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Exploitation film is a type of film that is promoted by "exploiting" often lurid subject matter.

The term "exploitation" is common in film marketing, used for all types of films to mean promotion or advertising. These films then need something to exploit, such as a big star, special effects, sex, violence, romance, etc. An exploitation film, however, relies heavily on sensationalist advertising and broad and lurid overstatement of the issues depicted, regardless of the intrinsic quality of the film. Very often, exploitation films are of low quality in every sense.[1] Even so, exploitation films sometimes attract critical attention and cult followings.[citation needed]

Contents
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1 History 2 Grindhouses and drive-ins 3 Subgenres o 3.1 1930s and 1940s cautionary films o 3.2 Biker films o 3.3 Blaxploitation o 3.4 Cannibal films o 3.5 Carsploitation o 3.6 Chambara films o 3.7 Eco-terror films o 3.8 Giallo films o 3.9 Mockbusters o 3.10 Mondo films o 3.11 Nazisploitation o 3.12 Nudist Films o 3.13 Ozploitation o 3.14 Rape / Revenge films o 3.15 Sexploitation o 3.16 Shocksploitation o 3.17 Slasher films o 3.18 Spaghetti Westerns o 3.19 Splatter films o 3.20 Women in prison films o 3.21 Minor sub-genres 4 Directors associated with exploitation film 5 See also 6 References o 6.1 Notes o 6.2 Bibliography 7 External links

[edit] History

Exploitation films may feature suggestive or explicit sex, sensational violence, drug use, nudity, freaks, gore, the bizarre, destruction, rebellion, and mayhem. Such films were first seen in their modern form in the early 1920s,[2] but they were popularized in the 1960s and 70s with the general relaxing of censorship and cinematic taboos in the USA and Europe. The Motion Picture Association of America (and the MPPDA before it) cooperated with censorship boards and grassroots organizations in the name of preserving the image of a "clean" Hollywood, but exploitation film distributors operated outside of this circuit and often welcomed controversy as a form of free promotion.[2] Their producers also used sensational elements to attract audiences lost to television. Since the 1990s, this genre has also received attention from academic circles, where it is sometimes called paracinema. "Exploitation" is very loosely defined, and has more to do with the viewer's perception of the film than with the film's actual content. Titillating material and artistic content can and often do coexist, as demonstrated by the fact that art films that failed to pass the Hays Code were often shown in the same grindhouses as exploitation films. Exploitation films share with acclaimed transgressive European directors such as Derek Jarman, Luis Buuel, and Jean-Luc Godard a fearlessness toward handling 'disreputable' content. Numerous films recognized as classics contain levels of sex, violence, and shock typically associated with exploitation films, including Stanley Kubrick's A Clockwork Orange, Tod Browning's Freaks, and Roman Polanski's Repulsion. Buuel's Un chien andalou contains elements of the modern splatter film. It has further been stated that if Carnival of Souls had been made in Europe, that it would be considered an art film, while if Eyes Without a Face had been made in the U.S., it would have been categorized as a low-budget horror film. The art film and exploitation film audiences are both considered to have tastes that reject the mainstream Hollywood offerings.[3] Exploitation films often exploited events that occurred in the news and were in the short term public consciousness that a major film studio may avoid due to the length of time of producing a major film. For example Child Bride (1938) addressed a problem of older men marrying very young women in the Ozarks. Other issues such as drug use in films like Reefer Madness (1936) attracted an audience that a major film studio would usually avoid to keep their mainstream and respectable reputations. But if the motivations were strong enough, major studios might become involved, as in Warner Bros. 1969 anti-LSD, anti-counterculture film The Big Cube. Sex Madness (1938) portrayed the dangers of venereal disease from premarital sex. The film Mom and Dad (1945), a film about pregnancy and childbirth, was promoted in lurid terms. She Shoulda Said No! (1949) combined the themes of drug use and promiscuous sex. In the early days of film, when exploitation films relied on such sensational subjects as these, they had to present them within the context of a very conservative moral viewpoint in order to avoid censorship, as movies were not at the time considered to enjoy First Amendment protection.[4] Several war films were made about the Winter War in Finland, the Korean War and the Vietnam War before the major studios showed interest. When Orson Welles' Mercury Theatre Halloween 1938 radio production of The War of the Worlds shocked many Americans and made news, Universal Pictures edited their serial Flash Gordon's Trip to Mars into a short feature called Mars Attacks the World for release in November of that year.

Some Poverty Row lower budget B movies often exploit major studio projects. Their rapid production schedule can take advantage of publicity attached to major studio films. For example, Edward L. Alperson produced William Cameron Menzies' Invaders from Mars in order to beat Paramount Pictures' prestigious production of director George Pal's The War of the Worlds to the cinemas. Pal's The Time Machine was also beaten to the cinemas by Robert Clarke's Edgar G. Ulmer film Beyond the Time Barrier (1960). As a result, many major studios, producers, and stars keep their projects secret.

