 Cult films can be used to help define or create groups as a form of subcultural capital ; knowledge of cult films proves that one is " authentic " or " non @-@ mainstream " . They can be used to provoke an outraged response from the mainstream , which further defines the subculture , as only members could possibly tolerate such deviant entertainment . More accessible films have less subcultural capital ; among extremists , banned films will have the most . By referencing cult films , media can identify desired demographics , strengthen bonds with specific subcultures , and stand out among those who understand the intertextuality . Popular films from previous eras may be reclaimed by genre fans long after they have been forgotten by the original audiences . This can be done for authenticity , such as horror fans who seek out now @-@ obscure titles from the 1950s instead of the modern , well @-@ known remakes . Authenticity may also drive fans to deny genre categorization to films perceived as too mainstream or accessible . Authenticity in performance and expertise can drive fan acclaim . Authenticity can also drive fans to decry the mainstream in the form of hostile critics and censors . Especially when promoted by enthusiastic and knowledgeable programmers , choice of venue can be an important part of expressing individuality . Besides creating new communities , cult films can link formerly disparate groups , such as fans and critics . As these groups intermix , they can influence each other , though this may be resisted by older fans , unfamiliar with these new references . In extreme cases , cult films can lead to the creation of religions , such as Dudeism . For their avoidance of mainstream culture and audiences , enjoyment of irony , and celebration of obscure subcultures , academic Martin Roberts compares cult film fans to hipsters . 
