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B Is for Bad Cinema continues and extends, but does not limit itself to, the trends in film scholarship that have made cult and exploitation films and other "e;low"e; genres increasingly acceptable objects for critical analysis. Springing from discussions of taste and value in film, these original essays mark out the broad contours of "e;bad"e;-that is, aesthetically, morally, or commercially disreputable-cinema. While some of the essays share a kinship with recent discussions of B movies and cult films, they do not describe a single aesthetic category or represent a single methodology or critical agenda, but variously approach bad cinema in terms of aesthetics, politics, and cultural value. The volume covers a range of issues, from the aesthetic and industrial mechanics of low-budget production through the terrain of audience responses and cinematic affect, and on to the broader moral and ethical implications of the material. As a result, B Is for Bad Cinema takes an interest in a variety of film examples-overblown Hollywood blockbusters, faux pornographic works, and European art house films-to consider those that lurk on the boundaries of acceptability.
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