 The transgressive nature of cult films can lead to their censorship . During the 1970s and early 1980s , a wave of explicit , graphic exploitation films caused controversy . Called " video nasties " within the UK , they ignited calls for censorship and stricter laws on home video releases , which were largely unregulated . Consequently , the British Board of Film Classification banned many popular cult films due to issues of sex , violence , and incitement to crime . Released during the cannibal boom , Cannibal Holocaust ( 1980 ) was banned in dozens of countries and caused the director to be briefly jailed over fears that it was a real snuff film . Although opposed to censorship , director Ruggero Deodato would later agree with cuts made by the BBFC which removed unsimulated animal killings , which limited the film 's distribution . Frequently banned films may introduce questions of authenticity as fans question whether they have seen a truly uncensored cut . Cult films have been falsely claimed to have been banned to increase their transgressive reputation and explain their lack of mainstream penetration . Marketing campaigns have also used such claims to raise interest among curious audiences . Home video has allowed cult film fans to import rare or banned films , finally giving them a chance to complete their collection with imports and bootlegs . Cult films previously banned are sometimes released with much fanfare and the fans assumed to be already familiar with the controversy . Personal responsibility is often highlighted , and a strong anti @-@ censorship message may be present . Previously lost scenes cut by studios can be re @-@ added and restore a director 's original vision , which draws similar fanfare and acclaim from fans . Imports are sometimes censored to remove elements that would be controversial , such as references to Islamic spirituality in Indonesian cult films . 
