What is a Cult Movie?

“The various elements that feed into Mathijs & Mendik’s (2008) ‘definition of cult film’ can be usefully employed to determine whether a film is a cult movie.” Discuss this observation making detailed reference to a film viewed on this module.

In this essay I will be talking about Mathijs and Mendiks criteria for cult films from its anatomy to its political economy to its cultural status. I will be also describing how the film ‘The Rocky Horror Picture Show’ (1975) fulfils every single one their criteria in some way and exemplifies what it means to be a cult film. I shall also discuss how another film ‘Eraserhead’ (1977) that is considered cult doesn’t fit all of their criteria.

One section of Mathijs and Mendik’s definition of cult film is its anatomy, this being its ‘style, format and generic modes’. They split anatomy into eight key elements, the first element is innovation. RHS was innovative and perhaps revolutionary in the way two of its lead characters engage in homosexual activities on camera, this was previously only hinted at in films. (Teenage fanatics. 2014)

The next part of cult films analogy highlighted by Mathijs and Mendik is its badness; films that are ‘valued for their ‘ineptness’ or poor cinematic achievement’ (Mathijs and Mendik. 2008. P.2). The aesthetic badness of RHS is found in its cliché set designs and plastic props. However how much we can attribute to parody and how much is genuine badness could be debated. Fourteen minutes into the film when Brad and Janet are entering the gates of Frankenfurter’s castle there is a ‘‘enter at your own risk’ notice repeatedly illuminated by lightning bolts and tacked by a ridiculously high iron fence’ (Weinstock. 2008. P.25). However the writers Sharman and Richard O’brien were keen to parody and tribute horror B movies of the 30’s such as Frankenstein and King Kong through to the 70’s so it is evident that this sign is a nod to these films (Smith. 2010. P.15). The camera work a minute after this as the camera zooms in and out of the tower is very bad; a most probably unintentional parody of the crash zooms in slasher flicks and Sci-fi films.

RHS transgresses the boundaries of good and bad by making light of its badness in the context of a parody. Mathijs and Mendiks say that by the ‘challenging of one or more ‘conventions’ of filmmaking’ (Mathijs and Mendik. 2008. P.2) transgression can be achieved. Both RHS and Eraserhead challenges stylistic, moral and political conventions. Most prominently RHS challenges the style conventions in its fashion. The costume designer Sue Blane did no research into classic horror film her style was informed by subcultures such as the hells angels. The result is a strange myriad of ripped fish-net tights and red hair that has impacted the development of punk music fashion trends. Politically the film is very charged with homosexual, bisexual and transvestite imagery and connotations that challenged the homophobic Americans this was also championed by artist such as David Bowies Ziggy Stardust.

Mathijs and Mendik state that cult films challenge the generic conventions whilst also adhering to ‘generic regimes of production’ by ‘mixing genres (Alien,1979), exposing and/or mocking a genre’s unwritten rules satirically (Blazing Saddles,1974) or hyperbolically exaggerating those rules’ (Mathijs and Mendik. 2008. P.2). RHS does all of these it is a clash between the genres of Sci-fi, horror, comedy and musical. It mocks the horror and Sci-fi genres unwritten rules in the form of exaggerated zoom shots that go into spires with equally exaggerated lightning bolts and it also features stylistic parodies of horror and Sci-fi B movies in its inclusion of over the top warning signs, space-outfits and gore. Eraserhead features no parody and no mixing of genres yet does challenge generic conventions in its style.

The references to the pop musical and film culture are found almost instantaneously within the opening number ‘science fiction double feature’, in this Frank says that he wants to be dressed like Fay Wray, the heroine of King Kong. RHS takes imagery from a plethora of pop iconography in film:

‘Characters act in the emotional register of figures in rock ‘n’ roll mythology’ (Smith. 2010. P.15)

RHS is full of intertextuality with old classic Horror and Sci-fi as well as its references to well-known cultural myths and archetypes. Riff Raff is the archetypal horror film doorman with his ‘Igor-like hump that mysteriously shifts about on Riff Raffs’s back’ (Weinstock. 2008. P.25) creepy voice and 1921 ‘Nosferatu’s’ Count Orlek-like features. The historical background that Rocky Horror encompasses is a chain of gothic literature such as Sheridan Le Fanu’s, 1871 ‘Carmilla’ a story about a lesbian vampire, Bram Stokers ‘Dracula’ and Mary Wollstonecraft Shelle ‘Frankenstein’; the latter is what RHS is adapted from. Eraserhead doesn’t contain a lot of intertextuality with myths or other films.

