Calum Waddell
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474409254
- eISBN:
- 9781474449625
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474409254.001.0001
- Subject:
- Film, Television and Radio, Film
What is an exploitation film? The Style of Sleaze reasons that the aesthetic and thematic approach of the key texts within three distinct exploitation demarcations - blaxploitation, horror and ...
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What is an exploitation film? The Style of Sleaze reasons that the aesthetic and thematic approach of the key texts within three distinct exploitation demarcations - blaxploitation, horror and sexploitation - indicate a concurrent evolution of filmmaking that could be seen as an identifiable cinematic movement. Offering a fresh perspective on studies of marginal cinema, The Style of Sleaze maintains that defining exploitation cinema as a vaguely attributed 'excess' is unhelpful, and instead concludes that this period in American film history produced a number of the most transgressive, and yet morally complex, motion pictures ever made.Less
What is an exploitation film? The Style of Sleaze reasons that the aesthetic and thematic approach of the key texts within three distinct exploitation demarcations - blaxploitation, horror and sexploitation - indicate a concurrent evolution of filmmaking that could be seen as an identifiable cinematic movement. Offering a fresh perspective on studies of marginal cinema, The Style of Sleaze maintains that defining exploitation cinema as a vaguely attributed 'excess' is unhelpful, and instead concludes that this period in American film history produced a number of the most transgressive, and yet morally complex, motion pictures ever made.
Alicia Kozma and Finley Freibert (eds)
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474482349
- eISBN:
- 9781399501606
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474482349.001.0001
- Subject:
- Film, Television and Radio, Film
This volume—the first ever devoted to director Doris Wishman—covers her vast filmography, and is inclusive of her less discussed later films, hardcore films, and nudist films. By situating Wishman ...
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This volume—the first ever devoted to director Doris Wishman—covers her vast filmography, and is inclusive of her less discussed later films, hardcore films, and nudist films. By situating Wishman within larger contexts and movements in film history including women’s filmmaking, avant- garde and experimental cinema, and genre film, the volume considers the cultural, historical, and industrial significance of Wishman. Special focus is paid to gender studies, genre studies, film narrative, feminist history, queer history, and adult film history.Less
This volume—the first ever devoted to director Doris Wishman—covers her vast filmography, and is inclusive of her less discussed later films, hardcore films, and nudist films. By situating Wishman within larger contexts and movements in film history including women’s filmmaking, avant- garde and experimental cinema, and genre film, the volume considers the cultural, historical, and industrial significance of Wishman. Special focus is paid to gender studies, genre studies, film narrative, feminist history, queer history, and adult film history.
Alicia Kozma and Finley Freibert
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474482349
- eISBN:
- 9781399501606
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474482349.003.0001
- Subject:
- Film, Television and Radio, Film
This introductory chapter traces Doris Wishman’s personal and professional biography. In doing so, the authors describe the archival and filmic instabilities found when research and writing about ...
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This introductory chapter traces Doris Wishman’s personal and professional biography. In doing so, the authors describe the archival and filmic instabilities found when research and writing about exploitation and adult film. Embracing this destabilization, the chapter presents the volume’s methodology and intellectual pathos as reflective of Wishman herself.Less
This introductory chapter traces Doris Wishman’s personal and professional biography. In doing so, the authors describe the archival and filmic instabilities found when research and writing about exploitation and adult film. Embracing this destabilization, the chapter presents the volume’s methodology and intellectual pathos as reflective of Wishman herself.
Becky Bartlett
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781474450423
- eISBN:
- 9781399509053
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474450423.003.0004
- Subject:
- Film, Television and Radio, Film
With the vast majority of badfilms being low-budget productions, material poverty is recognised to contribute to their unavoidable incompetence and visible failure. This chapter draws on a range of ...
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With the vast majority of badfilms being low-budget productions, material poverty is recognised to contribute to their unavoidable incompetence and visible failure. This chapter draws on a range of examples to examine a common practice in low-budget filmmaking in the 1950s and 1960s: the incorporation of pre-existing footage into otherwise ‘new’ films. The use of recycled footage as a primary source of narrative content is examined through analysis of Horror of the Blood Monsters and They Saved Hitler’s Brain, while Robot Monster provides a useful case study to consider how recycled footage is exploited as a source of spectacle in badfilms, unwittingly drawing attention to the limitations of the original content. The chapter demonstrates that while these recycling practices can, on occasion, be understood in relation to plagiarism, at other times they operate differently, offering new possibilities for interpretation and meaning-making, some of which are associated with experimental cinema. Analysis of the ways stock footage is appropriated and recontextualised in Glen or Glenda, for example, provides opportunities to reflect on how badfilms can blur the distinction between ‘high’ and ‘low’ cultural forms, avant-garde film and exploitation.Less
With the vast majority of badfilms being low-budget productions, material poverty is recognised to contribute to their unavoidable incompetence and visible failure. This chapter draws on a range of examples to examine a common practice in low-budget filmmaking in the 1950s and 1960s: the incorporation of pre-existing footage into otherwise ‘new’ films. The use of recycled footage as a primary source of narrative content is examined through analysis of Horror of the Blood Monsters and They Saved Hitler’s Brain, while Robot Monster provides a useful case study to consider how recycled footage is exploited as a source of spectacle in badfilms, unwittingly drawing attention to the limitations of the original content. The chapter demonstrates that while these recycling practices can, on occasion, be understood in relation to plagiarism, at other times they operate differently, offering new possibilities for interpretation and meaning-making, some of which are associated with experimental cinema. Analysis of the ways stock footage is appropriated and recontextualised in Glen or Glenda, for example, provides opportunities to reflect on how badfilms can blur the distinction between ‘high’ and ‘low’ cultural forms, avant-garde film and exploitation.