[edit] Grindhouses and drive-ins


Grindhouse is an American term for a theatre that mainly showed exploitation films. It is named after the defunct burlesque theatres, on 42nd Street, New York, where 'bump n' grind' dancing and striptease used to be on the bill. In the 1960s these theatres were put to new use as venues for exploitation films. As the drive-in movie theater (an outdoor theater into which the patrons drive and watch the film from their car) began to decline in the 1960s and 1970s, theater owners began to look for ways to bring in patrons. One solution was to book exploitation films. In fact, some producers in the 1970s would make films directly for the drive-in market. Many of them were violent action films which some would refer to as 'drive-in' films.

[edit] Subgenres
Exploitation films may adopt the subject matters and stylings of film genres, particularly horror films and documentary films. The subgenres of exploitation films are categorized by which characteristics they utilize. Thematically, exploitation films can also be influenced by other so-called exploitative media, like pulp magazines. Exploitation films often blur genre lines by containing elements of two or more genres at a time. For example, Doris Wishman's Let Me Die A Woman contains both shock documentary and sexploitation elements.

[edit] 1930s and 1940s cautionary films


Exploitation films made in the 1930s and 1940s were films that got around the strict censorship and scrutiny of the era despite featuring lurid subject matter by claiming to be educational in nature. They were generally cautionary stories about the alleged dangers of premarital sex and drug use. Examples include Marihuana (1936), Reefer Madness (1938), Sex Madness (1938), Mom and Dad (1945), and She Shoulda Said No! (1949). One exploitation film concerning homosexuality, Children of Loneliness (1937), is now considered a lost film.[5]

Poster for a blaxploitation film

[edit] Biker films


Main article: Outlaw biker film In 1953 The Wild One, starring Marlon Brando, was the first film about a motorcycle gang. A string of low-budget juvenile delinquent films centered around hot-rods and motorcycles followed in the 1950s. The success of American International Pictures' The Wild Angels in 1966 ignited a trend that continued into the early 1970s. Other biker films include Motorpsycho (1965), Hells Angels on Wheels (1967), The Born Losers (1967), Satan's Sadists (1969), Nam's Angels (1970), and C.C. and Company (1970). (See also List of biker films.)

[edit] Blaxploitation
Main article: Blaxploitation Black exploitation, or "blaxploitation" films, are made with black actors, ostensibly for black audiences, often within a stereotypically African American urban milieu. A prominent theme was African-Americans overcoming the Man through cunning and violence. The progenitor of this subgenre was Melvin Van Peebles' Sweet Sweetback's Baadasssss Song. Other examples include Black Caesar, Black Devil Doll, Blacula, Black Shampoo, Boss Nigger, Coffy, Coonskin, Cotton Comes to Harlem, Dolemite, Foxy Brown, Hell Up in Harlem, Live and Let Die, The Mack, Mandingo, Shaft, Sugar Hill, Super Fly, The Thing With Two Heads and Truck Turner. Quentin Tarantino's Jackie Brown and Scott Sanders' Black Dynamite are modern homages to this genre.

A cannibal film

[edit] Cannibal films


Main article: Cannibal film Cannibal films, otherwise known as the cannibal genre, are a collection of graphic, gory movies made in the early 1970s on into the late 1980s, primarily by Italian and Spanish moviemakers. These movies mainly focused on cannibalism by tribes deep in the South American or Asian rain forests, usually perpetrated against Westerners that the tribes hold prisoner. Similar to Mondo films, the main draw of cannibal films was the promise of exotic locales and graphic gore involving any living creatures, human or animal. The best known film of this genre is the controversial 1980 Cannibal Holocaust in which six animals are killed. Others include Cannibal Ferox, Eaten Alive!, The Mountain of the Cannibal God, Last Cannibal World, and the first cannibal film, The Man From Deep River. Famous directors in this genre include Umberto Lenzi, Ruggero Deodato, Jess Franco, and Joe D'Amato.

[edit] Carsploitation
Carsploitation films are films featuring many scenes of car racing and crashing with sports and muscle cars that were popular around the era. The quintessential film of this genre is Vanishing Point. Others include The Blues Brothers, Cannonball, The Hitcher, Death Race 2000, Dirty Mary Crazy Larry, Gone in 60 Seconds, Mad Max, Race with the Devil, and Two-Lane Blacktop. Quentin Tarantino's Death Proof is a modern homage to this genre, as well as to slasher films and the films of Russ Meyer. The Fast and the Furious franchises fit into this subgenre as well, as do the French Taxi series.