Loose ends is an element of cult films that Mathijs and Mendik propose leaves the viewer puzzling over its ending and meaning (Mathijs and Mendik. 2008. P.3). RHS ends with Riff Raff and Magenta revealing that they are aliens before they fly off to the planet Transsexual. The humans are left in a thick dust crawling in the dirt. The criminologist narrates over the top in time with the tune:

‘And crawling on the planet's face

Some insects called the human race

Lost in time, and lost in space

And meaning’

(The Rocky Horror Picture Show’. 1975)

This beautifully sums up the condition of our existence but the viewer is left puzzled at the pure zaniness and incomprehensible element of the plot. We are left wondering what will happen to Brad, Janet and Dr Scott, they are alive but what of their self, sexuality and relationship with each other have they been left with. This ending allows the viewer to speculate and fan theories to arise. The loose ending also allowed the sequal ‘Shock Treatment’ (1981) to be made.

Nostalgia is Mathijs and Mendiks idea of ‘a yearning for an idealized past’ (Mathijs and Mendik. 2008. P.3) and the last element in the analogy is Gore; this being ‘uncomfortable material – violence, decay, mutilation or cannibalism’ (Mathijs and Mendik. 2008. P.3). In RHS as with many cult films the nostalgia comes from remembering the time when they first sang along to it as well as remembering the times that the film represents.

The only real gore of the film is in the scene where Eddie an ex-delivery driver is murdered by Frank with an ice axe. In Eraserhead a different type of gore is explored verging more on elements of mutilation with the deformed baby.

Another section of Mathijs and Mendik’s definition of cult film is its consumption (Mathijs and Mendik. 2008. P.4). Justin Smith writes ‘certainly any thoroughgoing account of the cult film cannot ignore the cult that has grown up around the film itself’ (Smith. 2010. P.13). This is where Eraserhead fall short to RHS in terms of cult film definition because it has a far smaller cult following a far fewer rituals, live viewings and sense of community.

The first part of Mathijs and Mendiks section on consumption is its active celebration; this is the films celebration that is ‘close to the organized forms of religious or spiritual worship’ (Mathijs and Mendik. 2008. P.4). The active celebration of RHS is the ritualized celebration that it is so famous for, by the end of 1979 there were two showings a week at over 230 cinema’s. This lead to a form of cult following where the fandom adapted its own rituals such as dressing the part of Eddy, shouting responses to characters and throwing toast, water, toilet paper, hot dogs and rice at points throughout the film (Rocky Horror fan site. 2008). When telling my father that I was watching RHS he replied with a phrase that was obviously a running joke amongst Rocky fans ‘when watching RHS make sure you don’t ladder your tights’; this was disturbing to hear him say yet exemplifies active celebration nonetheless.

Another part of consumption is the films communion and community (Mathijs and Mendik. 2008. P.4). RHS’s late night viewings led diehard fans forming a sense of community that would meet up with a sense of belonging, camaraderie and fellowship before, during and after a screening:

‘Many of the film’s showings are prefaced by preshows involving the initiation of ‘’virigins’’, costume competitions, trivia bowls, parodies of beauty contests, or skits incorporating material from other movie cults.’ (Weinstock. 2008. P.142).

What Methijs and Mendik mean by the ‘liveness’ of a performance is its ability to give the viewer a sense of being there, or being part of it (Mathijs and Mendik. 2008. P.4). This is amplified by certain events such as festivals and sleepovers.

The forth part of consumption that RHS fulfils is commitment (Mathijs and Mendik. 2008. P.4). Die hard RHS fans possess an intense cinephilia with the trivia, commitment and rituals of the film. The rebellious quality of RHS ties in to its homo-eroticism. Any film with a wealth of overtly sexual homo-erotic scenes will likely herd an audience of rebellious people of alternative sexual groups to fight against the right wing system or whoever disagrees with the material in the film. Cinephilia is a rebellious attitude that is self-righteous and potentially pretentious condemning mainstream cinema.

Mathijs and Mendiks idea of an alternative canonization is the way that cult films are ‘pitched against ‘official’ canon’ (Mathijs and Mendik. 2008. P.4). Cult films are championed by their fandom and it often materialises in the films making their way to ‘top-100’s’, ‘best ever’ lists. These lists are often not even official but from amateur blogs and discussion groups.

