流行电影大多是从“崇拜”的角度来讨论的，它不加批判地颂扬自己的“越轨”品质。《资本论》和《大众电影》通过将“低级”电影类型置于其特定的经济和文化背景中，并探索这些背景、支撑电影的直接工业经济利益和电影美学之间的相互联系，来回应对更坚实的学术方法的需求。通过对电影制作三个不同周期的研究——马里奥·巴瓦的意大利吉亚罗、费尔南多·门德斯的墨西哥电影和拉姆齐兄弟的印地语恐怖电影——资本与大众电影提出了一种比较方法，可以解释整个国家电影业的制作（“大众”和“经典”），适用于全球电影类型的研究。
根据新的研究，《首都与大众电影》将引起本科生和研究生、邪教与剥削电影、类型电影、国家电影、电影与媒体理论以及区域研究的研究人员和学者的兴趣。
Capital and Popular Cinema: The Dollars are Coming!
Popular cinema has mostly been discussed from a ‘cult’ perspective that celebrates uncritically its ‘transgressive’ qualities. Capital and popular cinema responds to the need for a more solid academic approach by situating ‘low’ film genres in their economic and culturally-specific contexts and by exploring the interconnections between those contexts, the immediate industrial-financial interests sustaining the films, and the films’ aesthetics. Through the examination of three different cycles in film production – the Italian giallo of Mario Bava, the Mexican films of Fernando Méndez, and the Hindi horror cinema of the Ramsay Brothers – Capital and popular cinema proposes a comparative approach that accounts for the whole of a national film industry’s production (‘popular’ and ‘canonic’), and is applicable to the study of film genres globally.
Based on new research, Capital and popular cinema will be of interest to undergraduate and post-graduate students, researchers and scholars of cult and exploitation cinema, genre cinema, national cinema, film and media theory, and area studies.
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