Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0013
C. Waddell
The concluding chapter of ‘The Style of Sleaze’ enters into a discourse about how the term ‘exploitation’ has entered into the pubic and critical discourse to reference a myriad of different motion pictures, some of them major Hollywood productions. In conclusion, the book argues that exploitation cinema deserves further exploration – especially given how little has been explored, academically, as regards the cinema of this type that has emerged from other countries and which warrants similar investigation.
《The Style of Sleaze》一书的最后一章讨论了“剥削”一词是如何进入公众和评论界的讨论，用来指代无数不同的电影，其中一些是好莱坞的主要作品。总之，这本书认为剥削电影值得进一步探索，特别是考虑到学术界对这种类型的电影的探索很少，这种电影是从其他国家出现的，值得进行类似的研究。
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Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0010
C. Waddell
Per the title, this chapter is an introduction to the notorious and controversial blaxploitation cinema that became famous in the early 1970s. However, unlike previous studies in this form, this chapter chooses not to become too entangled in arguments about race-representation (although it does acknowledge some of the debates around these motion pictures) but rather to maintain that the form had stylistic similarities to both the exploitation-horror film and the key sexploitation motion pictures of the era.
{"title":"Blaxploitation Cinema: Race and Rebellion","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0010","url":null,"abstract":"Per the title, this chapter is an introduction to the notorious and controversial blaxploitation cinema that became famous in the early 1970s. However, unlike previous studies in this form, this chapter chooses not to become too entangled in arguments about race-representation (although it does acknowledge some of the debates around these motion pictures) but rather to maintain that the form had stylistic similarities to both the exploitation-horror film and the key sexploitation motion pictures of the era.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129739901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0009
C. Waddell
This concluding chapter about exploitation-horror cinema focuses on how the form evolved in the 1970s before concluding when the advent of more ‘gruesome’ special effects wizardry prepared the wider genre from a period of change at the end of the decade. I ascertain that George Romero’s film ‘Martin’ was the prelude to this factor – with ‘Halloween’ predicting a new market for stylish productions that could compete against Hollywood’s biggest and best. As with hardcore sex films, horror films would develop into a VHS staple in the 1980s – arguably the true lineage of the gritty, confrontational horror of such classics as ‘The Last House on the Left’.
{"title":"Slash and Burn: The Exploitation-Horror film in Transition","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0009","url":null,"abstract":"This concluding chapter about exploitation-horror cinema focuses on how the form evolved in the 1970s before concluding when the advent of more ‘gruesome’ special effects wizardry prepared the wider genre from a period of change at the end of the decade. I ascertain that George Romero’s film ‘Martin’ was the prelude to this factor – with ‘Halloween’ predicting a new market for stylish productions that could compete against Hollywood’s biggest and best. As with hardcore sex films, horror films would develop into a VHS staple in the 1980s – arguably the true lineage of the gritty, confrontational horror of such classics as ‘The Last House on the Left’.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128445955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0002
C. Waddell
How to define an exploitation film – and what separates the exploitation cinema produced in America during the timeline of this book from that of the B-movie. The chapter also explores the aesthetic and thematic approaches of exploitation cinema in the post-classical era. The chapter concludes upon what makes American exploitation cinema unique.
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Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0012
C. Waddell
As per the title, this chapter talks about how the blaxploitation style evolved, however briefly, into a glossier stylistic approach with a female-led perspective. The film ‘Coffy’, which made Pam Grier a superstar, is maintained to be a game-changing text which also concluded blaxploitation as a viable commercial force. The motion picture, made by the independent studio AIP which was primarily a B-movie company, took the blaxploitation ethos into a more lavish production style and – arguably – began to move its various representations into a direction that took it away from its radical underground roots.
{"title":"The Blaxploitation Female","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0012","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0012","url":null,"abstract":"As per the title, this chapter talks about how the blaxploitation style evolved, however briefly, into a glossier stylistic approach with a female-led perspective. The film ‘Coffy’, which made Pam Grier a superstar, is maintained to be a game-changing text which also concluded blaxploitation as a viable commercial force. The motion picture, made by the independent studio AIP which was primarily a B-movie company, took the blaxploitation ethos into a more lavish production style and – arguably – began to move its various representations into a direction that took it away from its radical underground roots.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114846674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0007
C. Waddell
An introduction to what the book defines as exploitation-horror – tracing the term back to Robin Wood and discussing how the style of this demarcation might be seen to hold similar aesthetic and thematic pretensions to that of the post-classical sexploitation movement. Historic appreciation of the key films is introduced alongside how some of the films were received at their time of release.
