The moment you show it, the sexploitation game is over.
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" The genre is the subject of a documentary, "That's Sexploitation!
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Or are we simply trading one kind of sexploitation for another?
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Around 1970, the birth of hard-core pornography made sexploitation mainstream, prompting its demise.
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So looked at in that light it's absurd and nonsensical to call Viva sexploitation.
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Sexploitation production took place in Los Angeles and New York, with Florida and Texas also churning out pictures.
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The atmosphere is a bit like a sunnier Walerian Borowczyk, or an auteurist twist on Brazilian pornochanchadas (sexploitation comedies).
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There have been lots of interpretations of Viva as a continuation of sexploitation films, but I know you reject that connection.
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I think I myself may have started some of the confusion, because my early marketing materials for Viva referred to the film as sexploitation.
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Amber Heard claims she is the victim of sexploitation due to the alleged unauthorized use of a nude body double in the film London Fields.
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From Asian-owned beauty stores to black absentee fathers, No One is Ever As They Seem is the minority sexploitation that no one should ever read.
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Fittingly, an early version of "I'm Afraid of Americans" first appeared on the soundtrack of the bloated, critically-panned Hollywood sexploitation that is Showgirls in 1995.
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A "satirical sexploitation zombie chicken gross-out musical extravaganza" — that's how a New York Times critic described this dark comedy from the shlock-cinema company Troma.
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It's a very confusing movie if you think of it in a broader context than just a campy sexploitation movie about a Nazi dominatrix with big boobs.
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She was a sadistic Nazi doctor in "Ilsa: She Wolf of the SS," a 21975 sexploitation movie that has achieved cult status, then returned in several sequels.
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A brutal side of sexploitation emerged in these white slavery films, directed by Joseph P. Mawra and featuring a villainously sadistic character named Olga, played by Audrey Campbell.
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Satana almost turned down the chance, because she wasn't thrilled with Meyer's reputation as a sexploitation-happy filmmaker, but her agent assured her that this film would be different.
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Filmed in shimmering black and white, with dashes of surreal color, it's as if Guy Maddin and Kenneth Anger adapted one of Joseph Conrad's nightmares for a sexploitation producer.
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A genre rooted in nudie reels of the silent era, sexploitation had its golden age in the 1960s as the sexual revolution pushed the boundaries of cinematic depictions of nudity.
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As Foxy Brown also occupies the sexploitation genre, there's a lot of nudity that feels gratuitous (later in the film, Foxy is tied up by the bad guys with her breasts completely exposed).
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The films of female directors working in genre cinema (including film noir, horror, action and sexploitation) will be celebrated in "Genre Is a Woman," a series at Film Forum running June 3-16.
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It's unclear, though, if the vividly staged and shot results — with their chases, poses, negative space and sexploitation vibe (we're a long way from Antonioni) — were supposed to be this silly and emptily decoratively.
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Her story is an erotic version of the hero's journey: She opted for a career in sexploitation film, fought with bouts of cancer, alcohol, and abuse, and won the battle, near into her seventh decade.
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"Theaters then that were showing sexploitation closed or had to make the jump to hard-core, and that's where the bubble burst," Frank Henenlotter, a director and exploitation film historian, said in a phone interview.
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BUENOS AIRES — Isabel Sarli, an immensely popular star of sexploitation films in Argentina during the 26s and '19553s and a bane of censors, died on June 21955 in San Isidro, a suburb of Buenos Aires.
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Shot in a self-consciously '60s style with a hint of sexploitation, the movie feels like a waking nightmare, and it at least partly concludes that women's fashion is more or less a product of hell.
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From teen horror like 20043's The Moth Diaries to 22004's Vampyres, a Spanish-language remake of the 22016 sexploitation flick of the same name, lesbian vampire movies have survived well into the 22010st century.
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It was a marketing gimmick that I was sure would be read as ironic and actually highlight the difference between my film and sexploitation, but people are very literal-minded so the irony went over their heads.
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No doubt that the production will find cleverly self-aware ways to address lyrics like "a sweet transvestite from [the planet] Transsexual, [in the galaxy of] Transsylvania," or to shoot iconic scenes of sexploitation that aren't exactly fit for family-friendly network programming.
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Viva—in which Biller starred in addition to writing, producing, directing, and editing the film, plus creating most of the costumes and sets—is Biller's feminist counter to the classic sexploitation films of the 60s and 70s, full of references to Playboy.
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The grind-house nostalgist in me was delighted to find two 1981 obscurities: the Italian filmmaker Lucio Fulci's mortifying gorefest "The Beyond" and "The Nesting," an interesting novelty in which the New York sexploitation filmmaker Armand Weston tried to go mainstream, with mixed results.
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"The Important Thing Is to Love" (1975), about a passionate affair between a photographer and an actress reduced to appearing in sexploitation films, caught the attention of French critics and earned its star, Romy Schneider, a best actress César, the French equivalent of an Academy Award.
