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Cult following

Group of fans who are highly dedicated to a specific area of culture

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A common component of cult followings is the emotional attachment the fans have to the object of the cult following, often identifying themselves and other fans as members of a community. Cult followings are also commonly associated with niche markets. Cult media are often associated with underground culture, and are considered too eccentric or anti-establishment to be appreciated by the general public or to be widely commercially successful.

Many cult fans express their devotion with a level of irony when describing such entertainment. Fans may become involved in a subculture of fandom, either via conventions, online communities or through activities such as writing series-related fiction, costume creation, replica prop and model building, or creating their own audio or video productions from the formats and characters.

Film

There is not always a clear difference between cult and mainstream media. Professors Xavier Mendik and Ernest Mathijs, authors of 100 Cult Films, argue that the devoted following among these films make them cult classics. In many cases, films that have cult followings may have been financial flops during their theatrical box office run, and even received mixed or mostly negative reviews by mainstream media, but are still considered a major success by small core groups or communities of fans.

Some cults are only popular within a certain subculture. The film Woodstock (1970) is especially loved within the hippie subculture, while Hocus Pocus (1993) holds cult status among American women born in the 1980s and early 1990s. Certain mainstream icons can become cult icons in a different context for certain people. Reefer Madness (1936) was originally intended to warn youth against the use of marijuana, but because of its ridiculous plot, overwhelming number of factual errors and cheap look, it became watched by audiences of marijuana smokers and has gained a cult following.

Quentin Tarantino's films borrow stylistically from classic cult films, but are appreciated by a large audience; therefore, Tarantino's filmography is noted worldwide as lying somewhere between cult and mainstream cinema. Also, certain cult phenomena can grow to such proportions that they become mainstream, such as the filmography of cult directors like John Waters, John Sayles, John Cassavetes, Armando Bó, Eliseo Subiela, Ruggero Deodato, Takeshi Kitano, Abbas Kiarostami or Jesús Franco.

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