Comparison of Artistic Presentation of Cult Films between Snake Killers and Man Behind the Sun
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Abstract
Background and Aim: This study examines cult cinema as a distinctive cinematic phenomenon through a comparative analysis of The Snake Killer and The Man Behind the Sun. Cult films are often characterized by unconventional narratives, extreme aesthetics, and their appeal to niche audiences that exist outside mainstream cinematic norms. Drawing upon film studies and communication theory, this research investigates the directors’ creative intentions and the use of audiovisual language, particularly in the representation of violence and transgression.
Methods: A mixed-methods approach combining qualitative interviews with film practitioners and scholars, and a quantitative audience survey was employed to analyze artistic presentation and audience reception.
Results: The findings reveal significant differences in the artistic strategies of the two films. The Man Behind the Sun utilizes realistic depictions of violence to evoke historical memory and political reflection, whereas The Snake Killer emphasizes symbolic and sensational aesthetics to construct a distinctive cult identity. These differences are reflected in their audiovisual language, including composition, scene construction, and narrative emphasis.
Conclusion: This study demonstrates how cult cinema in Asia functions not only as a form of aesthetic experimentation but also as a cultural medium that reflects social anxieties while challenging dominant cinematic conventions. By bridging Asian cult film analysis with communication theory, the research contributes to a deeper understanding of how extreme imagery and transgressive narratives shape audience perception and the artistic identity of cult cinema.
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