Abstract
What makes some bad films “so-bad-they’re-good”? We explain the paradoxical appeal of trash films with reference to Wiseau’s 2003 cult classic The Room and argue, from the perspective of cognitive film theory, that the film’s obtrusive violations of Classical Hollywood conventions deny viewers narrative absorption but allows them to derive from those very violations a humorous pleasure that is often social in nature.
| Original language | English |
|---|---|
| Journal | 16:9 |
| ISSN | 1603-5194 |
| Publication status | Published - Nov 2019 |