{"title":"Exploitation-Horror Cinema","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0007","url":null,"abstract":"An introduction to what the book defines as exploitation-horror – tracing the term back to Robin Wood and discussing how the style of this demarcation might be seen to hold similar aesthetic and thematic pretensions to that of the post-classical sexploitation movement. Historic appreciation of the key films is introduced alongside how some of the films were received at their time of release.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"349 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115606266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0005
C. Waddell
This chapter discusses the use of complex characterisation in sexploitation cinema – arguing that the character motivation and narrative causality is often more conservative than many might assume. A comparison is also made to the concurrent evolution of the sexual dynamics that begin to creep into Hollywood cinema via such notable motion pictures as ‘Last Tango in Paris’. This chapter argues that often the ‘underground’ sex films of the period featured more interesting and radical female portrayals.
{"title":"Sex Morality Plays: Character in Adult Cinema","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0005","url":null,"abstract":"This chapter discusses the use of complex characterisation in sexploitation cinema – arguing that the character motivation and narrative causality is often more conservative than many might assume. A comparison is also made to the concurrent evolution of the sexual dynamics that begin to creep into Hollywood cinema via such notable motion pictures as ‘Last Tango in Paris’. This chapter argues that often the ‘underground’ sex films of the period featured more interesting and radical female portrayals.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"73 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122057771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0011
C. Waddell
Initially building on the work of Cornel West, whose quote introduces this chapter, the blaxploitation form is discussed in terms of its characters and its difference from Hollywood cinema and African-American representations therein. The Hollywood film ‘Shaft’ is introduced and spoken about – with the chapter arguing about its status as part of the ‘blaxploitation’ pantheon.
{"title":"Sex, Violence and Urban escape: Blaxploitation Tropes and Tales","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0011","url":null,"abstract":"Initially building on the work of Cornel West, whose quote introduces this chapter, the blaxploitation form is discussed in terms of its characters and its difference from Hollywood cinema and African-American representations therein. The Hollywood film ‘Shaft’ is introduced and spoken about – with the chapter arguing about its status as part of the ‘blaxploitation’ pantheon.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125398806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0008
C. Waddell
For this chapter, ‘Blood Feast’ and George Romero’s ‘Night of the Living Dead’ are discussed as the genesis of the new wave of American horror cinema. Whilst the two are very different films, in terms of certain stylistic attributes, for instance their use of the close-up, they have more in common than previous studies have alluded. Five key tropes of the exploitation-horror film are also introduced and discussed.
{"title":"Cannibalising Tradition: Romero’s Zombies and a Blood Feast","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0008","url":null,"abstract":"For this chapter, ‘Blood Feast’ and George Romero’s ‘Night of the Living Dead’ are discussed as the genesis of the new wave of American horror cinema. Whilst the two are very different films, in terms of certain stylistic attributes, for instance their use of the close-up, they have more in common than previous studies have alluded. Five key tropes of the exploitation-horror film are also introduced and discussed.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116673603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-01DOI: 10.3366/edinburgh/9781474409254.003.0003
C. Waddell
This chapter begins to tease out the argument that forms the backbone of ‘The Style of Sleaze’ by arguing that three distinct exploitation demarcations are linked by their stylistic attributes. In this chapter, the focus is on narrative and also the link that the post-classical exploitation cinema produced in America has with the classical period, famously defined and discussed by academic and author Eric Schaefer.
{"title":"Emerging from Another Era – Narrative and Style in Modern Exploitation Cinema","authors":"C. Waddell","doi":"10.3366/edinburgh/9781474409254.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474409254.003.0003","url":null,"abstract":"This chapter begins to tease out the argument that forms the backbone of ‘The Style of Sleaze’ by arguing that three distinct exploitation demarcations are linked by their stylistic attributes. In this chapter, the focus is on narrative and also the link that the post-classical exploitation cinema produced in America has with the classical period, famously defined and discussed by academic and author Eric Schaefer.","PeriodicalId":325933,"journal":{"name":"The Style of Sleaze","volume":" 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133021047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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