Now I will discuss how Rocky Horror fulfils all of the criteria of Mathijs and Mendiks section on ‘the political economy of cult film’ (Mathijs and Mendik. 2008. P.5). Production is a part of the political economy of cult film that refers to incidents and myths that happened during the films production. Rocky Horror has a number of production legends and trivia, there is a myth of a serious motorbike accident with Meatloaf’s stunt double in the scene where he is being chased by Frank around the lab and another that the skeleton that comes out of the coffin is actually real. (The FW. 2010)

Promotion is the second part to the political economy of film (Mathijs and Mendik. 2008. P.6). After RHS initial flop as an unsuccessful hit it became popular at some late night viewings and advertisers started realising that they could ride this niche of cinema by marketing it as a cult film. Finally there is the films reception, this is the gravitas that it picks up in the ‘long period of public presence’. Testament to RHS popularity is the way that it has stayed in our collective conscious since its release and is still played at cinema’s around the world. Eraserhead was not marketed as cult film because its market was to fans of art films and their way of consumption is perhaps more restrained to meet ups between friends as supposed to seedy late night cinema viewings.

The cultural status of the film is split into the three sections of strangeness, allegory and cultural sensitivities (Mathijs and Mendik. 2008. P.7). RHS strangeness is evident when it is viewed and is seen by many as an allegory. RHS is a metaphor for the turning of culture from the hippie counterculture of free love to the culture of sexual cynicisms that we live in currently. (Transparency Now. No date) In Frank we find the perfect symbol of this new ideology; he draws from the archetypes of Hollywood this being the various characters in his castle and brings about his fantasies. Through watching Rocky Horror in a theatre we are ironically living in Frank’s castle; a society that turns ‘sex, violence and forbidden fantasies into theatrical spectacles’. (Transparency Now. No date). The concluding idea behind Rocky Horror is that the two Freudian drives of sex and aggression have been let free into popular culture however with this comes a dismantling of self that ends like the film does with us humans crawling in the mud. Eraserhead as with many David Lynch films contains a huge amount of allegorical material.

At the time the culture was sensitive about certain aspects of sex, and especially homosexuality. Until RHS it was only really hinted at. Rocky Horror is ‘described by director and screenwriter Todd Haynes as ‘nothing short of a Camp attack on rock and roll’, glam represented a ‘‘querring’’ of the masculine hegemony of popular music’ (Weinstock. 2008. P.35). This is exemplified by Frank the glam rock queen murdering Eddie who represents the old rock.

In conclusion RHS hits every single criteria of Mathijs and Mendik’s definition of cult film from its anatomy all the way through to its consumption, political economy and cultural status. Eraserhead on the other hand is still considered a cult film yet falls short of meeting all of Mathijs and Mendik’s points. I would disagree with a statement that says that if a film doesn’t meet all of Mathijs and Mendiks points then it is not a cult film because ultimately cult films are defined by their cult not their analysers hence why they are called cult films.

Bibliography

Eraserhead. United States: David Lynch, 1977. DVD.

Le Fanu, Joseph Sheridan and Kathleen Costello-Sullivan. Carmilla. Syracuse, NY: Syracuse University Press, 2013. Print.

Mathijs, Ernest and Xavier Mendik. The Cult Film Reader. Maidenhead, Berkshire, England: Open University Press/McGraw-Hill Education, 2008. Print.

Nosferatu. Weimer republic: F.W, Murnau, 1921. DVD.

Rocky Horror fan site. 2008. participation. [ONLINE] Available at: http://www.rockyhorror.com/participation/virgins.php. [Accessed 13 May 2016].

Smith, Justin. Withnail And Us: Cult Films And Film Cults In British Cinema (Cinema And Society Series). I. B. Tauris & Company, Limited, 2010. Print.

Stoker, Bram. Dracula. Charlottesville, Va.: University of Virginia Library, 1996. Print.

Shock Treatment. United States: Jim Sharman, 1981. DVD.

Teenage Fanatic. 2014. 5 Similarities between The Rocky Horror Picture Show and Shakespeare. [ONLINE] Available at: http://teenagefanatic.blogspot.co.uk/2014/01/5-similarities-between-rocky-horror.html. [Accessed 13 May 2016].

The FW. 2010. 10 things you didn't know about Rocky Horror Picture Show. [ONLINE] Available at: http://thefw.com/things-you-didnt-know-about-the-rocky-horror-picture-show/. [Accessed 13 May 2016].