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Dyanne Thorne, who starred in one of the most notorious sexploitation movies of the 1970s, "Ilsa: She Wolf of the SS" — a head-spinning mix of Nazi fetishism, sadism and female empowerment that is still talked about by grindhouse film aficionados as well as by more serious scholars — died on Jan.
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But this is the great obstacle in today's fight to stop sex trafficking: the individuals at the top of the sexploitation food chain — who provide and profit from online classified advertising connecting sex traffickers with the men seeking to buy people for their sexual use — have special immunity from prosecution.
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" Decades later, the Film Society of Lincoln Center in New York paid tribute by showing eight films from his pre-explicit period, calling him a "fascinating transitional figure whose unique brand of sophisticated erotic art cinema created an almost utopian space between the cheap grindhouse sexploitation of the '60s and the full-on hard-core porn of the '70s.
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Alex Brouillet, 30, filmmaker and bookseller: The female gaze seems to be the underused gender swap of the male gaze which dominates the objectification of women in our pop culture, and I think it's part of the theme of both of these movies; taking very one-dimensional sexploitation stuff from the 70s and turning it into feminism.
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In 1959, Scheuer may have been the first to use the phrase "sexploitation movie" (more precisely, "'sexploitation' movie") in his review "'Blue Denim' Tells of Youths' Plight" (August 20). That same year, the phrase "sexploitation film" appears in the government document Juvenile Delinquency: Hearings Before the Subcommittee to Investigate Juvenile Delinquency of the Committee on the Judiciary, United States Senate, pp. 7030, 7099.
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Malabimba – The Malicious Whore () is a 1979 Italian sexploitation film directed by Andrea Bianchi.
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Daddy, Darling is a 1970 Danish / American sexploitation film directed by Joseph W. Sarno.
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Nymph is a 1973 sexploitation film directed by William Dear, in his feature film directorial debut.
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Fly Me is a 1973 United States-Filipino sexploitation film about the adventures of three flight attendants.
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Many male homosexuals also enjoyed gay pulp fiction, which borrowed the same sexploitation format as the lesbian books.
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Hunt (1998), p. 31-33 Hunt argues that the Confessions films combined the style of the "sitcom films" with sexploitation.
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Felicity is a 1979 Australian sexploitation film starring Canadian actress Glory Annen and written and directed by John D. Lamond.
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Little Girl... Big Tease is a 1976 softcore sexploitation film directed by Robert Mittrotti and produced by Robert F. Colesberry.
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Teaserama is a 1955 American low-budget sexploitation film directed by Irving Klaw. It follows the performance of a burlesque show.
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Smooth Velvet, Raw Silk is a 1976 sexploitation film. It was also known as Velluto nero and Black Emmanuelle, White Emmanuelle.
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Satan in High Heels is a 1962 American sexploitation film directed by Jerald Intrator and starring Meg Myles and Grayson Hall.
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Fiebre, also known as Fever, is a 1971 Argentine sexploitation film directed, produced and written by Armando Bó and starring Isabel Sarli.
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The Working Girls is a 1974 sexploitation film written and directed by Stephanie Rothman and starring Sarah Kennedy, Laurie Rose and Cassandra Peterson.
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The film has been classified as an example of Nazisploitation, a subgenre of exploitation and sexploitation films in which Nazi characters are prominent.
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As a byproduct of his coverage of sexploitation films, Rostler earned a reputation as writer—creating novelizations of sexploitation films for his magazine—and as a pornographic photographer. Because of Adam Film Quarterly success, Rotsler began using pseudonyms for his appearances. These, including "Shannon Carse", "Cord Heller", "Clay McCord", and "Merrill Dakota". He even interviewed himself as these characters in Adam Film Quarterly.
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Joseph W. Sarno (March 15, 1921 – April 26, 2010) was an American film director and screenwriter. Sarno emerged from the proto-pornographic sexploitation film genre of the 1950s & 1960s; he had written and directed approximately 75 theatrically released feature films in the sexploitation, softcore and hardcore genres as well as a number of shot-on-video features for the 1980s hardcore video market.
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Oedipus Orca is a 1977 Italian sexploitation-thriller directed by Eriprando Visconti. It is a sequel to La Orca, filmed the same/next year.
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Alice Arno, (born June 29, 1946) is a French actress and model, best known for her roles in European sexploitation and horror film genre.
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The theatre appeared in an early British sexploitation nudist film called Naked as Nature Intended (1961) directed by Harrison Marks and starring Pamela Green.
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Inga is a 1968 Swedish sexploitation film directed by Joseph W. Sarno. Three years later, Sarno also directed the sequel The Seduction of Inga.
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One Shocking Moment is a 1965 American film directed by Ted V. Mikels. It was his third feature as director and was a sexploitation film.
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Ilsa, Harem Keeper of the Oil Sheiks is a 1976 sexploitation women in prison film, the first sequel to Ilsa, She Wolf of the SS.
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Emanuelle Around the World () is a 1977 sexploitation directed by Joe D'Amato. The film stars Laura Gemser and George Eastman, Karin Schubert and Ivan Rassimov.