[edit] Chambara films


Main article: Chambara In the 1970s, a brand of revisionist, non-traditional samurai film rose to some popularity in Japan; the subgenre became known as chambara, an onomatopoeia describing the clash of swords. Chambara's origins can be traced as far back as Akira Kurosawa,

whose films featured moral grayness and exaggerated violence, but the genre is mostly associated with 1970s samurai manga by Kazuo Koike, on whose work many later films would be based. Chambara features few of the stoic, formal sensibilities of earlier jidaigeki filmsthe new chambara featured revenge-driven antihero protagonists, nudity, sex scenes, swordplay and blood. Well-known chambara films include Hanzo the Razor, Lady Snowblood, Lone Wolf and Cub, Sex and Fury and Shogun Assassin. Modern Japanese films such as Azumi and anime such as Shigurui continue the chambara tradition, and Quentin Tarantino's Kill Bill series is a prominent American tribute to the genre. Other films such as The Machine Girl and Tokyo Gore Police contain elements of chambara, combining it with body horror.

[edit] Eco-terror films


Eco-terror films, also called "nature-run-amok" or "natural horror" films or "eco-horror" films, focus on an animal or group of animals that are far larger and more aggressive than is usual for its species, terrorizing humans within a particular locale whilst a group of other humans attempt to hunt it down. This genre began in the 1950s, when concern over atomic testing led to the popularity of movies about giant monsters. These were typically either giant prehistoric creatures awakened by atomic blasts, or ordinary animals mutated by radiation.[6] These films included Godzilla, Them!, and Tarantula. The trend was revived in the 1970s as awareness of pollution increased, with corporate greed and military irresponsibility being blamed for destruction of the environment.[7] Night of the Lepus, Frogs, and Godzilla vs. the Smog Monster are examples of these movies. After the massive success of Steven Spielberg's 1975 Jaws, a number of highly similar films (sometimes regarded as outright rip-offs) were produced in hopes of cashing in on its success. These included Alligator, Cujo, Day of the Animals, Great White, Grizzly, Humanoids from the Deep, Monster Shark, Orca, The Pack, Piranha, Prophecy, Razorback, Tentacles, and Tintorera. Roger Corman was a major producer of these films in both decades. The genre has experienced a revival in recent years, with films such as Mulberry Street and Larry Fessenden's The Last Winter reflecting concerns over global warming and overpopulation.[8][9] The Sci-fi (now known as SyFy) Channel is a massive producer of such films with their original movies often consisting of nothing more than, "Giant _____ attacks!" Examples include Sharktopus and Dinoshark.

[edit] Giallo films


Main article: Giallo Giallo films are Italian-made slasher films that focus both on the cruel deaths committed by the killers and the subsequent search of detectives for the said killers. They are named for the Italian word for yellow, "Giallo", the color of which was the background of the pulp novels these movies were initially adapted from or inspired by. The progenitor of this genre was La ragazza che sapeva troppo (The Girl Who Knew Too Much). Other examples of Giallo films include 4 mosche di velluto grigio (Four Flies on Grey Velvet), Il gatto a nove code (The Cat o' Nine Tails), L'uccello dalle piume di cristallo (The Bird with the Crystal Plumage), La coda dello scorpione (The Case of the Scorpion's Tail), La tarantola dal ventre nero (Black Belly of the Tarantula), Lo strano vizio della Signora Wardh (The Strange Vice of Mrs. Wardh/Blade of the Ripper), Sei

donne per l'assassino (Blood and Black Lace) and Tenebrae. Dario Argento, Lucio Fulci and Mario Bava were the most proficient directors of this genre.

[edit] Mockbusters
Main article: Mockbuster In Italy, when you bring a script to a producer, the first question he asks is not what is your film like? but what film is your film like? Thats the way it is, we can only make Zombie 2, never Zombie 1. - Luigi Cozzi [10] Mockbusters, sometimes called "remakesploitation films", are copycat movies that attempt to cash in on the advertising of heavily-promoted major-studio films. Production company The Asylum, who prefers to call them "tie-ins", is a prominent producer of these films.[11] These have historically been associated with Italian cinema, which has been quick to latch on to such trends as Westerns, James Bond movies, and zombie films.[10] They have long been a staple of directors such as Jim Wynorski (The Bare Wench Project, and the Cliffhanger imitation Sub Zero) who make movies for the direct-to-video market.[12] These are beginning to attract attention from major Hollywood studios, who served The Asylum with a cease and desist order in an attempt to prevent them from releasing The Day the Earth Stopped to video stores in advance of the release of The Day the Earth Stood Still to theaters.[13] Though the term has gone as far back as the fifties (with The Monster of Piedras Blancas as a clear derivative of Creature From The Black Lagoon), it hasn't became populated until the seventies with Starcrash, Dnyay Kurtaran Adam and Spermen dnyor with the latter two to have unauthorized use of John Williams score as well as scenes from Star Wars amongst others.