The Rocky Horror Picture Show. United Kindgdom: Jim Sharman, 1975. DVD.

Transparency . no date. The Rocky Horror Picture Show and the Emergence of Recreational Evil. [ONLINE] Available at: http://www.transparencynow.com/evil.htm. [Accessed 13 May 2016].

Weinstock, Jeffrey Andrew. Reading Rocky Horror. New York, NY: Palgrave Macmillan, 2008. Print.

Django analysis

Write a detailed 2000 word analysis of one clip or scene (10-15 minutes in length) from one of the films shown during the course.

Quentin Tarantino is a post-modernist filmmaker who is renowned in his presentation and at times glorification of violence. His interpretation of history is manipulated and at times unrealistic but he deploys a suspension of disbelief that overrides the implausibility of the narrative. His hallmark is his vast wealth of homages he makes to films that inspired him by remixing and referencing old genres and iconic films with a detail and creativity. Tarantino has made nine films so far which more or less cover different genres of historically popular areas of filmmaking.

Tarantino released ‘Django Unchained’ (2012) in 2012 with the aim of creating a Spaghetti Western film that portrays ‘everything that America has never dealt with because it's ashamed of it’(Hiscox. 2007). ‘Django Unchained’ (2012) has gained cult status from its topic and aesthetics.

Mathijs and Mendik propose the idea that cult films can be identified by a series of conventions or as they put it ‘The Anatomy’ (Mathijs and Mendik, 2007. P. 2). Cult films contain innovation either aesthetically or thematically to spark ‘shocks to the system’ (Mathijs and Mendik, 2007. P. 2) and changes to film history. Thematically ‘Django’ (2012) is subversive in its topic of extreme racial empowerment and reversal of racist dynamics. An example of how this is portrayed aesthetically is the transition in Django’s clothing.
He starts the film wearing only a piece of cloth around his waste but with help from Dr Shultz he works his way up the ranks going from slave to a comically blue suited valet to a smart and affluent Mandingo professional.

My chosen scene to analyse is the scene where Django and Dr Shultz enter Daughtrey. In this scene Django is dressed in very tattered clothing, dirty hat and has a poorly groomed beard. This combined with the shocked looks from bystanders solidifies Django’s position as an outcast.

It is only at the end of the film after all the white slaver men have been killed he is dressed in Calvin’s clothes smoking through his cigarette holder; he has physically and visually stolen Calvin’s position.

Typically Westerns made at the time of the racially segregated society which America and Europe consisted at the time of the westerns heyday seldom depicted African Americans even though they were ‘very visible in the real West’ (Loy, 2001. P. 1). This limited inclusion of blacks reflected the ‘current formula deemed acceptable to the public.’(Loy, 2001. P. 1 cited in Sarf. P. 224). When Westerns did reflect African Americans they did so only in the way that adhered to white stereotypes depiction:

‘blacks as loyal servants who want to be cared for by white people, blacks as pursuing menial occupations, blacks as naturally funny and cowardly, and blacks as dancers and entertainers.’(Loy. 2001, P.1)

Films like these had the motive of belittling blacks and maintain social order as they watched them, often in segregated cinema’s. With this topic in mind Tarantino also draws on another genre entirely; Blaxploitation; these films where popularised in the 1970’s which were made for the viewing of black people in the interest of racial empowerment.

‘If there were more than 5 black on a corner it would be considered a riot so they’d bring out the dogs, if your fought back you went straight to jail… the only way we could get away with it was on the screen’ (BadAssss Cinema. 2002)

They were often glorified violence and featured x-rated material. Cult cinema identified by Mathijs and Mendik is the inclusion of gore and uncomfortable material (Mathijs and Mendik, 2007. P. 2). ‘Django Unchained’ (2012) has bloody violence by the bucket load and uncomfortable torture scenes to boot especially in the Mandingo fighting scenes. The Blaxploitation film ‘Mandingo’ (1975) was one of the first to show the true horrors of black slavery and served as inspiration for Tarantino. In my chosen scene Dr Shultz murders the Sheriff quickly and gorily shooting him in the chest.

The black people with the exception of Steven; Calvin’s loyal head slave, hate being enslaved let alone enjoy caring for their owners. Stephen is Tarantino’s satirically comical interpretation of the black slave that previous westerns sought to represent. Just like how in previous Westerns ‘mythical Uncle Toms and sadistic whites collude to maintain slavery – a clever moral escape-hatch negate white guilt and guarantee crossover appeal’ (Speck .2014. P. 185).

