Im thinking with sand, here!
Bubba Ho-Tep
comedy, intertextuality, cult films
Comedy
Comedy is part of social interaction
Comedy
It permits saying things that are otherwise not permissible.
"in any other social context it would express and arouse
hostility"
Jerry Palmer. Taking Humour Seriously
Comedy
Comedy expresses ambivalence about the social system.
Comedy
The figure of the fool or clown
the actions of the fool are understood in a specific way
special permission or a sacred place for the reversal of
norms
Intertextuality
Why intertextuality and comedy?
Intertextuality
Reflect our understanding of texts, more generally
Intertextuality
Intertextuality ripe for comedy, because it may undercut
established norms of genres, narratives and more.
Intertextuality
Intertextuaity connects to the social interaction of comedy
establishes inclusion/exclusion which is important for cult
films
Cult Films
Cult films are those which are deemed to offer something beyond
the mainstream usual and they frequently trade on the power of
transgression.
(Tanya Krzywinska)
Cult Films
films become cult only in circulation; the term identifies a
text whose life is perpetuated by a spectatorship. Cult, therefore,
is a status, not a description.
(C. Paul Sellors)
Cult Films
Hence, to say that [a film] is a cult film is to say that it
attaches to it a sense of the sacred, the awful.
(Michael Grant)
Cult Films
Entertaining a cult film means, for at least an instant, turning
your back on seemly or fitting cinema.
(Jonathan L. Crane)
Cult Films
the prefix cult invariably carries connotations of the unusual
and the bizarre.
(Bill Osgerby)
Cult Films
The cult film has most often been defined in two ways: as any
picture that is seen repeatedly by a devoted audience, and as a
deviant or radically different picture, embraced by a deviant
audience.
Bruce Kawin (After Midnight)
Cult Films
There are, then, at least two broad categories of the cult film,
both of which invite us to go walking after midnight. The first
might be called inadvertent, the second programmatic.
Bruce Kawin (After Midnight)
Cult Films
It must provide a completely furnished world so that its fans
can quote characters and episodes as if they were aspects of the
fans private sectarian world
Umberto Eco (Casablanca:
Cult Movies and Intertextual Collage)
Cult Films
I suspect that a cult movie [] must display some organic
imperfections.
Umberto Eco (Casablanca:
Cult Movies and Intertextual Collage)
Cult Films
I think that in order to transform a work into a cult object one
must be able to break, dislocate, unhinge it so that one can
remember only parts of it, irrespective of their original
relationship with the whole.
Umberto Eco (Casablanca:
Cult Movies and Intertextual Collage)
Cult Films
It should display not one central idea but many. It should not
reveal a coherent philosophy of composition. It must live on, and
because of, its glorious ricketiness.
Umberto Eco (Casablanca:
Cult Movies and Intertextual Collage)
Cult Films
A dependence on intertextual frames.
Umberto Eco (Casablanca:
Cult Movies and Intertextual Collage)
Cult Films
the cult relies for its very existence on [] extratextual
matters.
J.P. Telotte (Beyond All Reason:
The Nature of the Cult)
Cult Films
an almost worshipful [] attitude toward particular figures from
Hollywood so-called golden age.
J.P. Telotte (Beyond All Reason:
The Nature of the Cult)
Cult Films
a transformation of the cinematic event as something totally
outside the diegesis
J.P. Telotte (Beyond All Reason:
The Nature of the Cult)
Cult Films
it is very difficult to think of the cult film outside of the
cult film experience.
J.P. Telotte (Beyond All Reason:
The Nature of the Cult)