[edit] Mondo films


Main article: Mondo film Mondo films, often called shockumentaries, are quasi-documentary films that focus on sensationalized topics, such as exotic customs from around the world or gruesome death footage. Similar to shock exploitation, the goal of Mondo films is to be shocking to the audience not only because they deal with taboo subject matter. The first and best-known mondo film is Mondo Cane (A Dog's World). Others include Shocking Asia and the Faces of Death series.

A Nazisploitation film

[edit] Nazisploitation
Main article: Nazi exploitation Nazi exploitation films, also called "Nazisploitation" films, or "Il Sadiconazista", focus on Nazis torturing prisoners at death camps and brothels during World War II. The tortures inflicted are often of a sexual nature; and the prisoners, who are often female, are nude. The progenitor of this subgenre was Love Camp 7 (1969). The quintessential film of the genre which launched its popularity and its typical tropes was Ilsa, She Wolf of the SS (1974); about the buxom, nymphomaniacal dominatrix Ilsa torturing prisoners in a Stalag. Others include Frulein Devil (Captive Women 4/Elsa: Fraulein SS/Fraulein Kitty), La Bestia in Calore (SS Hell Camp/SS Experiment Part 2/The Beast in Heat/Horrifying Experiments of the S.S. Last Days), L'ultima orgia del III Reich (Gestapo's Last Orgy/Last Orgy of The Third Reich/Caligula Reincarnated as Hitler), Salon Kitty and SS Experiment Camp. A lot of nazisploitation film were influenced by art films like Pier Paolo Pasolini's infamous Sal o le 120 giornate di Sodoma (Salo or The 120 Days of Sodom) and Liliana Cavani's Il portiere di notte (The Night Porter) .

[edit] Nudist Films


Main article: Nudity in film Nudist films originated in the 1930s as films that skirted the Hays Code restrictions on nudity by purportedly depicting the nudist lifestyle. They existed through the late 1950s, when the New York State Court of Appeals ruled in the case of Excelsior Pictures vs. New York Board of Regents that onscreen nudity is not obscene. This opened the door for more open depictions of nudity, starting with Russ Meyer's 1959 The Immoral Mr. Teas, which has been credited as the first film which unapologetically placed its exploitation elements at the forefront instead of pretending to carry a moral or educational message. This development paved the way for the more explicit

exploitation films of the 1960s and 1970s and obsoleted the nudist genre, which is ironic, as the nudist film Garden of Eden was the subject of the court case. After this, the nudist genre split into subgenres such as the "nudie-cutie", which featured nudity, but did not contain touching; and the "roughie", which included nudity and violent, antisocial behavior.[14] Nudist films were marked by self-contradictory qualities. They presented themselves as educational films, but exploited their subject matter by placing their main focus on the nudist camps' most beautiful female residents, while denying the existence of such exploitation. They depicted a lifestyle unbound by the restrictions of clothing, yet this depiction was restricted by the requirement that genitals not be shown. Still, there was a subversive element to these, as the nudist camps inherently rejected modern society and its values regarding the human body.[15] These films frequently involve a criticism of the class system, equating body shame with the upper class, and nudism with social equality. One scene in The Unashamed makes a point about the artificiality of clothing and its related values through a mocking portrayal of a group of nude artists who paint fully-clothed subjects.[16]

[edit] Ozploitation
Main article: Ozploitation Ozploitation, or Australian sub-genre films, broadly covers horror, erotic or crime films of the 1970s and 1980s. Reforms to Australia's film classification systems in 1971 led to a number of such comparatively low-budget, privately funded films being produced, assisted by tax exemptions and targeting export markets. Often an internationally recognised actor (but of waning notability) would be hired to play a lead role. While laconic characters and desert scenes feature in many Ozploitation films, the term has been used to apply for a variety of Australian films of the era that relied on shocking or titilating their audiences. Some of the better known Ozploitation films include Mad Max, Alvin Purple, Patrick and Turkey Shoot; a documentary covering the genre was Not Quite Hollywood: The Wild, Untold Story of Ozploitation!.[17] Such films address themes concerning Australian society, particularly in respect of masculinity (especially the Ocker male), male attitudes towards women, attitudes towards and treatment of Indigenous Australians, violence, alcohol, and environmental exploitation and destruction. They are also typically given rural or outback settings which emphasise the Australian landscape and environment as an almost spiritually malign force which alienates white Australians and frustrates both their personal ambitions and activities and their attempts to subdue it.

