Kitsch is Cult Cinematic Masterpieces

Books on cult films are available in every bookshop; major television networks have devoted special shows to cult cinema; online journals and various research initiatives like the Cult Film Archive testify to the popularity of the issue. Cult films have become part and parcel of our culture which thrives on meta-cinematic and intertextual references. Despite (or perhaps because of) this cultural prominence, it has become increasingly problematic to define this category (Mathijs, 2008; Arbeit, 2008). Since, how can one put under one umbrella term such films as This Is Spinal Tap (1984), Eraserhead (1977), Dawn of the Dead (1978) or Gone with the Wind (1939) ? In this seminar we shall discuss most prominent characteristics of cult films, filmmakers and fan communities. Due to time constraints, we will concentrate on one major question: namely, on the relationship of cult cinema to kitsch. To do that, we will first become acquainted with theories and concepts used to define cult cinema. Further, we will concentrate on specific cult films to explore their content, style and genre as well as their consumption (audiences, reception, fan culture), political economy (ownership, promotion) and cultural status (how they fit a specific time and place). Some of the films that we will analyze are: The Big Lebowski (Coen Brothers, 1998), Un chien andalou (Bunuel / Dali, 1929), The Life of Brian (Goldstone, 1979), Trainspotting (Boyle, 1996). Since these are older films, the future course participants are very much welcome to make references to more contemporary films in their presentations. Englisch, LA Berufskolleg, PO 2004 Universität Siegen SoSe 2010 Englisch, LA Gymnasium / Gesamt, PO 2004 Englisch, LA Haupt / Real, PO 2004 Dr. Pietrzak Franger Monika Maria