AW: Japan and Cult

[Stefan Nutz]

Jasper:
There's something interesting worth mentioning here, which is that the
studios themselves are intentionally trying to create 'cult' films, which
for me goes against the implied definition of a cult film, i.e. one that
finds its own audience.



Actually I don’t see any cult potential in Tokyo Gore Police & Co. Cult is
rather something that is created by the audience and fanboys over a certain
time period. Often films that are banned or aren’t available in whatever
format  (“Horrors of the Malformed Man” or Vibenius’s “They Call her One
Eye” are just two examples
 also Jacopetti and his sleaze films in the late
70’s). Miike’s “Fudoh” is one of the few Japanese films of the recent years
that has cult potential – at least to me.  

I see a big difference between cult and cheesy films. There is def. a market
for both, but the biggest difference is that cult films are often good films
and cheesy films are often bad films.  

 

Stefan


> Date: Thu, 18 Feb 2010 03:22:20 +0100
> From: berndstandhaft at gmx.de
> To: KineJapan at lists.acs.ohio-state.edu
> Subject: Re: Japan and Cult
> 
> Hi,
> 
> Mark Mays wrote:
> 
> > Interesting. I think the notion speaks to how Japanese films make it to
> > the West (the US in my case) and how they play to certain expectations/
> > notions of Japanese cinema especially in the 18 to 34 demographic.
> 
> I think an interesting example of transnational film marketing can be
experienced in the way some film producers in Japan tried to hop on the wave
of Japanese Cult Cinema in the West and produce films with an international
Cult Film Market in mind. I think of Machine Girl, Tokyo Gore Police,
Chanbara Beauty, Samurai Princess, Vampire Girl vs. Frankenstein Girl... .
Maybe the success of these films can explain why a film of the type of Hausu
can appeal to certain audiences even more than 30 years after the original
release in Japan and become Cult.
> 
> 
> Greetings
> Bernd
> 

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