Event: Cine-Excess V.
Odeon Covent Garden. 26-28 May 2011.

Title: “A Cult Called Django”.

Abstract: Amongst the Italian Western’s many devoted aficionados, Sergio Corbucci’s Django (1966) is revered as a tour de forceof the ‘Spaghetti’ aesthetic. Surreal, macabre and gleefully violent, its status as a non-Sergio Leone text bestows upon it a counter-canonical kudos further enriching its value as a ‘cult’ artefact. A pop-cultural phenomenon in its own right, its success spawned a host of imitations and unofficial sequels.

This paper will argue that the film’s cult status has arisen from a confluence of textual, cultural and industrial factors, which offers an intriguing case study of exploitation cinema’s assimilation into the global mainstream. Firstly, by locating Django within broader cultural vacillations between appropriation of, and resistance to, Americana in post-war Italy, I show how Django’s curious blend of generic and national influences has attained a cult ‘authenticity’: one which is ‘discovered’ and cherished by the dedicated fan. This surreal displacement of the Western genre into a distinctively native vision of Hollywood’s hallowed founding myth is thus analysed as a document of a certain kind of ‘Italian-ness’ – one in the throes of confusing cultural upheaval – which the more internationally-oriented films of Leone do not register so tangibly. Moreover, the film’s cult cachet in Anglophone markets was fostered by irregular distribution patterns, in part brought about by censorship, which secured the film a piecemeal cultural memory. Imprinted upon the popular imagination as a pop-art slideshow of ‘excessive’ set-pieces, Django became a transnational Rorschach test, appropriated, imitated and revered by cinephile, film buff and movie geek alike.

The paper will conclude by examining corollaries of these reception patterns: namely, the integration of Django into the consummate ‘cool’ of grindhouse cinema, and of this filmic milieu into the global mainstream. A frequent reference point in the work of such filmmakers as Tarantino and Rodriguez, Corbucci’s magnum opus has become part of a hermetically-sealed network of movie quotations. Removed from its social context, has the film therefore become just one of many depthless pop-cultural simulacra?