOMC and ALT97 in Detroit, as well as the Metro Times newspaper in Detroit. Following the increased attention on the Zillow listing, over the next few days the story appeared on major news networks. Pyle stated that a normal listing typically received under 150 views, and his goal was to get between 500 and 1,000 views of

28440-420: The subversive aspects are ignored. Viral marketing Viral marketing is a business strategy that uses existing social networks to promote a product mainly on various social media platforms. Its name refers to how consumers spread information about a product with other people, much in the same way that a virus spreads from one person to another. It can be delivered by word of mouth , or enhanced by

28620-402: The successful online hype of The Blair Witch Project (1999), other films have attempted to draw online cult fandom with the use of prefabricated cult appeal. Snakes on a Plane (2006) is an example that attracted massive attention from curious fans. Uniquely, its cult following preceded the film's release and included speculative parodies of what fans imagined the film might be. This reached

28800-413: The term itself as being a weak concept, reliant on subjectivity; different groups can interpret films in their own terms. According to feminist scholar Joanne Hollows, this subjectivity causes films with large female cult followings to be perceived as too mainstream and not transgressive enough to qualify as a cult film. Academic Mike Chopra‑Gant says that cult films become decontextualized when studied as

28980-420: The time Hotmail reached 66 million users, the company was establishing 270,000 new accounts each day. On March 6, 2012, Dollar Shave Club launched their online video campaign. In the first 48 hours of their video debuting on YouTube they had over 12,000 people signing up for the service. The video cost just $ 4500 to make and as of November 2015 has had more than 21 million views. The video was considered one of

29160-799: The traditional fanzines and newsletters. Cult film fans consider themselves collectors, rather than consumers, as they associate consumers with mainstream, Hollywood audiences. This collecting can take the place of fetishization of a single film. Addressing concerns that DVDs have revoked the cult status of films like Rocky Horror , academic Mikel J. Koven states that small scale screenings with friends and family can replace midnight showings. Koven also identifies television shows, such as Twin Peaks , as retaining more traditional cult activities inside popular culture. David Lynch himself has not ruled out another television series, as studios have become reluctant to take chances on non-mainstream ideas. Despite this,

29340-462: The traditional demands of a cult film, perceived by fans as transgressive, niche, and uncommercial. Discussing his reputation for making cult films, Bollywood director Anurag Kashyap said, "I didn't set out to make cult films. I wanted to make box-office hits." Writing in Cult Cinema , academics Ernest Mathijs and Jamie Sexton state that this acceptance of mainstream culture and commercialism

29520-640: The traditional, such as Singin' in the Rain (1952), which appeal to cult audiences through nostalgia, camp, and spectacle, to the more non-traditional, such as Cry-Baby (1990), which parodies musicals, and Rocky Horror , which uses a rock soundtrack. Romantic fairy tale The Princess Bride (1987) failed to attract audiences in its original release, as the studio did not know how to market it. The freedom and excitement associated with cars can be an important part of drawing cult film fans to genre films, and they can signify action and danger with more ambiguity than

29700-675: The transgressive elements of her cult film and the mainstream appeal of soft-core pornography, she was unable to work in anything but exploitation films and Emmanuelle sequels. Despite her immense popularity and cult following, she would rate only a footnote in most histories of European cinema if she was even mentioned. Similarly, Chloë Sevigny has struggled with her reputation as a cult independent film star famous for her daring roles in transgressive films. Cult films can also trap directors. Leonard Kastle , who directed The Honeymoon Killers (1969), never directed another film again. Despite his cult following, which included François Truffaut , he

29880-428: The venture capital firm Draper Fisher Jurvetson in 1997 to describe Hotmail 's practice of appending advertising to outgoing mail from their users. Doug Rushkoff , a media critic , wrote about viral marketing on the Internet in 1996. The assumption is that if such an advertisement reaches a "susceptible" user, that user becomes "infected" (i.e., accepts the idea) and shares the idea with others "infecting them", in

30060-427: The videos went viral, they did not target potential buyers of the product. This is considered to be one of the major factors that affects the success of the online promotion. It is critical and inevitable for the organisations to target the right audience. Another risk with internet is that a company's video could end up going viral on the other side of the planet where their products are not even for sale. According to

30240-445: The viral analogy's terms. As long as each infected user shares the idea with more than one susceptible user on average (i.e., the basic reproductive rate is greater than one—the standard in epidemiology for qualifying something as an epidemic ), the number of infected users grows according to an exponential curve . Of course, the marketing campaign may be successful even if the message spreads more slowly, if this user-to-user sharing

