 Academic Peter Hutchings , noting the many definitions of a cult film that require transgressive elements , states that cult films are known in part for their excesses . Both subject matter and its depiction are portrayed in extreme ways that break taboos of good taste and aesthetic norms . Violence , gore , sexual perversity , and even the music can be pushed to stylistic excess far beyond that allowed by mainstream cinema . Film censorship can make these films obscure and difficult to find , common criteria used to define cult films . Despite this , these films remain well @-@ known and prized among collectors . Fans will occasionally express frustration with dismissive critics and conventional analysis , which they believe marginalizes and misinterprets paracinema . In marketing these films , young men are predominantly targeted . Horror films in particular can draw fans who seek the most extreme films . Audiences can also ironically latch on to offensive themes , such as misogyny , using these films as catharsis for the things that they hate most in life . Exploitative , transgressive elements can be pushed to excessive extremes for both humor and satire . Frank Henenlotter faced censorship and ridicule , but he found acceptance among audiences receptive to themes that Hollywood was reluctant to touch , such as violence , drug addiction , and misogyny . Lloyd Kaufman sees his films ' political statements as more populist and authentic than the hypocrisy of mainstream films and celebrities . Despite featuring an abundance of fake blood , vomit , and diarrhea , Kaufman 's films have attracted positive attention from critics and academics . Excess can also exist as camp , such as films that highlight the excesses of 1980s fashion and commercialism . 
