Cult and Independent Films A cult film or cult classic is a piece of film work that has gained an audience following that can be classified as ‘cult’. A cult following is usually identifiable through the dedication and passion of the fan base that has lead to the establishment of a subculture. Cult films are usually screened repeatedly at small independent cinemas and encourage audiences to quote dialogue and other types of audience participation. Cult films are usually box office bombs that were ridiculed by a mainstream audience and required the cult classification to be accepted. Cult films are usually influenced by the term ‘art film’ and aim to be art rather than entertainment. The term cult film itself was first used in the 1970s to …show more content…
When you sleep, you don't control your dream. I like to dive into a dream world that I've made or discovered; a world I choose ... You can't really get others to experience it, but right there is the power of cinema." –David Lynch Director, screenwriter and ultimately artist David Lynch is known for dark, offbeat films that thrill, mystify and often intentionally confuse their audiences. “Absurdity is what I like most in life, and there's humour in struggling in ignorance. If you saw a man repeatedly running into a wall until he was a bloody pulp, after a while it would make you laugh because it becomes absurd.”- David Lynch. Born in Montana in 1946, Lynch studied art before experimenting with film in the late '60s. His most famous film works include Eraserhead (1977) his first film, establishing a cult following, Elephant man (1980) which was his first attempt at a commercial film, Blue Velvet (1986) his most classic independent film, Twin peaks (1992) a tv show that was responded to with a dedicated cult following fan base and his most successful Mulholland Drive (2001) an independent
In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.
Describe some ways in which business values and artistic values in Hollywood contend with one another.
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
The 1920s were a time of change especially concerning the entertainment industry and the build up of movie companies. Entertainment is an important aspect in everybody's lives and just like people entertainment changes constantly. In the beginning of this time period people were becoming less confined and open their minds to new ideas this had an effect of new ways to entertain. The big operation of this time period was films it started out with silent films, until “talkies” pictures that synchronized sound came out. The creation of films especially “talkies” changing movie business, culture, and, created a lasting effect on visual entertainment.
He convinces the audience that we all inherit these mad thoughts, whether it is talking to ourselves to murdering our enemies in reality through jokes and illusions. King attracts us by stating that “the potential lyncher is in almost all of us and every now and then.” He includes reasons why we continue to dare the nightmare and initiate our sense of being normal. His arguments portray normal people that think are not mentally ill, are. Demonstrating the choices, we make independently like buying that ticket and sitting down to watch the gore before our eyes, proves that our insanity gets the best of us and must feed our negative thoughts. Proving people’s odd decisions, he states, “When we pay our four or five bucks and seat ourselves at tenth-row center in a theatre showing a horror movie, we are daring the nightmare.” When explaining our mental health, he informs how we release our madness through bloody horror films.
His experimental and unique perverse screenwriting has shocked and inspired numerous people. His aesthetics painted horror vividly and presented itself dramatically. His musical and cinematic vision was a healthy extension of his devilishly, clever, and demented mind. His modes of publication with music, film and print, had and still a tremendous fanbase. He has gained our attention in every media related forum and we can’t look away, even if we try. He has left us cheering, screaming and on the edge of our seats. We leave feeling bad about ourselves for watching his visual storytelling unfold. “You know, it’s like, I’m going to sit here for 90 minutes and watch these guys get fucked up with no hope. That’s what I love about these films, you walk out feeling bad about yourself, saying “Why did I enjoy that? What does this say about me as a person?” It is a cathartic experience that horror lovers can have again and again. Not acting on those horrific urges, but instead, becoming one of his characters that were just never really understood and that evil is real. Evil never dies and revenge always wins or at least in horror
It amuses us to watch what we know will never happen. As King had said in his essay, “The fun comes from seeing others menaced - sometimes killed,” (King, “Why We Crave” 2). Accordingly, King had proposed that “we’re all mentally ill,” and theses emotions are part of the Human Condition (1). Just as we cry to release our sadness, we also need to find a way to express our insanity. We need horror films as cathartic release to be able to be “let loose to scream and roll around in the grass” (2).
One of the most prominent and influential directors in New Hollywood was Italian-American Martin Scorsese. His first major critical success, and what is often considered his “breakthrough” film, was 1973’s Mean Streets. This film helped to establish Scorsese’s signature style in regards to narrative and thematics as well as aesthetically. Scorsese developed a unique and distinct directorial flair to his films, with reoccurring themes, settings, cinematography, and editing techniques, among other elements. This led a number of film critics to declare Scorsese an “auteur,” similar to Jean-Luc Godard, Francois Truffaut, and other auteur directors of the French New Wave.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Reviewing cult movies, one will notice that many films will involve scenes using drugs such as marijuana or hallucinogens. Drugs performed in films with scenes of actors or actresses smoking pot tend to draw in a wide spread of audience: those who find marijuana to be the “sin” and fun to watch, and those of the smoking-hippie era themselves. Many cult drug films are solely based around marijuana or LSD because these are two drugs that cause someone to feel relaxed, or help stimulate the way the brain thinks. Many drugs that are viewed in films cause the audience to feel different from mainstream, therefore they play an important role towards the reception of the film. (Mathijs and Sexton, 164) With further discussion on the film and the way it was portrayed and viewed by the initial audience, I believe that Requiem for a Dream can be considered a cult film that prominently features drug use.
Rene Descartes was a philosopher who introduced a popular philosophical method called Radical Doubt in his book Meditations on First Philosophy. Descartes “proposed discarding any kind of belief that could be doubted, [because it] might be false”. In both Shutter Island directed by Martin Scorsese and The Shining directed by Stanley Kubrick, the viewers are introduced to characters that doubt the very existence of reality, much like Descartes, and who are drowned in the depths of insanity. Fear, paranoia, and doubt are the main ingredients that make both movies a psychological mind maze that constantly teases the brain in every turn. Martin Scorsese and Stanley Kubrick are both masters in cinema direction and are not regulars in the horror genre. Nonetheless, both have created a product that makes viewers question what it's like to be sane. The goal of this essay is to demonstrate the similarities and differences between Shutter Island and The Shining based on their themes of insanity, isolation, and alcoholism.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
Postmodern film directors such as Ridley Scott, Woody Allen, Quentin Tarantino, The Coen Brothers, David Lynch, Christopher Nolan and others, make films that are often highly original, by reproducing the very popular mood of anxiety, fear, uncertainty and cynicism that reflects in the general society.
When you stop to think about it, our ability to understand what goes on in a typical Hollywood film is shocking. Images jump from one to the next with little to no linearity. Perspectives jump around as if a person is spinning and floating around, and music and sounds emanate from nowhere and everywhere at once. The lights dim. Your body shifts about to get comfortable. It’s not bed time however. It’s time for a movie! The strong correlation between our film watching setting, and our dream making setting is too closely tied to be considered mere coincidence. Colin McGinn, author of The Power of Movies, in chapter four titled “Dreams on Film”, says “A child has to learn to read before a literary narrative can be processed, but watching a film requires nothing much beyond the capacity to dream” (113). McGinn argues that the reasons we are able to understand film so easily and readily, is because of our ability to dream. In dreaming, we create visual fantasies that seem to reflect memories and images we experience in our own lives. We might wake up in a heavy sweat, a confused state of mind, or a smile on our face, and it is these same emotions that can be brought about by film. Our ability to create and consume film stems from our innate ability to imagine and understand dreams. Robert Rodriguez’s film adaptation “Sin City” is a perfect case study of how film and dreams are interrelated.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.