
Contents
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Cult males, male cults and the ‘New Lad’ Cult males, male cults and the ‘New Lad’
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Boyhood dreams come true: Shaun of the Dead and the context of contemporary horror-comedy Boyhood dreams come true: Shaun of the Dead and the context of contemporary horror-comedy
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On-screen fanzines? On-screen fanzines?
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Heaving bosoms and diaphanous nightgowns: Lesbian Vampire Killers Heaving bosoms and diaphanous nightgowns: Lesbian Vampire Killers
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Pissed-off, man-hating, feminist cannibals: Doghouse Pissed-off, man-hating, feminist cannibals: Doghouse
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Conclusion Conclusion
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Notes Notes
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Cite
Abstract
In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of horror-comedy hybrids. Through acknowledgement of the ways in which cult film fandom has traditionally been gendered as ‘male’, and often as immature, crude and boyish, I draw parallels between recent horror-comedies that use these stereotypes as ironic self-critiques of the filmmakers’ themselves and their desired audience. I ultimately locate these films within discourses surrounding ‘New Lad’ culture of the 1990s, which has similarly been linked to contemporary cult film fandom (Hollows 2003; Read 2003). Through a discussion of themes, industry statistics and textual analysis, I show how films such as Shaun of the Dead, Doghouseand Lesbian Vampire Killerssatirise the social marginality of laddish behaviour by placing fannish ‘New Lad’ types within a horror film environment, thus literalising many of the stereotypes that have figured within contemporary academic writing on cult film audiences.
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