A Rape/revenge film

[edit] Rape / Revenge films


Main article: Rape / Revenge Films in which a woman is raped, left for dead, recovers and then subsequently exacts a typically graphic, gory revenge against the person/persons who raped her. By far the most famous film of this genre is I Spit on Your Grave (also called Day of the Woman). It is not unusual for the main character in these films to be a successful, independent woman from the city, who is attacked by a man from the country.[18] The genre has more recently[when?] drawn praise from feminists such as Carol J. Clover, whose 1992 book Men, Women, and Chainsaws: Gender in the Modern Horror Film examines the implications of its reversals of traditional film gender roles. These can be seen as an offshoot of the vigilante film, with the victim's transformation into avenger as the key scene. Author Jacinda Read and others believe that rape/revenge should be categorized as a narrative structure rather than a true subgenre, because its plot can be found in films of many different genres; including thrillers (Ms. 45), dramas (Lipstick), westerns (Hannie Caulder),[19] and art films (Memento).[20] One of the genre's most significant examples, The Last House on the Left, was an uncredited remake of Ingmar Bergman's The Virgin Spring, recast as a horror film featuring extreme violence.[21] Deliverance, in which the rape is perpetrated on a man, has been credited as the originator of the genre. [22] Clover, who restricts her definition of the genre to movies in which a woman is raped and gains her own revenge, praises rape/revenge exploitation films for the way in which their protagonists fight their abuse directly, rather than preserve the status quo by depending on an unresponsive legal system as in major-studio rape/revenge movies such as The Accused.[23]

[edit] Sexploitation
Main article: Sexploitation Sex exploitation, or "sexploitation" films, are similar to softcore pornography, in that the film serves largely as a vehicle for showing scenes involving nude or semi-nude

women. While many films contain vivid sex scenes, sexploitation shows these scenes more graphically than mainstream films, often overextending the sequences or showing full frontal nudity. Russ Meyer's body of work is probably the best known example; with his best known films being Faster, Pussycat! Kill! Kill! and Supervixens. Other well-known sexploitation films include the Emmanuelle series, Showgirls and Caligula. Caligula is unique among sexploitation films and exploitation films in general in that it features high budget and eminent actors (Malcolm McDowell, John Gielgud, Peter O'Toole and Helen Mirren).

[edit] Shocksploitation
Shock exploitation films, or "shock films" or "shocksploitation films"; contain various shocking elements such as extremely realistic graphic violence, graphic rape depictions, simulated bestiality and depictions of incest. Examples of shock films include Antichrist, August Underground's Mordum, Baise-moi, Blood Sucking Freaks, Combat Shock, I Drink Your Blood, Fight for Your Life,Seven Servants, Hostel, House of 1000 Corpses, I Spit on Your Grave, Ilsa, She Wolf of the SS and its sequels, Irrversible, Last House on Dead End Street, The Last House on the Left, Men Behind the Sun, Nekromantik, Pink Flamingos, Sal o le 120 giornate di Sodoma (Salo or The 120 Days of Sodom), SICK: The Life & Death of Bob Flanagan, Supermasochist, Snuff, Ta Paidia tou Diavolou (Island of Death), Thriller - en grym film (Thriller: A Cruel Picture) and Vase de Noces (Wedding Trough/One Man and his Pig/The Pig Fucking Movie).

Halloween is one of the more famous slasher films

[edit] Slasher films


Main article: Slasher film Slasher films focus on a psychopathic killer stalking and killing a sequence of victims in a graphically violent manner. The victims are often teenagers or young adults. Alfred Hitchcock's Psycho is often credited as creating the basic premise of the genre. It truly emerged as a genre during the 1970s with Tobe Hooper's The Texas Chain Saw Massacre in 1972, which is usually credited with starting the genre, most specifically

with masked villains, groups of weak teenagers with one strong, hero female, isolated or stranded in precarious locations or situations, and either the protagonists or antagonists experiencing warped family lives or values. Then the slasher genre peaked again in the 1980s with other well-known films like A Nightmare on Elm Street, The Anthropophagus Beast, Black Christmas, Child's Play, The Driller Killer. After The Texas Chain Saw Massacre in the early 1970's the 1980's saw very similar slasher films being produced using TCSM's basic format. Friday the 13th, Halloween, My Bloody Valentine, Prom Night, Silent Night, Deadly Night, Sleepaway Camp, and The Toolbox Murders many of which also used elements found in Hooper's 1972 original slasher The Texas Chain Saw Massacre. The genre experienced a mainstream revival in the 1990s with the success of Scream, which both mocked and paid homage to traditional slasher conventions. Slasher films often prove phenomenally popular and spawn numerous sequels, prequels and remakes that continue to the present day.

