ABSTRACT
This chapter suggests that Cult cinema is both culturally specific and yet transglobal. Institutional practices central to the specific geographical location play a part, whether these are related to production or reception of films. In terms of the film works themselves, one can see that they also grow and develop out of complex, transglobal relationships, understandings and interpretations. Most canonical texts on cult cinema emerged from the Anglo-Saxon academic sphere and so interpretations and readings of the cult films tend to be coloured by the biases, prejudices and tastes of the writers schooled in this tradition. Western filmmakers projects and exploits, dubious ideas about the "other" onto cinema screens. A key example of this is Mondo Cane. Another cult work is the obscure feature animation Kanashimi no Beradonna from the Mushi studio. Representations of women in cult films are generally problematic. Female characterisation and narrative experiences are often related from a warped male perspective.
