Film Buff University
“Let’s do the Time Warp again!”…and again…and again.
The Rocky Horror Picture Show often is considered the archetypal ‘cult film’ (or ‘midnight movie’). But what does that mean? Merriam-Webster provides several definitions of ‘cult,’ including “faddish devotion; also a group of persons showing such devotion.”
Scholars freely admit that the quest to provide an agreed-upon, simple definition for ‘cult film’ is about as easy as marching on the Black Gate of Mordor. However, a common theme is that one does not simply set out to make a ‘cult film’ – rather, an audience crowns the film with its cult status. The audience of devotees keep resurrecting the film long after it has finished its primary run. But the fans don’t just watch the film on their own; they want to celebrate their devotion with other likeminded people – people who ‘get it.’ Perhaps Stuart Samuels (1983) put it best when describing showings of these films as “a special event. It’s a show. It’s a party.” (p. 1)
In the case of Rocky Horror, it’s not just the pelvic thrusts that drive the fans insane. So what is it? Why do those of us who love it await the next public showing with so much antici--…--pation?
There are many reasons. For some it’s the homages to old, campy horror and sci-fi double-features. For others it’s the opportunity to dress up and celebrate thumbing our noses at rigid, ‘traditional’ sexual and gender norms. Others enjoy the collaborative experience of engaging in callouts with various alternative scripts. That’s just the tip of the iceberg.
One thing I want to highlight is the sing-a-long aspect. Recent scientific research suggests that singing together not only makes us feel good, it can also make us feel bonded socially. It further solidifies a feeling of ‘us’ – we feel we are with people who understand and value us. In short, we belong. Ultimately, that’s what everyone wants. So, whether you are RHPS Virgin, Veteran, or Regular, join us for the ritual.
Danny Peary’s Cult Movies books (any of them)
Hoberman, J., & Rosenbaum., J. (1983). Midnight movies. New York, NY: Harper.
Jancovich, M., Lázaro Reboll, A., Stringer, J., & Willis, A. (Eds.). (2003). Defining cult movies: The cultural politics of oppositional taste. Manchester, UK: Manchester University Press.
Keeler, J. R., Roth, E. A., Neuser, B. L., Spitsbergen, J. M., Waters, D. J. M., & Vianney, J. M. (2015). The neurochemistry and social flow of singing: Bonding and oxytocin. Frontiers in Human Neuroscience, 9, 518. https://doi.org/10.3389/fnhum.2015.00518
Kreutz, G. (2014). Does singing facilitate social bonding. Music & Medicine, 6(2), 51-60.
Mathijs, E., & Sexton, J. (2011). Cult cinema: An introduction. West Sussex, UK: Wiley-Blackwell.
Pearce, E., Launay, J., van Duijn, M., Rotkirch, A., David-Barrett, T., & Dunbar, R. I. (2016). Singing together or apart: The effect of competitive and cooperative singing on social bonding within and between sub-groups of a university Fraternity. Psychology of Music, 44(6), 1255-1273.
Samuels, S. (1983). Midnight movies. New York, NY: Collier Books.
Welch, G. F., Himonides, E., Saunders, J., Papageorgi, I., & Sarazin, M. (2014). Singing and social inclusion. Frontiers in Psychology, 5, 803. https://doi.org/10.3389/fpsyg.2014.00803
Eric Wesselmann is a psychology professor. He is also a film buff and obtained a minor in Cinema Studies from ISU back in 2003. Since then he has maintained his film passions by regularly attending pop culture conventions (e.g., Horror Hound Weekend, Wizard World), spending way too much money on merch and autographs. He is a member of the WGLT Psych Geeks podcast, which comments on the interface between psychology and popular culture.