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Kill! Kill! (1965) and Vixen! (1968), the sort of films, virtually ignored by the mainstream press, that had become known as sexploitation pictures.The earliest usage of "sexploitation" in a cinematic context so far located is in two Los Angeles Times articles from 1958: Howard Whitman, "Crisis in Morals" (May 26), and movie industry reporter Philip K. Scheuer, "Actor Clears Up Rip Torn Mystery" (June 3).
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Exponerad (), also known as Diary of a Rape, The Depraved, and Exposed, is a 1971 Swedish sexploitation film directed by Gustav Wiklund and starring Christina Lindberg.
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The Amazing Transplant is an American 1970 sexploitation film, written, produced and directed by Doris Wishman. The film stars Juan Fernandez, Linda Southern, and Larry Hunter.
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Desnuda en la arena is a 1969 Argentine comedy film written and directed by Armando Bó. It stars sexploitation icon Isabel Sarli and comedian Jorge Porcel.
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Violated Paradise, also known as Scintillating Sins and Sea Nymphs, is a 1963 Italian sexploitation film directed and produced by Marion Gering and starring Kazuko Mine.
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Sexploitation films were generally exhibited in urban grindhouse theatres, the precursor to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content. The term soft-core is often used to designate non-explicit sexploitation films after the general legalisation of hardcore content. Nudist films are often considered to be subgenres of the sex-exploitation genre as well. "Nudie" films and "Nudie-cuties" are associated genres.
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48 Hours of Hallucinatory Sex (original title: 48 Horas de Sexo Alucinante) is a 1987 Brazilian trash/sexploitation film by Brazilian film director José Mojica Marins. Marins is also known by his alter ego Zé do Caixão (in English, Coffin Joe). The film is the third of several sexploitation films Marins released in the 1980s. It was preceded by World Market of Sex (1979) and 24 Hours of Explicit Sex (1985).
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Silip () is a 1985 Philippine sexploitation film directed by Elwood Perez and written by Ricardo Lee. The film was released outside of the Philippines as Daughters of Eve.
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David Frank Friedman (December 24, 1923 – February 14, 2011) was an American filmmaker and film producer best known for his B movies, exploitation films, nudie cuties, and sexploitation films.
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Essy Persson (born Essy Ingeborg Vilhelmina Persson, 15 June 1941 in Gothenburg (Sweden)) is a Swedish film actress most noted for her role in the sexploitation film I, a Woman.
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Sex report films (German: Report-Filme) were pseudo-documentaries that had sexual life as their subject matter. Effectively sexploitation films, the genre was particularly popular in the early 1970s Europe.
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Bad Girls Go to Hell is a 1965 American sexploitation film written, produced and directed by Doris Wishman. The film stars Gigi Darlene, Sam Stewart, Barnard L. Sackett and Darlene Bennett.
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Any Body...Any Way (re-released under the name Behind Locked Doors) is a 1968 sexploitation "roughie" film directed by Charles Romine and starring Eve Reeves, Joyce Denner and Daniel Garth.
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The Centerfold Girls is a 1974 sexploitation thriller film directed by John Peyser. The film is about a sadistic serial killer (Andrew Prine) who targets the centerfold models of popular men's magazines.
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Virgin Witch is a 1971 British horror sexploitation film directed by Ray Austin and starring Ann Michelle and Vicki Michelle. The plot concerns a prospective model who joins a coven of white wizards.
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It would mark producer and occasional actor Osco's departure from his previous sexually explicit films such as the 1974 sexploitation film Flesh Gordon. Principal photography began in 1980 under the title Easter Sunday.
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Ilsa, the Tigress of Siberia is a sexploitation "men in prison" style of film that was produced in Canada in 1977. It is the third sequel to Ilsa, She Wolf of the SS.
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Inside Jennifer Welles is a 1977 pornographic film starring Jennifer Welles, an American porn star chiefly active in the soft and hardcore genres of the 1970s, although she began her acting career in the late 1960s in the sexploitation genre. The allegedly autobiographical film is one of the classics of the Golden Age of Porn. The credits for Inside Jennifer Welles (1977) credit Welles with being the director, although the film was actually anonymously directed by sexploitation veteran Joseph W. Sarno.
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The producers are executing the K-11 Project in conjunction with their non-profit, the Redlight Children Campaign, which is a worldwide grassroots initiative generating conscious concern and inspiring immediate action against child sexploitation.
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Escort Girls is a 1974 sexploitation film written, produced and directed by Donovan Winter and starring Helen Christie, Brian Jackson, David Dixon, Veronica Doran and David Brierly. Its working title was All Lovers Are Strangers.
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The Stink of Flesh is a 2005 black comedy and sexploitation film directed by Scott Phillips. It depicts a band of survivors in a zombie wasteland. The film includes a sequence of human-zombie intercourse.
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Walker mixed elements of sexploitation films and slasher films to direct this movie. The three films that the director is most known for came after this one - House of Whipcord, Frightmare, and House of Mortal Sin.