Blaxploitation films featured soundtracks consisting of various musical styles including funk and soul music. ‘Django Unchained’ (2012) takes its own spin on a Blaxploitation soundtrack by including the song ‘Lo Chiamavano King’ which is fundamentally a soul song that sounds very similar to the theme song in ‘Boss Nigger’ (1975).

Mathijs and Mendik explain that Cult films will adhere to specific genres of films yet often they will mix genres together and carnivalise them by ‘mocking a genre’s unwritten rules satirically’ (Mathijs and Mendik, 2007. P. 2). ‘Django Unchained’ (2012) is a mix of genres including Spaghetti Western, Blaxploitation, slavesploitation and ozploitation.

In my chosen scene elements of Blaxploitation come through with the use of the N word and the portrayal of Django’s sexual prowess through his exchange with the lady in the window.

‘Django Unchained’ (2012) is very Spaghetti Western orientated, this genre is characterised by its use of close up camera work, antihero protagonist and music. Django takes a great deal from what is known as the ‘Dollar trilogy’ this being Sergio Leonies films ‘A Fistful of Dollars’(1964),  ‘For A Few Dollars More’(1965) and ‘The Good The Bad and The Ugly’(1966). Sergio Leone, employed a signature camera technique accidently breaking many of the previous rules that filmmakers thought necessary.

The music score played a big factor in making the ‘dollar trilogy’ iconic Ennio Morricone’s music was abnormal in its use of gunshots, cracking whips, whistles and voices. The music is considered an important score in movie history and is praised with its use of special effects to comically punctuate the action.

Tarantino made a decision to use Ennio Moricone for Django’s (2012) soundtrack, the song ‘The Braying Mule’ is played in my chosen scene as Django and Dr Shultz enters Daughtrey. This gives the film Nostalgia because the imagery and music is reminiscent of the scene in ‘A fistful of dollars’ when the man with no name enters the town. Ennio Moricone music is playing building suspense. There’s even some imagery that Tarantino takes from it with the hang mans rope hanging near the hero’s head denoting death. Nostalgia is one of Mathijs and Mendik codes for the Cult film Nostalgia in film is the films ability to trigger a sense of yearning for an idealized past (Mathijs and Mendik, 2007. P. 2).. Anyone who has seen the ‘A Fistful Of Dollars’(1964) will get a huge wave of nostalgia from just hearing its soundtrack.

The main elements of Spaghetti Westerns that are present in ‘Django Unchained’ (2012) is the direct referencing it makes to Sergio Corbucci’s 1968’s ‘Django’ (1966). Tarantino has said himself that he was directly ispired by Sergio Corbucci’s Django. It makes a few subtle nods to Corbucci by incorporating one the original’s actors Franco Nero.

Intertextuality is a renowned feature of cult films and of Tarantino’s style and is another one of Mathijs and Mendiks criteria for a cult film (Mathijs and Mendik, 2007. P. 2). ‘Django’ (2012) exemplifies Tarantino’s intertextuality with homages, references , quotes and inside jokes most probably reaching the triple figure mark.

When Django meets with one of Calvin Candies friends who’s played by the original Django; Franco Nero, he tells Franco that his name is Django ‘the d is silent’ with which Nero replies with ‘I know’. Movie trivia is rife in Tarantino films and which provide the keen eyed and cinematically informed a postmodern perspective.

The subtlest and perhaps most pleasure giving homages that Tarantino makes is Django’s blue suit scene. FW Murnau’s 1919 silent film ‘Knabe in Blau’(1919) was inspired by a 1770’s painting by Thomas Gainsborough called ‘The Blue Boy’. Murnau at the time was one of the most innovative film directors in his use of a camera technique which allowed filmmakers to move camera’s ad this techniques name was the ‘unchained camera technique’. This is testament to his range of references that changes the mainstream conventions of cinematic structure by toying with a bricolage of ‘high’ and ‘low’ art.
When viewing ‘Django’ (2012) with old spaghetti westerns in mind you can see the link between the ‘dollar trilogy’ in the way that camera frames into specific areas of the characters such as the eyes to emphasise a character looking or turning gaze and the hands or guns to show that the character is ready to draw his weapon. This technique Tarantino combines with his signature zoom in shot that he takes inspiration form 1970’s ‘kung fu’ movies.

