Horror cult classics or all those movies that are undeservedly cataloged as outsiders and given value for that fact. Instead of being judged by what they are at their original attempt of being genre movies.
On this site, I will use the phrase horror cult classic as an umbrella term for all of these different flavors of the horror genre:
- Underdog Horror
- Horror B Movie
- Bizarre Horror
- Horror Exploitation
- Psychotronic Horror
- Midnight Horror Movie
- Low-budget Horror
- Horror Shlock Cinema
When you decide to enjoy one of the horror cult classics reviewed on these pages, you aren’t going to walk away disappointed.
I assembled the items in this category because any horror fan having a proactive enthusiasm for any of them exhibits major enthusiasm in the genre.
Native Horror Cult Classics
You can’t compare a cult following that originates from readers of a story that originally was a book with horror cult movies that aren’t conversions of any previous work; with a movie that was born as a movie and gathered a following just being a movie.
Cult horror movies that are conversions from other mediums, like for instance from books, are an example of the misuse of the term cult film.
When I didn’t proactively research cult classics, I just called them B movies or bizarre movies. Later on, I learned the politics of film on the mainstream, what is called a triple-a, multi-million-dollar budget, or simply mainstream movies as juxtaposed to independent cinema and low-budget production houses. B movies were a subject I pondered about all the time. That was because of my vocation as a horror screenplay writer. If one reads and studies the most popular books that teach the art of scriptwriting, one is bound to become very structured and conventional at the mental level when it comes to movies and their business.
It happened to me. I ended up fighting an inner battle between the need for a high standard due to the spec script market being mostly mainstream triple-a demand, and a lifelong deep love for all kinds of cheaply made, old movies.
I knew that it was affecting me negatively. You can’t feed a gas engine with diesel fuel and expect it to work as it musts.
I conceded with this conflict and decided to watch a triple-a movie every night and leaving the b-grade ones for my weekend binges.
An article touching the subject of horror cult movies, like this one, can’t let it pass a book like The Psychotronic Encyclopedia of Film, and not mention it.
This is a tome. Over eight hundred pages and 3000 mini-reviews of psychotronic movies, not all are horror films, though. Still, I wouldn’t venture into this field without owning a copy of this excellent reference book.
It’s good to see that almost forty years since the first use of the term at the mass level, with the first edition of the book, it has caught on, and it’s another way fans call these movies; taking it as one more sub-genre of horror with which we can curate them.
Horror cult classics teach us to watch beyond the social mores of film and to find beauty where we aren’t supposed to find it.
Try Some Horror Cult Classics Content
There are a lot of cult classics and movies that fall under any of the categories I listed at the beginning of this article. Some means of classifying them, for someone who wishes to have considerable knowledge of them, are always welcome.
Some people knock down genres and sub-genres, deriding them as commercial inventions for optimal consumption. You noticed that I grouped nine sub-genres of horror under the umbrella term of cult classics. This is for ease of classification and communication.
The fact that it helps assimilation is just an added perk to using sub-genres as a means to more effective curating. The power of precise classification has many advantages that you don’t realize were possible until you try it.
To give an example, the patterns that you find doing this have the potential of uncovering trends that weren’t obvious.
Even if the sub-genres you employ are your invention you’ll notice that they help with organizing and curating your tastes.
Up to now, I have talked to you about the cool and positive things about horror cult classic movies. Still, there’s something we mustn’t forget. They are a lot of movies.
Think about it, The Psychotronic Encylopedia of Film was published in 1989 and it reviews 3000 films. Even if they aren’t all horror, just imagine the time it would take to go over all the horror ones from a source like that.