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Carne (English: Meat or Flesh) is a 1968 Argentine sexploitation film written and directed by Armando Bó. It stars Isabel Sarli as Delicia, a worker in a meat-packing factory where she becomes the victim of rapists.
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Fuego (Spanish for "fire") is a 1969 Argentine sexploitation film written, produced and directed by Armando Bó and starring Isabel Sarli. It is one of the many erotic films that the couple made between 1959 and 1980.
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Clips from Doris Wishman's two 1970s sexploitation films, based around Morgan's very large breasts, were featured in John Waters' 1994 film, Serial Mom. Waters also wrote a role for Morgan in his never-made feature Flamingos Forever.
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George G. Weiss was an American film producer who specialized in independent 'road show' exploitation Z movies during the 1950s and sexploitation shockers in the 1960s that openly defied the motion picture production code of the day.
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Argentine director Armando Bó and actress Isabel Sarli in the 1974 film El sexo y el amor. The couple produced numerous sexploitation films, and Sarli is considered one of the biggest stars of the genre. A sexploitation film (or "sex-exploitation film") is a class of independently produced, low-budget feature film that is generally associated with the 1960s and early 1970s, and that serves largely as a vehicle for the exhibition of non-explicit sexual situations and gratuitous nudity. The genre is a subgenre of exploitation films.
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The Smashing Bird I Used to Know is a 1969 British drama/sexploitation film, directed by Robert Hartford-Davis and starring Renée Asherson, Patrick Mower, Dennis Waterman, Madeleine Hinde and Maureen Lipman. As with other Hartford- Davis films, The Smashing Bird I Used to Know contains elements from different genres including psychological drama and social commentary. It is best known however as a sexploitation piece featuring nudity, attempted rape and lesbianism. The film features the first screen credit of the then 15-year-old Lesley-Anne Down in a supporting role.
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Sarno, a pioneer of the sexploitation film genre, completed his first adult-oriented feature, Nude in Charcoal, in 1961. Among his best-known films in the genre are Sin in the Suburbs (1964, which was about wife swapping), Flesh and Lace, The Swap and How They Made It (1966, in which his wife appeared), and Moonlighting Wives (1966). Sarno's work of the sexploitation period was typified by stark chiaroscuro lighting, long takes, and rigorous staging. He was also well known for scenarios centering on issues of psycho-sexual anxiety and sexual identity development.
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Wishman began to produce and direct sex-exploitation or sexploitation features in 1964 which were often called "roughies". Censorship at the time would allow very little, meaning Wishman and other sexploitation directors used different tactics to portray eroticism and excitement, using melodrama, cutaway, soft core sex talk and suggestive nudity that just skirted under the law. This put Wishman at odds with censorship law. In this genre, Wishman also used a different style of filmmaking in which she would cut to objects or scenery not in the scene, similar to Soviet montage.
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35 Customers who attended screenings of sexploitation films were often characterised by the mainstream media as deviant, "dirty old men" and "raincoaters."Sconce, p. 19 In the mid-1960s some newspapers began banning advertisements for the films.Sconce, p.
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According to William Grimes in The New York Times, it is "a film that harked back to his glory years" during which he helped "establish the sexploitation genre and break down the taboos against erotic content in American cinema".
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Bill Gibron of DVD Talk wrote that one of the special features on the DVD, a two-hour interview with sexploitation film director David F. Friedman about the history of the genre, was "far more fascinating" than the films.
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Intimacies of a Prostitute () is a 1974 Argentine sexploitation drama film directed by Armando Bo and starring Isabel Sarli, Jorge Barreiro, and Sabina Olmos. Various dates of the release have been given, some as early as 1971 or 1972.
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Suor Emanuelle (Sister Emanuelle) is a 1977 exploitation film. It can be classified under both the nunsploitation and sexploitation exploitation film subgenres. It is part of the long running Black Emanuelle series of films starring Laura Gemser.Sur Emanuelle. IMDB.
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McGuire is probably best known for appearing as SuperEula in the sexploitation-satire film Supervixens (1975), directed by Russ Meyer. She is also known for her few pictorials in such men's magazines as The BUF Swinger, Gem, and Color Climax.
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The film is an odd mixture, with Rohmerian cast and dialogues, mixed with a complacent night tour of the red-light districts of Paris, bordering on sexploitation. La Nuit porte-jarretelles got a César Award nomination (Best First Work) in 1986.
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Die Screaming, Marianne (also Die, Beautiful Marianne) is a 1971 British low- budget film by minor cult director Pete Walker. Although Walker's films were mostly in the horror or sexploitation genres, this is a straight thriller, with mild horror undertones.
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Rolls-Royce Baby is a 1975 Swiss sexploitation film directed by Erwin C. Dietrich in collaboration with Jesús Franco. The film stars Lina Romay as Lisa, a nymphomaniac model who travels in a Rolls-Royce seeking photo opportunities and sex.