The Good, the Bad and the Ugly is a well-known spaghetti western

[edit] Spaghetti Westerns


Main article: Spaghetti western Spaghetti Western is a nickname for the Italian-made Western films that emerged in the mid-1960s. They were considerably more violent and amoral than typical Hollywood westerns (some films have body counts of over 200 people killed) and often eschewed (some say "demythologized") the conventions of earlier Westerns. Examples include Death Rides a Horse, Django, The Good, the Bad, and the Ugly, The Grand Duel, The Great Silence, For a Few Dollars More, The Big Gundown, and A Fistful of Dollars.

[edit] Splatter films


Main article: Splatter film A splatter film or gore film is a type of horror film that deliberately focuses on graphic portrayals of gore and violence. As a distinct genre, the splatter film began in the 1960s with the films of Herschell Gordon Lewis and David F. Friedman, whose most famous

films (and quintessential examples of the genre) include Blood Feast (1963), Two Thousand Maniacs! (1964), Color Me Blood Red (1965), The Gruesome Twosome (1967) and The Wizard of Gore (1970). Some later splatter films, such as Sam Raimi's Evil Dead series, along with Peter Jackson's Bad Taste and Dead Alive (also called Braindead) featured such excessive, unrealistic, over-the-top gore that they crossed the line from horror to comedy.

[edit] Women in prison films


Main article: Women in prison film Women in prison films emerged in the early seventies and remain a popular subgenre to this day. They are primarily voyeuristic sexual fantasies about prison life that rely on heavy doses of nudity, lesbianism, sexual assault, humiliation, sadism, and rebellion among captive women. Movies include Roger Corman's Women in Cages and The Big Doll House, Bamboo House of Dolls, Barbed Wire Dolls by Jesus Franco, Women's Prison Massacre by Bruno Mattei, Reform School Girls by Tom DeSimone, and Caged Heat by Jonathan Demme.

[edit] Minor sub-genres

Britsploitation films: an exploitation film set in Great Britain, sometimes in homage to the Hammer Horror range of films. Examples include the 1974 The Living Dead at Manchester Morgue and the 1981 Academy Award-winning American film An American Werewolf in London. Bruceploitation films: films profiting from the death of Bruce Lee utilizing look-alike actors. Cat III films: Chinese films named after the age certificates they would receive in Hong Kong (audiences 18 years or older). These films are estimated to make up 25% of Hong Kong's film industry, and as in exploitation film itself, every genre of filmmaking is represented. Additionally, Western films such as Wild Things and Eyes Wide Shut often receive the Category III rating. These have been classed into three categories, based on censorship criteria: "quasipornographic" softcore pornography such as Sex and Zen, "genre films" which present films from every genre of Hong Kong filmmaking in adult-oriented versions, and disturbing "pornoviolence" films such as The Untold Story, which depict sexual violence and are often based on actual police cases. Well-known actors and directors, such as Jackie Chan or Chow Yun-fat, may be associated with genre films.[24] Eschploitation films: apocalyptic Christian end-times thrillers.(see: eschatology) Hixploitation films: films about the American South featuring stereotypical hillbilly caricature characters. Examples include Eaten Alive, Hillbillies in a Haunted House, Moonshine Mountain, Poor White Trash 2, Redneck Zombies and Two Thousand Maniacs!.

