What is a cult movie? Why are only some movies considered a cult movie? How do they achieve this status? Why do we care? There is no singular answer to these questions. Cult movies have shaped not only the history of cinema, but the history of America. These obscure and revolutionary films have acquired a fan base so dominant and encompassing there is no better term to describe them but cult. To break them down simply there are four major categories to determine if your film is a cult film: Anatomy, Consumption, Political Economy, and Cultural Status. What makes up the film? Was it loved or hated at release? Did it bring in a lot of money? Does it cover a sensitive topic? What makes people love it now?

The exploration of this category in film is a wild ride through the 1900s. If someone could think of it, it happened in a film. A major part of cult film comes from an exploitative culture, taking advantage of the otherwise “taboo” subjects of every day life and providing them in the cheapest way possible to make money. The best way to learn about the rollercoaster life of exploitative cinema is through the 2010 documentary American Grindhouse. This hour and twenty-one minute documentary throws a vast amount of information about the transition of exploitative style films, showing us examples of movies from the early 1910s to the later 1970s. These taboo films are reactions to the culture around them, although they may influence actions of the viewers, they ultimately react to the world as it already is and what the viewers want to see.

Maniac is an anti-classic cult film, directed by Dwain Esper in 1934, written by his wife Hildegarde. It is a prime example of an exploitative film. As Robert G. Weiner would call him, Esper is the Prince of Exploitation, willing to do about anything to make a buck. Maniac‘s changing props, poor cut action scenes, and low quality audio begs the question of why this is a must watch film. Although it is commonly played off as a mess of a film with no true narrative, albeit true statements, it plays a far superior role in objectifying what is real and what we believe to be. Esper tackles a hard subject when he takes on mental disorders. During the Depression Era, in which the film was originally aired, there was very little knowledge on mental disorders. Due to production codes and regulations, Esper had to make his film into something “educational” or at least enough so that it passed, which explain the random cuts to disorder definitions. Although these definitions are no longer accurate enough today, during the time this is what the medical boards believed in and followed. Esper’s rough depiction of mania was at the extreme end of the spectrum, however, it fell in accurately at what the audience would have imagined themselves. This low-budget film almost painful to witness, but easy to enjoy. Most importantly it makes you ask what is real? What isn’t real? And reminds you to never look at grapes or oysters the same again.

Tom Gunning’s “The Cinema of Attractions” is one of the best pieces of literature to understand this. “Every change in film history implies a change in its address to the spectator, and each period constructs its spectator in a new way.” Gunning knows the best way to bring people to the cinema is to give them exactly what they want, usually the most extreme things and dark desires that most won’t admit to wishing for. People often live out their darkest desires vicariously through a form of media, whether it be a movie, song, or book. Society dictates how people conduct their lives, bringing about the ultimate suppression of needs and desires. As human beings we often have a moral compass to understand what is right and wrong, however, that doesn’t stop the darkness forming in the back of our minds. A majority live their entire lives without acting on these unwelcome desires. As people and culture change the media forms into the mold, filling the squares people aren’t allowed to fill. Blood soaked murder scene, transcendent highs, aggressive pornography, and nudity fill the screen and people buy a ticket. It’s all okay, its not real. After all, it’s only a movie.