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As the genre developed during the 1960s films began showing scenes of simulated sex.Sconce, p. 28 The films were opposed by religious groups and by the MPAA, which was concerned that sexploitation films were cutting into the profits of major film distributors.Sconce, p.
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Mature Pictures Corp was a New York based film distribution company that specialized in sexploitation and hardcore pornographic films. It is reported to have been owned by Sam Lake, who established the videotape releasing company Quality-X-Pix in the late 70s.
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The commission involvement earned Keating further national attention, which he used to push towards stringent behavior in Cincinnati. In 1969, Keating obtained an injunction preventing the showing in Cincinnati of softcore sexploitation master Russ Meyer's film Vixen!, claiming it was obscene, pp. 111–113, 116.
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Prime examples of roughie sexploitation include: Lewis and Friedman's Scum of the Earth! (1963); Russ Meyer's Lorna (1964); Joseph P. Mawra's misogynistic Olga trilogy, White Slaves of Chinatown, Olga's Girls, and Olga's House of Shame (all 1964); R. Lee Frost's The Defilers (1965); Doris Wishman's Bad Girls Go to Hell (1965); The Sexploiters (1965); The Agony of Love (1966), and Michael Findlay's Body of a Female (1965) and psycho-killer trilogy starting with The Touch of Her Flesh (1967). Sexploitation films initially played in grindhouse theatres and struggling independent theaters. However, by the end of the 1960s they were playing in established cinema chains.
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Doris Wishman (June 1, 1912August 10, 2002) was an American film director, screenwriter and producer. She is credited with having directed and produced at least thirty feature films during a career spanning over four decades, most notably in the sexploitation film genre. A native of New York City, Wishman began her film career as a hobby after the death of her husband in 1958. She made her feature debut with Hideout in the Sun (1960), and went on to direct numerous nudist and sexploitation films, such as Gentlemen Prefer Nature Girls (1963), Behind the Nudist Curtain (1963), and Bad Girls Go to Hell (1965).
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Like many sexploitation films, it was widely considered gratuitously sexual and violent, but some critics today still note the film's non-linear timeline and otherwise relatively artistic presentation. The film was re- released in 2012 alongside 5 other films as part of The Swedish Erotica Collection.
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This is a chronological listing of notable Japanese sexploitation films. The list includes film genres which employ sex and nudity as a main focus, such as pink film, Nikkatsu Roman Porno films, and Toei pinky violence. This list also includes articles on Japanese AVs (adult videos).
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Imports of Hammer Film's increasingly explicit horror movies and Italian gialli, highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.Langford (2005), p. 175. The Production Code was officially scrapped in 1968, to be replaced by the first version of the modern rating system.Heffernan (2004), p.
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SS Girls is an example of Naziploitation. This cycle of Nazi sexploitation films are predominantly Italian in origin and emerged for a brief period between 1975 and 1977. In Bruno Mattei's nazi-themed films, the settings are Nazi bordellos and are concerned with staging explicit sexuality.
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Currier was born in 1941 in Baileyville, Maine and moved to Southern California in the late 1950s. She was a model and actress, noted for her large-breasted figure, who appeared in a number of erotic nudie- cuties and sexploitation B grade films in the 1960s.
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Henenlotter's films were inspired by the exploitation and sexploitation films he loved, the kind which played on 42nd Street in New York City in the 1960s and 1970s. His films are low-budget and frequently include gore and special effects. They are considered by many to be B-movies.
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Teen Lust (also known as The Girls Next Door and Mom Never Told Me in the United States, and released as Police Girls Academy in the United KingdomIMDb: Release info for Teen Lust Retrieved 2013-04-13) is a 1979 American sexploitation comedy film directed by actor James Hong.
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After the popularity of the genre began to wane, she decided to abandon nudist exploitation films and transition into the new sexploitation genre. Doris Wishman had produced, directed and written more films in the nudist film genre than anyone else at the time, when she decided to switch gears.
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On a technical level, Perverted Criminal is notable for being Japan's first 3-D film. Allmovie writes that it was also the first 3-D sex film in the world, however, in the chapter "Sexploitation Films" in the book Incredibly Strange Films, Jim Morton writes that Jack H. Harris, producer of The Blob (1958), made the first 3-D sexploitation film with Paradisio (1962). Perverted Criminal was shot in the "part-color" format common with pink films of this period, with only a few scenes shot in color. In the case of Perverted Criminal, rather than sex scenes, it is the murder scenes, coupled with the 3-D effects, which are given the lurid emphasis of color.
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Following the DVD release, on May 9 and May 11, 2008, Portland, Oregon's Clinton Street Theater played Slave Widow on a double-bill with Hiroshi Mukai's The Bite (1966), previously considered a lost film.JAPANESE SEXPLOITATION DOUBLE FEATURE - May 9 & 11 (English). The Clinton Street Theater. Retrieved on March 8, 2009.
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49 The Supreme Court had previously ruled that films set in nudist camps were exempt from the general ban on film nudity, as they were deemed to be educational. In the early 1960s, films that purported to be documentaries and were thus "educational" enabled sexploitation producers to evade the censors.
