ABSTRACT
The cinema culture that enabled the experiences has more or less passed, giving rise to other modes of attempted mastery and immersion. Kiss Me Deadly’s science-fictionality stems, then, from its depiction of a mid-1950s Los Angeles in terms of the maldistributed futurity intrinsic to a capitalist economy. Kiss Me Deadly plays on TV screens in the background of various scenes, and Richard T. Kelly’s film is full of allusions to it: Starla Van Luft urges Boxer Santaros ‘remember me’; there are even characters called Dr Soberin and Kefauver. J. Frank Parnell is clearly talking about himself, or at least one half of his brain is Southland Tales brings the anthropocene unconscious to the surface, as is so well-equipped to do, and offers a pair of solutions. The first textbook on cult cinema devotes a chapter to the genre, there is an edited collection about cult movies, and six of the first twelve Cultographies published since 2007 treat films.
