Given that 'cult' and 'transnational' cinema, as terms, have been subject to considerable debate then it may appear foolhardy to attempt any examination of their inter-relatedness. To take just one example, Andrews (2013, 103) has explored five different meanings of cult, covering unintentional cases drawn from 'world cinemas' , and intentional attributions including cult film's articulations (or not) with the status of 'art'. Similarly, Mette Hjort has catalogued various meanings of transnationalism, including 'epiphanic, affinitive and milieu-building types … [which] reveal a resistance to purely economic thinking that opportunistic transnationalism does not' (Hjort 2010, 19; see also Brienza 2016, 28, 29). However, such careful multiplicities of meaning-making mask the surprising fact that despite cult cinema's frequent border-crossings-as films produced in one national context are appropriated and valorised by fervent fans in another-theories of cult and transnational cinema have only relatively rarely been brought together. Indeed, Dolores Tierney notes that rather than displaying 'a delight in the textual poverty' of 'badfilm' hailing from Latin America, cult movie scholarship could instead benefit from a fuller 'exploration of what happens (to the effective operation of [cultists'] subcultural ideology) when a first-world audience delights in the [alleged] textual failures of a third-world film' (Jancovich et al. 2003, 1; Tierney 2014, 131, 132). Transnational theory may thus be able to enhance necessary critical perspectives in areas of cult study, just as cult analysis might work at the same time to highlight the absences and marginalisations that have shaped transnational cinematic analysis to date (Miller, Schiwy, and Salván 2012). For instance, thinking about the circulation of cult meanings can cast a far greater light on the formal and informal distribution (Lobato 2012) of transnational cult movies, as they are recontextualised across national boundaries by specialist DVD/Blu-ray distributors, branded by imprints of labels (Mathijs and Sexton 2011, 239), or accessed illicitly and internationally via online forums and their niche communities (Crisp 2015). Furthermore, in this very journal it has recently been persuasively argued that 'extreme art film' can be reconceptualised as a form of transnational cinema, with presumed national identities giving way to the cross-cultural traffic and exchange of ideas (Hobbs 2015). The same may be said for cult cinema, we would argue, where 'national' traditions are often animated by transnational exchange. As I.Q. Hunter observes in British Trash Cinema: [C]ult subculture [in Britain from the late seventies to mid-nineties] was not especially focused on British films, not least because the cult qualities of foreign films allowed us to escape from the repressions of British culture, and there was more cultural capital to be earned from investment in other cinemas .… American cultists in the 1970s were often far more enthusiastic and proactive in championing Brit...
