Editing Cult film (section)

===Nonfiction===
Sensationalistic documentaries called [[mondo film]]s replicate the most shocking and transgressive elements of exploitation films. They are usually modeled after "sick films" and cover similar subject matter.<ref name=mondo/> In ''[[The Cult Film Reader]]'', academics Mathijs and Mendik write that these documentaries often present non-Western societies as "stereotypically mysterious, seductive, immoral, deceptive, barbaric or savage".<ref name=mondo2>{{cite book|title=The Cult Film Reader|last1=Mathijs|first1=Ernest|last2=Mendik|first2=Xavier|publisher=[[McGraw-Hill International]]|year=2007|isbn=978-0-335-21923-0|pages=1–10|chapter-url=https://books.google.com/books?id=dWX4AAAAQBAJ&pg=PA10|chapter=What Is Cult Film?}}</ref> Though they can be interpreted as racist, Mathijs and Mendik state that they also "exhibit a liberal attitude towards the breaking of cultural taboos".<ref name=mondo2/> Mondo films like ''[[Faces of Death]]'' mix real and fake footage freely, and they gain their cult following through the outrage and debate over authenticity that results.<ref>{{cite news|url=http://www.sptimes.com/News/102600/Weekend/Lifting_the_mask_from.shtml|title=Lifting the mask from 'Faces of Death'|last=Welch|first=Michael Patrick|work=[[Tampa Bay Times]]|date=2000-10-26|access-date=2014-05-03}}</ref> Like "so bad it's good" cult films, old propaganda and government hygiene films may be enjoyed ironically by more modern audiences for the camp value of the outdated themes and outlandish claims made about perceived social threats, such as drug use.<ref name="cult-intro"/> Academic Barry K. Grant states that [[Frank Capra]]'s ''[[Why We Fight]]'' World War II propaganda films are explicitly not cult, because they are "slickly made and have proven their ability to persuade an audience."<ref>{{cite book|title=The Cult Film Reader|editor1-last=Mathijs|editor1-first=Ernest|editor2-last=Mendik|editor2-first=Xavier|last=Grant|first=Barry K.|publisher=[[McGraw-Hill International]]|year=2007|isbn=978-0-335-21923-0|page=78|chapter-url=https://books.google.com/books?id=dWX4AAAAQBAJ&pg=PA78|chapter=Science Fiction Double Feature: Ideology in the Cult Film}}</ref> The [[sponsored film]] ''[[Mr. B Natural]]'' became a cult hit when it was broadcast on the satirical television show ''[[Mystery Science Theater 3000]]'';<ref>{{cite news|url=http://www.nola.com/arts/index.ssf/2013/03/buzz_podewell_69_longtime_dire.html|title=Buzz Podewell, 69, longtime director and acting teacher, dies|last=Mahne|first=Theodore P.|work=[[The Times-Picayune]]|date=2013-03-29|access-date=2014-05-03}}</ref> cast member [[Trace Beaulieu]] cited these educational shorts as his favorite to mock on the show.<ref>{{cite news|url=http://www.nbcnews.com/pop-culture/tv/robot-roll-call-mystery-science-theater-3000-cast-share-favorite-f2D11624170|title=Robot roll call! 'Mystery Science Theater 3000' cast share favorite episodes as show turns 25|last=Cooper|first=Gael Fashingbauer|work=[[NBC News]]|date=2013-11-24|access-date=2014-05-03}}</ref> Mark Jancovich states that cult audiences are drawn to these films because of their "very banality or incoherence of their political positions", unlike traditional cult films, which achieve popularity through auteurist radicalism.<ref>{{cite book|title=The Cult Film Reader|last=Jancovich|first=Mark|editor1-last=Mathijs|editor1-first=Ernest|editor2-last=Mendik|editor2-first=Xavier|publisher=[[McGraw-Hill International]]|year=2007|isbn=978-0-335-21923-0|page=157|chapter-url=https://books.google.com/books?id=dWX4AAAAQBAJ&pg=PA157|chapter=Cult Fictions}}</ref>