Martial arts films: action films that are characterized by extensive fighting scenes employing various types of martial arts. Examples include The Street Fighter and Sister Street Fighter series, and the films starring Bruce Lee (The Big Boss, Fist of Fury, Way of the Dragon and Enter the Dragon). Mexploitation films: films about Mexican culture and/or portrayals of Mexican life within Mexico often dealing with crime, drug trafficking, money and sex. Hugo Stiglitz is a famous Mexican actor of this genre, along with Mario Almada and Fernando Almada, brothers who made literally hundreds of movies on the same theme. Ninja films: a subgenre of martial arts films, these films center on the stereotypical, historically inaccurate, image of the ninja costume and his arsenal of weapons often including fantasy elements such as ninja magic. Many such movies were produced by splicing stock ninja fight footage with footage from unrelated film projects. Nunsploitation films: films featuring nuns in dangerous or erotic situations. Examples include The Devils, Killer Nun, School of the Holy Beast, Sinful Nuns of Saint Valentines and "Nude Nuns with Big Guns". Pinku eiga (pink films): Japanese sexploitation films popular throughout the 70s, often featuring softcore sex, rape, torture, BDSM and other unconventional sexual subjects that were considered erotic. Pornochanchada films: Brazilian nave softcore pornographic films produced mostly in the 1970s Stoner films: a subgenre of films that center around an explicit use of the drug marijuana. Typically, such movies show marijuana use in a comic and positive fashion. Marijuana use is one of the main themes, and inspires most of the plot. Cheech and Chong collaborations are a good example. Teensploitation films: the exploitation of teenagers by the producers of teenoriented films, with plots involving drugs, sex, alcohol and crime. The word Teensploitation first appeared in a show business publication in 1982 and was included in the Merriam Webster's Collegiate Dictionary for the first time in 2004. River's Edge, inspired by the murder of Marcy Renee Conrad, is arguably the most acclaimed of the genre, featuring early performances by Crispin Glover and Keanu Reeves and a cameo appearance by Dennis Hopper. The films of Larry Clark, Bully, Ken Park and Kids are probably the best-known teensploitation films. For 1950s teen films, see American International Pictures. Vigilante films: films in which a person violates the law to exact justice. These films were rooted in 1970s unease over government corruption, failure in the Vietnam War, and rising crime rates. These movies point toward the rising political trend of neoconservatism.[25] The genre is believed to have originated with the 1970 film Joe.[26] The classic example is the Death Wish series, starring Charles Bronson. These films often deal with individuals who are unable to find help within the system, such as the Native American protagonist of Billy Jack, or

characters in blaxploitation films such as Coffy, and persons from small towns who go to larger cities in pursuit of runaway relatives (i.e. 1979's Hardcore, and 1976's Trackdown). There are also "vigilante cop" movies which concern a policeman who feels thwarted by the legal system, as in the Walking Tall series, Mad Max, and the Dirty Harry series of Clint Eastwood movies.[27] These are not considered to be true vigilante films in the classic sense, because they do not involve ordinary citizens seeking justice for a personal hurt. Similarly, Martin Scorsese's Taxi Driver does not fit the category because of its mentally disturbed protagonist.[26] Other examples include Sam Peckinpah's Straw Dogs, Clint Eastwood's The Outlaw Josey Wales, Joel Schumacher's Falling Down, F. Gary Gray's Law Abiding Citizen, and The Punisher starring Thomas Jane.

[edit] Directors associated with exploitation film


Stephen Apostolof Dario Argento Mario Bava William "One Shot" Beaudine Uwe Boll Giovanni "Tinto" Brass John Carpenter Roger Corman Wes Craven Joe D'Amato Ruggero Deodato Don Dohler David E. Durston Dwain Esper Abel Ferrara Michael and Roberta Findlay Jess Franco

Lucio Fulci Samuel Fuller William Girdler Frank Henenlotter Jack Hill Tobe Hooper Lloyd Kaufman Harmony Korine Jos Ramn Larraz Umberto Lenzi Herschell Gordon Lewis Bruno Mattei Radley Metzger Russ Meyer Takashi Miike Carl Monson Fred Olen Ray

Ron Ormond Melvin Van Peebles Robert Rodriguez Jean Rollin George A. Romero Eli Roth Daryush Shokof Lindsay Shonteff Juan Piquer Simn Jack Smith Ray Dennis Steckler Quentin Tarantino John Waters Sean Weathers Doris Wishman Edward D. Wood, Jr. Jim Wynorski Rob Zombie