This zoom shot can be seen in my chosen scene when Django and Dr Shultz enter the bar the barman is fixing the light and when he turns around spotting Django he shouts out with surprise ‘what the hell you think your doing boy, get that nigger out of here’ (Django Unchained, 2012). This is accompanied by one of Tarantino’s zoom shots which punctuate the surprise whilst also looking comically bad echoing the humorous way that the light swings and hits the barman’s head. A minute later the zoom shot is used again on Dr Shultz, this shows the versatility of the shot type as it can inform violence and humour.
Mathjis and Mendik propose that Cult films are meant to be bad, ‘aesthetically or morally’ attaining the status of otherness (Mathijs and Mendik, 2007. P. 2). ‘Django’s’ (2012) 70’s style zoom in’s and at times over the top blood effects and not to forget an awfully bad Australian accent from Tarantino himself are all examples of this concept. Cult films do however transgress these boundaries between good and bad at sometimes being very inventive and sometimes being very crude. Spike lee was one of the people who expressed concerns that the film mentions the ‘N’ word 110 times.

Loose ends define films as Cult according to Methijs and Mendik. It gives an open interpretation on moral dilemma’s philosophical points and of course it gives rise to debate within the cult film fan base community giving them ‘the freedom of speculating on the story’ (Mathijs and Mendik, 2007. P. 3). In ‘Django’ (2012) after the hero and his wife ride off victorious the question is begged if they will end up okay now.

Other things that I would like to talk about in my chosen scene is the way that classic western character and imagery is employed. We see Django ride next to Dr Shultz on a horse the silhouette is off a western classic ominous figure championed in ‘the dollars trilogy’. Dr Shultz is in his dentistry wagon and this makes us think of the infamous quack doctors that are so dominant in Western legend. The town is the stereotypical Western town verging on looking exactly like a classic Western movie set, even the bars swing doors ooze Hollywood fantasy.

The ‘dollar trilogy’ was one of the first western main protagonists to be an anti-hero, a man with good traits but who is ultimately morally ambiguous. In my chosen scene moral ambiguity is found in the character of Dr Shultz who explains over a pint to Django that not much is different to his profession to slavery; ‘like slavery it’s a flesh for cash business’ (Django Unchained. 2012). This darkness to the character is shown by the chiaroscuro lighting highlighting the duality of man.

Bill Shop looks aesthetically like the classic Sheriff with high authority, when Dr Shultz shoots him he immediately seems like an outlaw with no care for the system of authority. This concept is so unconventional and overwhelming to the bystanders and we even see a lady faint.

Inside the Bar the camera work consists of extreme close ups of the pint glasses and bar pumps accompanied by heightened sound effects. This contrasts at times with extreme long shots that define directors like Sergio Leone, this Tarantino offers as a nod to his inspirations.

In conclusion ‘Django Unchained’ (2012) is a masterful incarnation of cult film that ticks all of Mathijs and Mendik’s boxes. It combines unconventional inventiveness, provocative subject matter and stylistic decisions with a huge array of homages, references and general intertextuality. I chose the scene I did because I think it displays clearly all of these points but the greatness behind ‘Django Unchained’ (2012) is that if we look hard enough we can see all this in mostly all of its scenes.

Bibliography:

Loy, R. Philip. Westerns And American Culture, 1930-1955. Jefferson, N.C.: McFarland, 2001. Print.

Mathijs, Ernest, and Xavier Mendik. The Cult Film Reader. Maidenhead, Berkshire, England: Open

University Press/McGraw-Hill Education, 2008. Print.

Speck, Oliver C. Quentin Tarantino's Django Unchained. Bloomsbury. 2014. Print.

Hiscock, John (April 27, 2007). "Quentin Tarantino: I'm proud of my flop". The Daily Telegraph

Baadasssss Cinema. 2002. Isaac Julien. Dir USA: Independent Film Channel.

Django Unchained. USA: Quentin Tarantino, 2012. Columbia Pictures. DVD.

Django. Spain: Sergio Corbucci, 1966.  Euro International Film. film.

Mandingo. USA: Kyle Onstott, 1876. Paramount Pictures. film.

Boss Nigger. USA: Jack Arnold, Dimension Pictures, 1975. film.

A Fistful Of Dollars. Spain: Sergio Leone, Unidis, 1964. film.

A Few Dollars More. Spain: Sergio Leone, Unidis, 1965. film.

The Good the Bad and the Ugly, Spain: Sergio Leone, Unidis. 1966. film