Farnam Moradi Nejad; marzieh piravi vanak; Ahmad Alasti
Abstract
The definition of cult movies as "sometimes deserted films which have so –called serious fans and followers who never forget their beloved bed-movie during the time and Repeatedly discuss about it and feel joy by frequent viewing", is one the accepted definition in context of cinematic studies ...
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The definition of cult movies as "sometimes deserted films which have so –called serious fans and followers who never forget their beloved bed-movie during the time and Repeatedly discuss about it and feel joy by frequent viewing", is one the accepted definition in context of cinematic studies and history. This research paper investigates the issue of precise recognition of behavioral /identical characteristics of statistical society of level A(N=54) who are individuals that introduce themselves as a fan or cultist of five Iranian selected cult movies during four years through social networks. Through the research and by using an analytical/surveying method as the first phase of recognition, basically the influence coefficient of ((cult)) and ((blockbuster)) terms in two statistical sets of mass people of two Iranian metropolis Isfahan and Tehran (C level-N=203) and students of cinema and other artistic disciplines in different colleges and art schools in cities like Isfahan Art and Culture University, Yazd Art and Culture university,Payame-noor-University.Iranian Young Cinema Society, Tehran Radio and Television Art school (B level-N=115) determined and it was found that we can't find the cult movie's cultist haphazardly. By questioning about identical/individual/ecological/behavioral characteristics of this set ,research foundlings can be summarized :the dominant cluster of cultists of this five selected Iranian cult movies are masculine ,mid-ages ,high-educated ,secluded person who are familiar with cult term and the main reason of their cultist acts refers to first their judgment about directorship/formal and stylistic aspects and particularly the script /narrative/subtexts/dialogues and then self-identification t and other reasons