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In the U.S., the film was edited to lighten the political overtones for an easier marketing as a sexploitation film and released under the title Madam Kitty with an X rating. Blue Underground Video, for the uncut version, has surrendered the X rating for an unrated DVD and Blu-ray release.
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It is a film set in August 1961 on the Sunset Strip starring Karl Schanzer and Don Kenney and featuring Electra, Exotica, Laura Cornell, Karla Lee, and Sue Martin. The film features footage from The Peeper (a short sexploitation film by Coppola) and an unfinished Western set in a nudist colony.
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Carl Monson (September 2, 1932 – August 4, 1988) a.k.a. Carlos Monsoya, Charles Monsoya and Nosnom Lrak, was at the forefront of independent low budget sexploitation/grindhouse films or paracinema during the 1970s and 1980s. He is most well known for Blood Legacy (1971), Booby Trap (1973) and Death Feud (1986).
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The Desert Tigers! -1977), sexploitation (Porno-Erotic Western - 1979), French criminal comedy (The Umbrella Coup - 1980), and post-apocalyptic films (Endgame - 1983). He also appeared in the bizarre 1982 Israeli adaptation of H. Rider Haggard's She as "Hector." The film was directed by Avi Nesher and co-starred Sandahl Bergman.
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Black Emanuelle 2 (Italian: Emanuelle nera n° 2), also known as The New Black Emanuelle, is a 1976 Italian psychological drama-sexploitation film directed by Bitto Albertini. It is an unofficial sequel of Black Emanuelle.Manlio Gomarasca. "Nero su bianco - Emanuelle nera n° 2" in AA.VV. Al tropico del sesso, Nocturno Dossier (35).
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Aldine Müller (born 8 October 1953) is a Brazilian actress. She was a key figure in the sexploitation film genre known as Pornochanchada in Brazil in the 1970s. Müller was born in 1953 to a Portuguese mother and an Italian father. She was married and has an adult son, Cézar Raspini da Fonseca.
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Supervixens is a 1975 American sexploitation film directed by American filmmaker Russ Meyer. The cast features Meyer regulars Charles Napier, Uschi Digard, and Haji. The film also features Shari Eubank (in a dual role) in one of her only two film roles ever and Christy Hartburg in her only film role ever.
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In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film, Finders Keepers, Lovers Weepers!, was reviewed in The New York Times.Canby (1969). Soon, Corman would be putting out nudity-filled sexploitation pictures such as The Student Nurses (1970) and Women in Cages (1971).
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Tarantino expressed in January 2008 his interest in a raunchy remake of the 1966 sexploitation film Faster, Pussycat! Kill! Kill!. The film has quite an influence on Tarantino; even going as far as to referencing the movie and giving co-writer/director of Faster, Pussycat!, Russ Meyer, thanks in his 2007 film Death Proof.
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Beneath the Valley of the Ultra-Vixens is a 1979 satirical sexploitation film starring Kitten Natividad and Ann Marie with a cameo by Uschi Digard. It was directed by American motion picture director Russ Meyer, and written by Roger Ebert and Meyer.BENEATH THE VALLEY OF THE ULTRA VIXENS Monthly Film Bulletin; London Vol. 47, Iss.
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Stripped to Kill is a 1987 American erotic thriller/sexploitation film directed by Katt Shea and starring Greg Evigan, Kay Lenz and Norman Fell.A Conversation with Katt Shea Its plot follows a female Los Angeles police detective who goes undercover posing as a stripper to investigate a series of slayings connected to a strip club near Skid Row.
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March 10, 1971. 16. Gene Siskel of the Chicago Tribune gave the film two stars out of four and wrote that Siegel "unfortunately elects to tell his story with a broad and leering humor that at times is barely distinguishable from a sexploitation shocker."Siskel, Gene (May 5, 1971). "'Mad Dogs' and..." Chicago Tribune. Section 2, p. 7.
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Eve Meyer (December 13, 1928 – March 27, 1977) was an American pin-up model, motion picture actress, and later, film producer. Much of her work was done in conjunction with sexploitation filmmaker Russ Meyer to whom she was married from April 2, 1952 until 1969. Eve perished in the Tenerife airport disaster on board Pan Am Flight 1736.
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Derek Ford (6 September 1932, Essex – 19 May 1995) was an English film director and writer, most famous for sexploitation films such as The Wife Swappers (1970), Suburban Wives (1971), Commuter Husbands (1972), Keep It Up, Jack (1973), Sex Express (1975) (also filmed in a graphic hardcore version), What's Up Nurse! (1977) and What's Up Superdoc! (1978).
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Dad Made Dirty Movies chronicles Stephen C. Apostolof's rise, from the story of his escape as a refugee from the Soviet occupation of Eastern Europe, to producer and director of sexploitation films in the 1960s and 1970s, his turbulent relationship with infamous Ed Wood and his downfall in the late 1970s with advent of hardcore pornography.