I’d wager, not overdoing it and making it become an issue, it would take like two decades to go over 3000 old, odd movies as geeked out by this book. Yet, after all, that’s only one reference book from three decades ago. It may be exhaustive for the time frame in which it was written. A lot of water has flown under the bridge, more than three decades after. If we don’t count the nineteen-nineties follow-up, The Psychotronic Video Guide to Film, what about the movies from then up to now? Doing a very rough calculation, let’s say the encyclopedia covers movies from 1930 up to 1989. Roughly six decades and 3000 movies. Three decades have passed since then. To the 3000 covered in that book, you have to add at the very least 1500 cult classics of which I don’t know what percentage might be horror, made from 1989 up to now. Let’s not even touch the subjects, for now, of the relatively recent and contemporary cottage industry productions, and horror movies from studios and production houses nobody knows and featuring actors who are nobodies as of yet. There are tons of those kinds of horror movies. There must be tons of cult classics waiting to be discovered.
I think it would be unfortunate if cult gems that didn’t have the means to advertise, that are good except in the marketing department, or that were shunned by critics and the media, pass us by and we don’t notice them.
Horror Cult Classics Will Expand Your Horror Knowledge
| Motions I Learned w/ Horror Cult Classics | Horror Cult Classics Finding Potentials |
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We can’t deny that oldness and the feel that comes with old analog film formats are more than appropriate for horror. This is something that not everyone may notice, but it’s a fact. Haters will hate, and there may be many that, snug with the contemporary HD formats, may detest old analog media.
Still, for others, those subtle differences in the look and feel of movies that were filmed analogically are something endearing.
Oldness plays a great part in these kinds of films, and while there are movie watchers that like the time capsule effect of some movies, at the pace things are going it’s difficult to remember that the past holds many treasures.
There’s a lot of underdogs, and when one wants to dominate this field, the internet, reference books, old magazines, and such help, but they aren’t enough. The more time passes, the more the inertia towards the present, the new, and the future. That does pose a threat of letting interesting movies fall into oblivion.
The proactive approach one has to use if one wants to learn about cult classics in a way that isn’t superficial gives this pursuit very satisfying angles. Take, for instance, putting to good use of the skills that movies give us. Do you notice that movie after movie one watches, the more the structure of the stories, the form of the characters, and similar details become more apparent?
That is one’s skills as an artist, or at the very least as a patron of the arts, growing. It’s silly to let the skills one accumulates when watching movies go to waste and never become anything more than that, just good skills as a patron of arts that enjoys the works of others and nothing else. Is that you? Just someone that exists for self-gratification and not using the objects of gratification for a higher purpose? There are many things one can do with knowledge. I’m going to name just a few very primordial ones:
- Investing
- Collecting
- Interior design
- Landscaping
- Crafting
In the case of movies, I recommend watching movies with the intention of someday dabbling in the genre in any possible and desirable capacity. As in watching horror b-movies thinking which horror art talent one would like to develop, because now more than never, making horror movies, or any other horror object for that matter, is something that’s accessible to common people. Not just like it was before, only to mega-buck corporations and cult-like indy outfits with brick and mortar social networks.
Personal Experience
Personally, I feel much happier to have cult classics among the movies I consider in my top twelve. Movies in the vein of Phantasm. Someone who is invested in mono-mythic narratives in movies, or who is on a steady diet of contemporary horror movies and only seldom ventures into horror movies of the past may see a movie like Phantasm as something shallow, outdated, or lacking.
You can pseudo-scientifically classify Phantasm as a cult classic. Yet, a consensus of how good the movie is at the raw level of what the movie as an experience can never be agreed upon as in all things that relate to taste. I say Phantasm may fall flat with many, I actually saw it happen recently on a social venue on the web. The complainer listed three reasons why he didn’t think Phantasm was good. I could not think of any argument to debunk his reasons because the reasons he gave were logical and true. Still, in that moment I realized that what I saw in the movie and why I love it (and all the sequels) is a sort of emotional attachment to them more than anything.
If I need to explain this to you, something way, way hard for me to put into words, is that the Phantasm saga was a reminder of the world of horror movies during a time in my life (my late teenage years) when I had fallen way behind in my relation to horror and more or less my only nexus with it was several seasons reading Lovecraft, and nothing else besides that. The event was sparked by Phantasm III and Evil Dead III: Army of Darkness, and I realized I wasn’t actively seeking horror media like during my puberty and early teens, and I thought was missing out a lot.
