Rick Auteur Theory

This section condenses brief extracts of fundamental literature which will inform and expand upon my aforementioned research questions, central arguments and project aims.

Writer Rick Altman theorises the formation and labelling of film genre in his academic study of genre theory. His influential framework provides a vital element to my proposal as I explore the boundaries of genre theory. My main argument suggests that cult film ought to be considered as a genre, rather than an ambiguous, broad grouping. In a journal article by Altman he summarises the development of a film genre. Altman suggests ‘Hollywood genre may be borrowed with little change from another medium, a second genre may develop slowly, change constantly and surge recognisably

In the books pivotal sixth chapter, the authors discuss cults relationship to auteur theory. The authors echo the words of film writer, Greg Taylor, by suggesting that film cultism in its origin, was conceived by an elite group of critics. The group of cadre critics would place valued aspects of popular culture on a pedestal; a highly subjective process which established them as critical provocateurs. Furthermore, it is suggested that filmmakers acknowledged this perception and therefore reaped the benefits of appeasing these niche values. Thus creating a new intention on behalf of filmmakers; to gain cult status. To depict the contemporary and historical forms of auteur cult filmmakers, Mathjis and Sexton designate each brand in the subchapters of chapter six. The two authors, outline five kinds of cult auteur; the dead, the romantic, the self conscious and the female. The renewed terminology and clarity of structure is advantageous to their argument as the analysis of each facet of auteurism leaves little room for criticism. In addition to this, each of the subchapters cite a real example of each brand of filmmaker. In the 'romantic cult auteur' they suggest director John Waters. Waters is presented as a cult figure, who has intentionally constructed his cult image and manoeuvred his

The essay unlike the aforementioned literature is an early exploration into cult expression within art. Benjamin suggests that art in its origin was a ritualistic, magical and a religious tradition which found its mode of expression in cult value. Nevertheless, it is important to consider that the period in which Benjamin was writing had alternate connotations associated with the term cult. These associations were rooted in religion, rather than pop-culture. Benjamin argues that the introduction of mechanical reproduction has threatened the purity and cult value of art, which has in turn been replaced with an emphasis on exhibition value. Exhibition value refers to the movement of art into a public sphere, an action of the bourgeois which resulted in art being more concerned with profit and economy than quality and meaning. Despite his address being directed towards the issue of arts and culture, Benjamin does consider the role of filmmaking in relation to the technological advancements. He states in his final analysis that film makes ‘cult value recede into the background not only by putting the public in the position of the critic, but also by the fact that at the movies this position requires no attention. The public is an examiner, but an absent-minded one’ © (need to