 Cult films have existed since the early days of cinema. Film critic Harry Allan Potamkin traces them back to 1910s France and the reception of Pearl White, William S. Hart, and Charlie Chaplin, which he described as "a dissent from the popular ritual". Nosferatu (1922) was an unauthorized adaptation of Bram Stoker's Dracula. Stoker's widow sued the production company and drove it to bankruptcy. All known copies of the film were destroyed, and Nosferatu become an early cult film, kept alive by a cult following that circulated illegal bootlegs. Academic Chuck Kleinhans identifies the Marx Brothers as making other early cult films. On their original release, some highly regarded classics from the Golden Age of Hollywood were panned by critics and audiences, relegated to cult status. The Night of the Hunter (1955) was a cult film for years, quoted often and championed by fans, before it was reassessed as an important and influential classic. During this time, American exploitation films and imported European art films were marketed similarly. Although critics Pauline Kael and Arthur Knight argued against arbitrary divisions into high and low culture, American films settled into rigid genres; European art films continued to push the boundaries of simple definitions, and these exploitative art films and artistic exploitation films would go on to influence American cult films. Much like later cult films, these early exploitation films encouraged audience participation, influenced by live theater and vaudeville.