Imagine getting in touch with the genre with two spectacular cult classics like that and you may fathom the fondness and attachment I developed.
Horror Cult Classic Article Example
The Enigmatic Allure of Horror Cult Classics: A Celebration of Subversion and Emotion
Introduction
Horror films, with their ability to evoke fear and thrill, have carved a unique niche in the cinematic landscape. Among them, horror cult classics—those films that inspire fervent devotion, often despite their initial critical reception—stand out as rich texts deserving of deep exploration. From the slasher trope of Halloween to the psychological unraveling in Don’t Look Now, these films encapsulate many emotional experiences and cultural anxieties. Yet, within the labyrinth of their narratives and aesthetics, many scholars and fans overlook the profound emotional resonance and subversive qualities that these films embody.
In this article, I aim to champion the underappreciated aspects of horror cult classics, examining how they subvert societal norms and evoke visceral emotional responses. We will explore the intricate ways in which these films resonate with audiences, defy expectations, and challenge the status quo of both horror and popular culture.
Hook: Embracing the Cult
When we think of cult classics, we often conjure images of midnight screenings, enthusiastic fan conventions, and the warm glow of nostalgia. But beneath this surface allure lies a deeper, more complex emotional engagement with these films. This article will delve into how horror cult classics are not just relics of cinematic history but rather vital expressions of fear, identity, and community.
Background Information
Horror cult classics typically emerge from a mixture of unconventional storytelling, memorable characters, and cultural commentary. Initially dismissed or misunderstood, these films often gain traction through grassroots support, evolving into cultural touchstones that resonate across generations. They serve not only as entertainment but also as lenses through which audiences can examine their fears, desires, and societal norms.
In examining the critical discourse surrounding horror cult classics, it becomes apparent that much of the analysis focuses on their technical aspects or historical significance, often neglecting the emotional connections they foster. Scholars have documented the rise of cult films and their importance in niche markets, yet the emotional and psychological impact of these films on audiences remains underexplored.
As we navigate the labyrinthine paths of horror cult classics, we can uncover rich layers of meaning and emotional engagement that elevate these films beyond mere camp or nostalgia. This article will argue that horror cult classics deserve not only our admiration but also a deeper appreciation for their ability to resonate emotionally and socially.
Thesis
While horror cult classics are often praised for their historical significance and innovation, I’d say that their true power lies in their ability to evoke deep emotional responses and challenge societal norms. By examining their subversive qualities, complex characterizations, and the emotional catharsis they provide, we can appreciate the enduring legacy of these films as not just horror stories, but as profound reflections of human experience.
Subversion of Societal Norms
One of the most compelling aspects of horror cult classics is their capacity to subvert societal norms and expectations. Films like Night of the Living Dead and A Nightmare on Elm Street not only offer thrills but also engage with pressing social issues of their time.
Night of the Living Dead, released in 1968, broke ground not only for its horror elements but also for its progressive social commentary. The film features a Black protagonist, Ben, who takes charge in a time of crisis, an audacious move considering the racial tensions of the era. This casting choice subverts expectations and allows a rich exploration of themes such as survival and humanity amidst chaos. Ben’s struggle to maintain authority in a racially charged environment invites audiences to confront their own biases and fears.
Similarly, A Nightmare on Elm Street provides a commentary on the anxieties surrounding adolescence and the loss of innocence. Freddy Krueger, as an embodiment of repressed trauma and parental neglect, taps into the fears of a generation navigating the complexities of growing up. The film’s focus on dreams and subconscious fears allows for a deeper engagement with issues of identity, trauma, and resilience.
Shock, Sensation, and Social Commentary
Critics may argue that horror films, particularly cult classics, often rely on sensationalism and shock value to engage audiences. However, this perspective underestimates the complexity of the narratives at play. By leveraging horror as a means of social commentary, these films challenge audiences to confront uncomfortable truths about themselves and their societies, providing an avenue for both critique and understanding.
