Further Reading

Allen, Jerry C. Conrad Veidt: From Caligari to Casablanca.

Revised ed. Pacific Grove, CA: Boxwood, 1993. Brosnan, John. The Horror People. New York: St. Martin's

Press, and London: MacDonald and Jane's, 1976. Budd, Mike, ed. The Cabinet of Dr. Caligari: Texts, Contexts, Histories. New Brunswick, NJ: Rutgers University Press,


Conrad Veidt Society Official Home Page, available online at http://www.geocities.com/Hollywood/Studio/7624/ Official.html.

Telotte, J. P. ''Beyond All Reason: The Nature of the Cult.'' In The Cult Film Experience: Beyond All Reason, edited by J. P. Telotte, 5-17. Austin: University of Texas Press,


Matt Hills still is widely perceived as the special province of a gay male fandom. Other types of subcultural fandom may also be linked to the revaluation of particular stars. For example, fans of classic horror may especially appreciate movie stars from the silent era, such as Conrad Veidt (1893-1943), whose appearances in films such as Das Kabinett des Dr. Caligari (The Cabinet of Dr. Caligari, 1920) and Orlacs Hande (The Hands of Orlac, 1924) linked him to stylized acting performances and representations of the sinister. Far from being a main-

stream ''leading man,'' Veidt nevertheless has become a focal point for a specific horror fan and cinephile community who can interpret his ''monstrous'' and marginal characters in relation to the antimainstream difference of their own fan culture. Rather than suggesting that particular types of fandom may be especially linked to certain stars, the case of gay male fandom shows that mainstream male stars such as Keanu Reeves can also be revalued or reinterpreted, especially stars whose publicity images represent their sexuality in an ambiguous manner.

Conrad Veidt. everett collection. reproduced by permission.

Conrad Veidt. everett collection. reproduced by permission.

Organized fandom can thus sustain different readings of ubiquitous star images as well as especially valuing certain stars as a badge of distinction and marker of distance from ''the mainstream.''

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