 Mark Shiel explains the rising popularity of cult films as an attempt by cinephiles and scholars to escape the oppressive conformity and mainstream appeal of even independent film , as well as a lack of condescension in both critics and the films ; Academic Donna de Ville says it is a chance to subvert the dominance of academics and cinephiles . According to Xavier Mendik , " academics have been really interested in cult movies for quite a while now . " Mendik has sought to bring together academic interest and fandom through Cine @-@ Excess , a film festival . I. Q. Hunter states that " it 's much easier to be a cultist now , but it is also rather more inconsequential . " Citing the mainstream availability of Cannibal Holocaust , Jeffrey Sconce rejects definitions of cult films based on controversy and excess , as they 've now become meaningless . Cult films have influenced such diverse industries as cosmetics , music videos , and fashion . Cult films have shown up in less expected places ; as a sign of his popularity , a bronze statue of Ed Wood has been proposed in his hometown , and L 'Osservatore Romano , the official newspaper of the Holy See , has courted controversy for its endorsement of cult films and pop culture . When cities attempt to renovate neighborhoods , fans have called attempts to demolish iconic settings from cult films " cultural vandalism " . Cult films can also drive tourism , even when it is unwanted . 