[edit] See also


Aestheticization of violence B movie Cult film Video nasty Midnight movie

[edit] References
[edit] Notes

1. ^ Schaefer 1999, pp. 42-43,95 2. ^ a b Lewis, Jon (2000). Hollywood V. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry. New York University Press. p. 198. ISBN 978-0-8147-5142-8. 3. ^ Hawkins, Joan. "Sleaze Mania, Euro-Trash, and High Art: the Place of European Art Films in American Low Culture". Film Quarterly. Dec 1999: Vol.53 No. 2. pp.14-29 4. ^ Payne, Robert M. "Beyond the Pale: Nudism, Race, and Resistance in "The Unashamed"". Film Quarterly. Vol. 54, No. 2 (Winter 2000-2001). p. 28 5. ^ Barrios, Richard (2003). Screened Out: Playing Gay in Hollywood from Edison to Stonewall. New York: Routledge. ISBN 978-0-415-92328-6. 6. ^ Evans, Joyce A. "Celluloid Mushroom Clouds: Hollywood and the Atomic Bomb". Westview Press, 1999. pp. 102, 125 7. ^ "Notes Toward a Lexicon of Roger Corman's New World Pictures". Accessed Aug 10, 2009 8. ^ Antidote Films/Glass Eye Pix. The Last Winter Press Kit. [1] n.p., n.d. 9. ^ Weissberg, Jay. "Mulberry Street". Variety. 407 no. 1. May 2127, 2007 10. ^ a b Hunt, Leon. A Sadistic Night at the Opera. in The Horror Reader, ed. Ken Gelder. New York: Routledge, 2002. p.325 11. ^ Patterson, John. "The Cheapest Show on Earth". The Guardian (London). 31 Jul 2009 12. ^ McLean, Tim. "God Bless the Working Man: the Films of Jim Wynorski". Paracinema. Jun 2008 13. ^ Harlow, John. "Mockbuster fires first in war with the Terminator". The Sunday Times (London). 10 May 2009 14. ^ Lewis, Jon (2000). Hollywood V. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry. New York University Press. pp. 198201. ISBN 978-0-8147-5142-8. 15. ^ Payne, Robert M. "Beyond the Pale: Nudism, Race, and Resistance in 'The Unashamed'". Film Quarterly, Vol. 54, No. 2. (Winter, 2000-2001). pp. 2729 16. ^ Payne, Robert M. "Beyond the Pale: Nudism, Race, and Resistance in "The Unashamed"". Film Quarterly. Vol. 54, No. 2 (Winter 2000-2001). p. 3234 17. ^ http://www.imdb.com/title/tt0996966/ 18. ^ Neroni, Hilary. The Violent Woman: Femininity, Narrative, and Violence in Contemporary Cinema. Albany: State University of New York Press, 2005. p. 171 19. ^ Schubart, Nikke. Super Bitches and Action Babes: the Female Hero in Popular Cinema 1970-2006. McFarland, 2007. p.84 20. ^ Cohen, Richard. Beyond Enlightenment : Buddhism, Religion, Modernity. London, New York. Taylor & Francis Routledge, 2006. p.86-7 21. ^ Horton, Andrew. Play It Again, Sam: Retakes on Remakes. Berkeley: University of California Press, 1998. p.163 22. ^ Schubart, Nikke. Super Bitches and Action Babes: the Female Hero in Popular Cinema 1970-2006. McFarland, 2007. p.86-7 23. ^ Hollinger, Karen. "Review: The New Avengers: Feminism, Femininity, and the Rape/Revenge Cycle". Film Quarterly, Vol. 55, No. 4 (Summer 2002). p.61-63

24. ^ Davis, Darrell W., and Yeh Yueh-yu. "Warning! Category III: The Other Hong Kong Cinema". Film Quarterly. Vol. 54, No. 4 (Summer, 2001). pp. 12-26 25. ^ Kolker, Robert Philip. "A Cinema of Loneliness". pp. 258-265. New York: Oxford University Press, 2000 26. ^ a b Novak, Glenn D. "Social Ills and the One-Man Solution: Depictions of Evil in the Vigilante Film". International Conference on the Expressions of Evil in Literature and the Visual Arts, Atlanta, GA, Nov 1987. n.d. [2] 27. ^ Lictenfeld, Eric. "Killer Films". The new vigilante movies. - By Eric Lichtenfeld - Slate Magazine Slate.com. 13 Sep 2007, accessed 30 Jul 2009

[edit] Bibliography

Eric Schaefer, Bold! Daring! Shocking! True!": A History of Exploitation Films, 19191959 Durham, N.C.: Duke University Press, 1999 Jeffrey Sconce, "'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style", Screen vol. 36 no. 4, Winter 1995, pp. 371393. Cathal Tohill and Pete Tombs, Immoral Tales: European Sex & Horror Movies 1956-1984, 1994. ISBN 978-0-312-13519-5 V. Vale and Andrea Juno, RE/Search No. 10: Incredibly Strange Films RE/Search Publications, 1986. ISBN 978-0-940642-09-6 Ephraim Katz, The Film Encyclopedia 5e, 2005. ISBN 978-0-06-074214-0 Benedikt Eppenberger, Daniel Stapfer Maedchen, Machos und Moneten: Die unglaubliche Geschichte des Schweizer Kinounternehmers Erwin C. Dietrich. Mit einem Vorwort von Jess Franco. Verlag Scharfe Stiefel, Zurich, 2006, ISBN 978-3-033-00960-8

[edit] External links


THE DEUCE: Grindhouse Cinema Database The original Grindhouse/Classic Exploitation Cinema Wiki. "Lights! Camera! Apocalypse!", an article about Rapture films as Christian exploitation filmmaking Cultuurschok Dutch website dedicated to Cult and Exploitation Paracinema Magazine Quarterly film magazine dedicated to b-movies, cult classics, indie, horror, science fiction, exploitation, underground and Asian films from past and present. Grindhouseland | Exploitation Film Reviews MIDNIGHT-THEATRE.com - The Home of Exploitation Cinema BoulevardMovies.com - Exploitation Films on DVD & Blu-ray

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