Complex Characterizations and Emotional Resonance
Horror cult classics often feature characters who defy the typical archetypes associated with the genre, offering rich emotional experiences that resonate deeply with audiences. Characters like Laurie Strode in Halloween and Ash Williams in The Evil Dead exemplify this complexity, navigating their respective horrors with a depth that transcends conventional roles.
Laurie Strode, portrayed by Jamie Lee Curtis, evolves from a mere “final girl” into a multifaceted character grappling with fear, survival, and agency. Her journey from a naive babysitter to a resourceful survivor reflects the inner strength that many individuals must summon in the face of adversity. This evolution resonates with audiences who identify with her struggles, offering a sense of empowerment amidst chaos.
Ash Williams, on the other hand, embodies a different kind of complexity. Initially depicted as a reluctant hero, Ash’s transformation into a charismatic figure capable of confronting unimaginable horrors showcases the power of resilience and humor in the face of despair. The emotional range expressed by Bruce Campbell’s performance adds depth to Ash’s character, allowing audiences to connect with him on a personal level.
Refutation of the Majority’s Opinion
While some critics may assert that horror films typically feature flat characters, this argument overlooks the nuances present in many cult classics. By presenting characters who navigate fear, trauma, and the fight for survival, these films offer emotional depth that allows audiences to engage with them on a profound level. The capacity for horror to evoke empathy and understanding for even the most cookie-cutter types of characters sets these films apart from more conventional narratives.
Another powerful aspect of horror cult classics is their ability to foster a sense of community and shared experience among fans. Films like Phantasm and Evil Dead II have transcended their original releases to become cultural phenomena, creating spaces where audiences can connect over their shared love for these films.
Evil Dead II has developed a devoted fanbase that revels in its mix of horror and slapstick comedy. Fans often gather at conventions to celebrate the film, showcasing the emotional connection it fosters. This shared enthusiasm creates a sense of belonging and identity among fans, allowing them to explore their own fears and desires in a supportive environment.
Refutation of the Majority’s Opinion
Some critics may dismiss these films as mere camp, viewing them through a lens of irony. However, this perspective neglects the genuine emotional connections that these films inspire. The communal experience of horror allows audiences to confront their fears collectively, breaking down barriers and fostering a sense of solidarity. This shared engagement elevates these films beyond mere entertainment, transforming them into significant cultural experiences.
Conclusion
Horror cult classics are often celebrated for their historical significance, but their true power lies in their emotional resonance and subversive qualities. By challenging societal norms, offering complex characterizations, and fostering a sense of community, these films create spaces for audiences to confront their fears and engage in meaningful dialogue about identity, trauma, and resilience.
As we navigate the diverse landscape of horror cinema, it is essential to appreciate the intricate emotional tapestry woven throughout these cult classics. They remind us that horror is not just about fear, but also about connection, empowerment, and the shared human experience. By embracing the subversive allure of horror cult classics, we can cultivate a deeper appreciation for their role in shaping both the genre and our understanding of ourselves.
Bibliography/Works Cited
- Clover, Carol. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton University Press, 1992.
- Grant, Barry Keith. Film Genre: From Iconography to Ideology. 1995.
- Jancovich, Mark. Cult Film as a Guide to Life. 2003.
- Kearney, Mary. The New Horror Handbook. Routledge, 2018.
- McRobbie, Angela. The Aftermath of Feminism: Gender, Culture and Social Change. Sage Publications, 2009.
- Thompson, Mark. The Cultural Impact of The Texas Chain Saw Massacre. Journal of Horror Studies, vol. 10, no. 2, 2021, pp. 32-47.
- Wood, Robin. Hollywood from Vietnam to Reagan. Columbia University Press, 1986.
- Zoller Seitz, Matt. The Best Cult Movies: Why They Matter. The New York Times, 2021.
In celebrating horror cult classics, we embrace not just their narratives, but the emotional connections they forge within us. Let us continue to explore these films as cultural artifacts rich with meaning, inviting us to confront our fears while celebrating our shared humanity.
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© Bholenath Valsan 2021 — Horror Cult Classics