 Cult films can create their own subculture . Rocky Horror , originally made to exploit the popularity of glam subculture , became what academic Gina Marchetti called a " sub @-@ subculture " , a variant that outlived its parent subculture . Although often described as primarily composed of obsessed fans , cult film fandom can include many newer , less experienced members . Familiar with the film 's reputation and having watched clips on YouTube , these fans may take the next step and enter the film 's fandom . If they are the majority , they may alter or ignore long @-@ standing traditions , such as audience participation rituals ; rituals which lack perceived authenticity may be criticized , but accepted rituals bring subcultural capital to veteran fans who introduce them to the newer members . Fans who flaunt their knowledge receive negative reactions . Newer fans may cite the film itself as their reason for attending a showing , but longtime fans often cite the community . Organized fandoms may spread and become popular as a way of introducing new people to the film , as well as theatrical screenings being privileged by the media and fandom itself . Fandom can also be used as a process of legitimation . Fans of cult films , as in media fandom , are frequently producers instead of mere consumers . Unconcerned with traditional views on intellectual property , these fan works are often unsanctioned , transformative , and ignore fictional canon . 
