Skip to main content

Introduction It’s Just a Jump to the Left

The Rocky Horror Picture Show and Popular Culture

  • Chapter
  • First Online:
Reading Rocky Horror
  • 461 Accesses

Abstract

Seldom are genres—cinematic, literary, musical, or otherwise—defined by a single text. When discussing science fiction, for example, one is hard-pressed to point to a single film and say, “Thats the one! Thats the essence of science fiction.” One could debate the question, of course— something both film scholars and cinema fans enjoy doing. Sticking with science fiction for a moment, is the definitive film something heady like 2001? An immense commercial success like Star Wars or Alien? Perhaps a throwback to times gone by such as (to take just two titles referenced by Rocky Horror itself): The Day the Earth Stood Still or Forbidden Planet? Each film—and certainly many others—likely would find its proponents, and if one put their fans in a room together and let them hash it out, perhaps a consensus would emerge as to which film is science fiction in its essence—but I wouldn’t bet on it!

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 39.99
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 54.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info
Hardcover Book
USD 54.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Works Cited

  • Austin, Bruce A. “Portrait of a Cult Film Audience: The Rocky Horror Picture Show.” Journal of Communications 31 (1981): 43–54.

    Article  Google Scholar 

  • Corrigan, Timothy. “Film and the Culture of Cult.” The Cult Film Experience: Beyond All Reason. Ed. J. P. Telotte. Austin: U of Texas P, 1991. 26–37.

    Google Scholar 

  • Day, Richard R. “Rocky Horror Picture Show: A Speech Event in Three Acts.” Socio-linguistics and Language Acquisition. Ed. Nessa Wolfson and Elliot Judd. Rowley, MA: Newbury House, 1983. 214–21.

    Google Scholar 

  • Eco, Umberto. “Casablanca: Cult Movies and Intertextual Collage.” SubStance 14.2 (1985): 3–12.

    Article  Google Scholar 

  • Grant, Barry Keith. “Science Fiction Double Feature: Ideology in the Cult Film.” The Cult Film Experience: Beyond All Reason. Ed. J. P. Telotte. Austin: U of Texas P, 1991. 122–37.

    Google Scholar 

  • —. “Second Thoughts on Double Features: Revisiting the Cult Film.” Unruly Pleasures: The Cult Film and Its Critics. Ed. Xavier Mendik and Graeme Harper. Guildford, UK: FAB Press, 2000. 13–28.

    Google Scholar 

  • Henkin, Bill. The Rocky Horror Picture Show Book. New York: Plume, 1979.

    Google Scholar 

  • Hoberman, J., and Jonathan Rosenbaum. Midnight Movies. 1983. New York: Da Capo, 1991.

    Google Scholar 

  • Kawin, Bruce. “After Midnight.” The Cult Film Experience: Beyond All Reason. Ed. J. P. Telotte. Austin: U of Texas P, 1991. 18–25.

    Google Scholar 

  • Kilgore, John. “Sexuality and Identity in The Rocky Horror Picture Show.” Eros in the Mind’s Eye: Sexuality and the Fantastic in Art and Film. Ed. Donald Palumbo. New York: Greenwood, 1986. 151–59.

    Google Scholar 

  • Kinkade, Patrick T., and Michael A. Katovich. “Toward a Sociology of Cult Films: Reading Rocky Horror.” The Sociological Quarterly 33.2 (1992): 191–209.

    Google Scholar 

  • Michaels, Scott, and David Evans. Rocky Horror: From Concept to Cult. London: Sanctuary Publishing, 2002.

    Google Scholar 

  • Minor, Mary Eden. “The Folklore of Mass-Mediated Celebration: Audience Participation at The Rocky Horror Picture Show.” Diss. University of Southwest Louisiana, 1995.

    Google Scholar 

  • Peary, Danny. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Dell Publishing, 1981.

    Google Scholar 

  • Piro, Sal. Creatures of the Night: The Rocky Horror Experience. Redford, MI: Stabur, 1990.

    Google Scholar 

  • Prouty, Howard H. “The Rocky Horror Picture Show.” Magills American Film Guide. 4th Ed. Frank N. Magill. Englewood Cliffs, NJ: Salem Press, 1983.

    Google Scholar 

  • Robbins, Betty, and Roger Myrick. “The Function of the Fetish in The Rocky Horror Picture Show and Priscilla, Queen of the Desert.” Journal of Gender Studies 9.3 (2000): 269–80.

    Google Scholar 

  • Samuels, Stuart. Midnight Movies. New York: Collier Books, 1983.

    Google Scholar 

  • Siegel, Mark. “The Rocky Horror Picture Show: More Than a Lip Service.” Science-Fiction Studies 7.3 (1980): 305–12.

    Google Scholar 

  • Telotte, J. P. “Beyond All Reason: The Nature of the Cult.” The Cult Film Experience: Beyond All Reason. Ed. J. P. Telotte. Austin: U of Texas P, 1991. 5–17.

    Google Scholar 

  • Twitchell, James B. “Frankenstein and the Anatomy of Horror.” The Georgia Review 37.1 (1983): 41–84.

    Google Scholar 

  • Wood, Robert E. “Don’t Dream It: Performance and The Rocky Horror Picture Show.” The Cult Film Experience: Beyond All Reason. Ed. J. P. Telotte. Austin: U of Texas P, 1991. 156–66.

    Google Scholar 

Download references

Authors

Editor information

Jeffrey Andrew Weinstock

Copyright information

© 2008 Jeffrey Andrew Weinstock

About this chapter

Cite this chapter

Weinstock, J.A. (2008). Introduction It’s Just a Jump to the Left. In: Weinstock, J.A. (eds) Reading Rocky Horror. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230616820_1

Download citation

Publish with us

Policies and ethics