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For One Week Only
I Dismember Mama ... Snuff ... Night of a Thousand Cats ... these and many more like-titled examples of cinematic dementia delighted dozens in the grindhouse movie theaters of the sixties, seventies, and eighties. Now, for the second time ever, For One Week Only reveals the incredible truth behind the most manic movies ever made. Filled with interviews and rare illustrations, it captures the joys of a genre that has to be seen not to be believed. To avoid fainting, keep repeating: it's only a book ...!
"Bold! Daring! Shocking! True!"
A social and cultural history of exploitation films, which were produced on the fringes of Hollywood and often dealt with subjects forbidden by the Production Code.
At a Theater Or Drive-in Near You
Millions of Americans have been thrilled, scared, titillated, and shocked by exploitation movies, low budget films with many scenes of sex, violence, and other potentially lurid elements. The term derives from the fact that promoters of such films exploit the contents in advertising that plays up the sexual or violent aspects of the films. This is the first comprehensive study of the American exploitation film to be published. It discusses five distinct genres: the teen movie, the sexploitation film, the martial arts movie, the blaxploitation film and the lawbreaker picture. Contained within these genres are many popular American film types, including beach movies, biker pictures, and women'...
Alternative Europe
Whether defined by comic excesses, cult horrors, or surreal vampire experimentations, trash and exploitation cinema represents the alternative face of European film. Although extremely popular with post-war audiences, these historically significant traditions of 'Eurotrash' have often been ridiculed or ignored by an established film criticism eager to define 'legitimate' European cinema as either avant-garde or socially realist. Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 investigates these previously under-explored national traditions of film culture, with essays and festival reports uncovering the social and cultural trends and tensions within a wide range of European exploitation movies. The volume considers such engaging and challenging topics as Russian, Belgian and Italian horror cinema, Gothic musclemen movies, Nazi 'sexploitation' cycles, German erotic cinema and 1970s European 'rogue cop' thrillers. Alternative Europe also includes interviews with trash directors and icons such as Brian Yuzna, J'rg Buttgereit and Giovanni Lombardo Radice.
Frightfest Guide to Exploitation Movies
World renowned film critic Alan Jones takes you on a startling tour through the extremes of the exploitation movie's Golden Era of 1935-1985. With an introduction by Combat Shock writer/director Buddy Giovinazzo, The FrightFest Guide to Exploitation Movies fully captures the range of the entire exploitation spectrum. Enter, if you dare, into the sordid, sleazy underworld of Z-studio slime and punishment, where orgies of the dead, cesspools of vice and shameless desires featured tantalising titles, lurid artowrk, daring advertising campaigns and overblown hype.
Down and Dirty
Taboo breakers and trendsetters, shameless hucksters and famous directors. Exploitation filmmaking has seen it all. Fred Olen Ray made his first movie for $298. In 1936 Marijuana-Weed with Roots in Hell showed drug use and nudity on screen in an effort to "educate the public." Kroger Babb, the man behind Mom and Dad, spliced color medical footage of a baby's birth into his black and white "classic." Russ Meyer, John Waters, Andy Milligan, Doris Wishman, and many others are covered. "Classic" films such as The Immoral Mr. Teas, The Texas Chainsaw Massacre, and Nude on the Moon are examined. Production techniques and innovations are also discussed.
Mexploitation Cinema
Thanks in large part to an exploitation film producer and distributor named K. Gordon Murray, a unique collection of horror films from Mexico began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios to the lucha libre horror films featuring El Santo and the "Wrestling Women," these low-budget "Mexploitation" films offer plenty of campy fun and still inspire cult devotion, yet they also reward close study in surprising ways. This work places Mexploitation films in their historical and cultural context and provides close textual readings of a representative sample, showing how they can be seen as important documents in the cultural debate over Mexico's past, present and future. Stills accompany the text, and a selected filmography and bibliography complete the volume.
"Bold! Daring! Shocking! True!"
A social and cultural history of exploitation films, which were produced on the fringes of Hollywood and often dealt with subjects forbidden by the Production Code.
The Exploitation Cinema of Pete Walker
Independent producer-director Pete Walker is probably the best-known of the exploitation pioneers who mined the seedier side of the British film industry in the 1960s and 1970s. After starting out in sexploitation with the likes of 'School For Sex' and 'Four Dimensions of Greta' he moved into horror in the early 70s with script regular David McGillivray to fill gap vacated by Hammer, Amicus and the rest, as the industry went inot decline. This book offers an in-depth appraisal of Walker's work and examines his legacy to the extremes of British film.