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Eve Meyer (born Evelyn Eugene Turner; December 13, 1928 – March 27, 1977) was an American pin-up model, motion picture actress, and film producer. Much of her work was done in conjunction with sexploitation filmmaker Russ Meyer, to whom she was married from 1952 to 1969. She was killed in the Tenerife airport disaster in 1977.
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Porno Holocaust is a 1981 Italian sexploitation horror film directed and lensed by Joe D'Amato and written by Tito Carpi under the pseudonym "Tom Salina". The assistant director was Donatella Donati. Shot in and around Santo Domingo, it was one of the first cinematically released Italian films containing hardcore pornography. Quotations are translated from the Italian original.
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Dave's films became the > building blocks for our film collection and he has taught and guided me > through the wonderful world of sexploitation, introducing me to his > colleagues (Dan Sonney, Harry Novak, H. G. Lewis, Bob Cresse and all the > other colorful characters who were involved during his heyday) and they've > been eager to dive into the business again.
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Four Dimensions of Greta (1972) is a low budget British comedy sexploitation film, directed by Pete Walker, featuring four 3-D film sequences. It was the first British film to use 3-D, and the tagline on the poster read, "A girl in your lap". The film is also known as "The Three Dimensions of Greta".
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Vixen! is a 1968 American drama film and satiric softcore sexploitation film directed by Russ Meyer and starring Erica Gavin. It was the first film to be given an X rating for its sex scenes,All About the VIXEN and was a breakthrough success for Meyer. The film was developed from a script by Meyer and Anthony James Ryan.
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Fun and Games (released in the US as 1000 Convicts and a Woman) is a 1971 British sexploitation film directed by Ray Austin. It stars Alexandra Hay as an oversexed teenage girl who causes havoc among the inmates of a British prison which is governed by her father. The cast also includes Sandor Elès, Harry Baird and Neil Hallett.
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Infrasexum is a 1978 American sexploitation film written, produced, edited and directed by Carlos Tobalina in his directorial debut. It stars Erroff Lynn as Peter Allison, an impotent middle-aged business executive who leaves his job and wife in search of liberation. The film's cast also includes Tobalina, Marsha Jordan, Maria Pia, William Larrabure, and Sharon Matt.
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The Playbirds is a 1978 British sexploitation film, made by Irish-born director Willy Roe and starring 1970s pin-up Mary Millington alongside Glynn Edwards, Suzy Mandel and Windsor Davies. It was the official follow-up to Come Play with Me, one of the most successful of the British sex comedies of the 1970s, which also starred Millington.
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Blood Orgy of the Leather Girls is a 1988 horror film directed by Meredith Lucas and starring Robin Gingold, Jo Ann Wyman, and Dale Soules. The film is a gory, low-budget, independent B-movie made in the classic "sexploitation" style. The film focuses on the efforts of four very different women looking for revenge on men who have mistreated them.
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Films shot for and screened at grindhouses characteristically contain large amounts of sex, violence, or bizarre subject matter. One featured genre were "roughies" or sexploitation films, a mix of sex, violence and sadism. Quality varied, but low budget production values and poor print quality were common. Critical opinions varied regarding typical grindhouse fare, but many films acquired cult following and critical praise.
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Metro-Goldwyn-Mayer remade the film, released in 1973. Although filmed on the MGM backlot, the 1973 remake used tinted stock footage from the 1931 film. A sexploitation parody film titled Trader Hornee was released in 1970. Trader Horn is the subject of a 2009 documentary, Trader Horn: The Journey Back Trader Horn: The Journey Back at IMDB featuring Harry Carey Jr.
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The Manson Massacre is a 1972 sexploitation horror film directed by Kentucky Jones and starring MaKee K. Blaisdell and Debbie Osborne. It is based on Charles Manson and the murders perpetrated under his influence in California in 1969. The film was originally released as The Cult, re-released as The Manson Massacre in 1976, again in 1980 as House of Bondage.
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In the early 1970s he was involved with British sexploitation movies and is credited as a producer of such films as Clinic Exclusive, aka Clinic Xclusive, aka With These Hands (1971) (as "Elton Hawke"). He used other pseudonyms to keep this part of his life from his fans, but it was revealed in a 1975 episode of the TV documentary series Man Alive.
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José Mojica Marins in O Profeta da Fome (1971). Although most known for films in the horror genre, Marins also created exploitation, drugsploitation, sexploitation (often in the form of pseudo-documentaries), and Westerns. Marins is noted for his low-budget film style, often using friends and amateur actors as cast and crew. His films are usually set in São Paulo, Brazil.
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Two Bells for Virginia Bell began her career in burlesque at age 22. By the 1950s, Bell began posing for men's magazines. Virginia had one starring role in a feature film, Bell, Bare and Beautiful (1963), which was the product of legendary sexploitation team of Herschell Gordon Lewis and David Friedman. It was made to fulfill a request by her husband, Eli Jackson.
