Some used hardcore pornography and horror, occasionally at the same time. New films often have trouble making inroads against the institutions of It's A Wonderful Life and Miracle on 34th Street These films provide mild criticism of consumerism while encouraging family values. Newer fans may cite the film itself as their reason for attending a showing, but longtime fans often cite the community. Fans will occasionally express frustration with dismissive critics and conventional analysis, which they believe marginalizes and misinterprets paracinema.

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The Night of the Hunter was a cult film for years, quoted often and championed by fans, before it was reassessed as an important and influential classic. Mathijs criticizes the over-cultified, commercialized nature of Halloween and horror films, which feed into each other so much that Halloween has turned into an image or product with no real community. At the same time, they state that bourgeois, masculine tastes are frequently reinforced, which makes cult films more of an internal conflict within the bourgeoisie, rather than a rebellion against it. Despite this, these films remain well-known and prized among collectors. The early cult horror films of Peter Jackson were so strongly associated with his homeland that they affected the international reputation of New Zealand and its cinema. Topicality, which can be regional such as objection to government funding of the film or critical such as philosophical objections to the themes , enables attention and a contextual response. These underground film festivals led to the creation of midnight movies , which attracted cult followings. Film censorship can make these films obscure and difficult to find, common criteria used to define cult films. Mathijs also identifies specific cult film viewing habits, such as viewing horror films on Halloween, sentimental melodrama on Christmas, and romantic films on Valentine's Day. Their playful and ironic acceptance of regressive lad culture invites, and even dares, condemnation from academics and the uncool. When fans like a cult film for the wrong reasons, such as casting or characters aimed at mainstream appeal, they may be ridiculed. However, Mathijs says the film must invoke metacommentary for it to be more than simply culturally important. Joanne Hollows states that they were seen as turning cult films mainstream — in effect, feminizing them by opening them to distracted, passive audiences. Even within subcultures, fans who break subcultural scripts, such as denying the affectivity of a disturbing film, will be ridiculed for their lack of authenticity. She was expected to recreate the transgressive elements of her cult films within the confines of mainstream cinema. The constant use of profanity and drugs in otherwise mainstream, Hollywood films, such as The Big Lebowski, can alienate critics and audiences yet lead to a large cult following among more open-minded demographics not often associated with cult films, such as Wall Street bankers and professional soldiers. Her use of common cult film motifs — female nudity and ambiguous gender — were repurposed to comment on feminist topics. Violence, gore, sexual perversity, and even the music can be pushed to stylistic excess far beyond that allowed by mainstream cinema. This results in an anti-academic bias despite the use of formal methodologies, such as defamiliarization. They can be used to provoke an outraged response from the mainstream, which further defines the subculture, as only members could possibly tolerate such deviant entertainment. Ernest Mathijs focused on the accidental nature of cult followings, arguing that cult film fans consider themselves too savvy to be marketed to, while Jonathan Rosenbaum rejected the continued existence of cult films and called the term a marketing buzzword. Thus, cult films become a tool to reinforce mainstream values through transgressive content; [78] Rebecca Feasy states that cultural hierarchies can also be reaffirmed through mockery of films perceived to be lacking masculinity. Although critics Pauline Kael and Arthur Knight argued against arbitrary divisions into high and low culture , American films settled into rigid genres; European art films continued to push the boundaries of simple definitions, and these exploitative art films and artistic exploitation films would go on to influence American cult films. Most definitions also required a strong community aspect, such as obsessed fans or ritualistic behavior. When films target subcultures like this, they may seem unintelligible without the proper cultural capital. Films which appeal to teenagers may offer subcultural identities that are easily recognized and differentiate various subcultural groups.

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