30420-432: The viral marketing activities. Besides positive effects on sales, the use of viral marketing is expected to bring significant reductions in marketing costs and expenses. Viral marketing often involves and utilizes: Viral target marketing is based on three important principles: By applying these three important disciplines to an advertising model, a VMS company is able to match a client with their targeted customers at

30600-566: The world's most influential director. As major Hollywood studios and audiences both become savvy to cult films, productions once limited to cult appeal have instead become popular hits, and cult directors have become hot properties known for more mainstream and accessible films. Remarking on the popular trend of remaking cult films, Claude Brodesser-Akner of New York magazine states that Hollywood studios have been superstitiously hoping to recreate past successes rather than trading on nostalgia. Their popularity would bring some critics to proclaim

30780-719: The years of obscurity that most cult films labor under. In response, critics have described the use of viral marketing as astroturfing and an attempt to manufacture cult films. I. Q. Hunter identifies a prefabricated cult film style which includes "deliberately, insulting bad films", "slick exercises in dysfunction and alienation", and mainstream films "that sell themselves as worth obsessing over". Writing for NPR , Scott Tobias states that Don Coscarelli , whose previous films effortlessly attracted cult followings, has drifted into this realm. Tobias criticizes Coscarelli as trying too hard to appeal to cult audiences and sacrificing internal consistency for calculated quirkiness. Influenced by

30960-399: The years. The hammy acting by Christopher Lloyd and quotable dialogue have drawn a cult following, as they mimic traditional cult films. Blockbuster science fiction films that include philosophical subtexts, such as The Matrix , allow cult film fans to enjoy them on a higher level than the mainstream. Star Wars , with its large cult following in geek subculture, has been cited as both

31140-434: Was a cult film for years, quoted often and championed by fans, before it was reassessed as an important and influential classic. During this time, American exploitation films and imported European art films were marketed similarly. Although critics Pauline Kael and Arthur Knight argued against arbitrary divisions into high and low culture , American films settled into rigid genres; European art films continued to push

31320-463: Was distributed by Universal Studios  , can become cult films when they fail at the box office and develop a cult following through reissues, such as midnight movies, festivals, and home video. Hollywood films, due to their nature, are more likely to attract this kind of attention, which leads to a mainstreaming effect of cult culture. With major studios behind them, even financially unsuccessful films can be re-released multiple times, which plays into

31500-458: Was expected to recreate the transgressive elements of her cult films within the confines of mainstream cinema. Instead of the complex gender deconstructions of her Andy Warhol films, she became typecast as a lesbian or domineering woman. Sylvia Kristel , after starring in Emmanuelle (1974), found herself highly associated with the film and the sexual liberation of the 1970s. Caught between

31680-499: Was instrumental in allowing cult films to break through to the mainstream. Academic Joe Tompkins states that this auteurism is often highlighted when mainstream success occurs. This may take the place of – and even ignore – political readings of the director. Cult films and directors may be celebrated for their transgressive content, daring, and independence, but Tompkins argues that mainstream recognition requires they be palatable to corporate interests who stand to gain much from

31860-454: Was number one in its category—Sony's most successful launch in history. There is debate on the origin and the popularization of the specific term viral marketing . The term is found in PC User magazine in 1989 with a somewhat differing meaning. It was later used by Jeffrey Rayport in the 1996 Fast Company article "The Virus of Marketing", and Tim Draper and Steve Jurvetson of

32040-436: Was released, and looking to the past to find a better time period. Similarly, films directed by John Hughes have taken hold in midnight movie venues, trading off of nostalgia for the 1980s and an ironic appreciation for their optimism. Mathijs and Sexton describe Grease (1978) as a film nostalgic about an imagined past that has acquired a nostalgic cult following. Other cult films, such as Streets of Fire (1984), create

32220-406: Was reluctant to touch, such as violence, drug addiction, and misogyny . Lloyd Kaufman sees his films' political statements as more populist and authentic than the hypocrisy of mainstream films and celebrities. Despite featuring an abundance of fake blood, vomit, and diarrhea, Kaufman's films have attracted positive attention from critics and academics. Excess can also exist in films that highlight

32400-449: Was unable to find financing for any of his other screenplays. Qualities that bring cult films to prominence – such as an uncompromising, unorthodox vision – caused Alejandro Jodorowsky to languish in obscurity for years. Transgressive films as a distinct artistic movement began in the 1970s. Unconcerned with genre distinctions, they drew inspiration equally from the nonconformity of European art cinema and experimental film ,

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