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In 1987, she joined Depp in a season-one episode of 21 Jump Street called "Blindsided". Fenn has described many of these early films as sexploitation films "where directors tried to convince [her] to appear naked after the contract was signed."Sherilyn Fenn, quoted in "The Rise and Thrall of Sherilyn Fenn" by James Steranko Prevue (US). March 1991. pp.
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Reported as [1973] 1 Q.B. 241 (C.A.) United States customs were known to have confiscated copies of the film. Following such events, it was marketed as a sexploitation film of the "white coater" variety in some places — a pornographic film masquerading as a documentary or scientific film. The film had two sequels, Mera ur kärlekens språk in 1970 and Kärlekens XYZ in 1971.
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Flesh Gordon is an independently made 1974 American sexploitation film, an erotic spoof of Universal Pictures first (of three) Flash Gordon serials from the 1930s. The film was produced by Walter R. Cichy, Bill Osco, and Howard Ziehm. It was co-directed by Ziehm and Michael Benveniste, who also wrote the screenplay. The cast includes Jason Williams, Suzanne Fields, and William Dennis Hunt.
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Jennifer Welles (March 15, 1937 – June 26, 2018) was an American former pornographic actress in films of the 1970s, although she began her acting career in the late 1960s in the softcore sexploitation genre films produced in New York. Some of these include: Sex by Advertisement (1967), Career Bed, Submission, and This Sporting House, by pornographic film director Henri Pachard (all from 1969).
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The Sex Perils of Paulette was heavily censored by the New York Censor Board. All of Wishman's sexploitation work was shot in black and white until the release of her first soft-core color feature, Love Toy (c. 1970). Shortly thereafter she produced a sex comedy entitled Keyholes Are for Peeping (1972) aka Is There Love After Marriage? starring comedian Sammy Petrillo.
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Although following Albertini's successful 1975 sexploitation film Black Emanuelle and the allusion to the title, Black Emanuelle 2 differs greatly in plot than the first film, featuring Israeli actress Shulamith Lasri, as Emanuelle Richmond Morgan, a supermodel going through a state of amnesia and locked in a mental institution in New York City.Justine bonne à tout faire 2. Le Figaro. Retrieved 13 January 2015.
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Commuter Husbands is a 1972 comedy film by noted British sexploitation director Derek Ford, and a semi sequel to his 1971 film Suburban Wives. The film was directed and written by Derek Ford, and stars Gabrielle Drake, Robin Bailey, and Claire Gordon.The film exists also in a version with hardcore inserts, but there is no suggestion that any of the credited cast did hardcore.Sheridan,Simon (2011).
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The Curious Dr. Humpp, locally released as La venganza del sexo (Spanish for "revenge of sex"), is a 1969 Argentine sexploitation horror film written and directed by Emilio Vieyra. It focuses on a mad scientist who kidnaps people and forces them to have sex, which he views as the lifeblood of humanity, so that he can create a way for humans to attain eternal life.
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Dona L. Speir (born February 7, 1964) is an American model and B movie actress. She was chosen as Playboy's Playmate of the Month for March 1984. Her centerfold was photographed by Arny Freytag. Speir studied film acting with R. J. Adams at The Actors Workshop, Orange County, and went on to star in several sexploitation–action films by Andy Sidaris, including Hard Hunted (1993).
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Marketed as being similar in tone to Alfred Hitchcock's psychological horror film Psycho (1960), the film was released into drive-in theaters and the grindhouse circuit in 1973. Subsequently, the film began to be advertised as a sexploitation film and was released under the title Massage Parlor Hookers! with the horror film elements being removed. The film didn't have a home video release until 2013.
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Irving Klaw (November 9, 1910 – September 3, 1966), self-named the "Pin-up King",Pérez Seves, Eric Stanton & the History of the Bizarre Underground, p. 28. was an influential American merchant of sexploitation, fetish, and Hollywood glamour pin-up photographs and films. Like his predecessor, Charles Guyette,J.B. Rund, The Adventures of Sweet Gwendoline (Second Edition, Revised & Enlarged) New York: Bélier Press, 1999. p. 92.
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People viewing pornography is very common in Cyprus, especially through the internet. Many people have been getting into trouble with the law for illegal child pornography. Many reports have been filed. On 16 January 2020, a former high school security guard in Nicosia who is now fired for child pornography, was jailed for 4 years after he admitted to child sexploitation and child pornography possession.
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The marriage soon ended in divorce. Wilkes played Pamela Prentiss on the soap opera Days of Our Lives, from 1983 to 1984. Her best known role was in the 1984 cult classic sexploitation film Angel, in which she played Molly Stewart/Angel, a high school honor student by day, and a prostitute by night. The film spawned three unsuccessful sequels in which Wilkes had no involvement.
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Lamond's dramatic feature film debut was Felicity (1979), an erotic - some would say 'sexploitation' flick, that turned out to be popular worldwide. Lamond hoped to make a sequel, but could not raise the requisite financing. He then did a sex comedy in the vein of the "Carry On" films, Pacific Banana (1980), written by Alan Hopgood. The intention was to launch a series but the film was not a financial success.
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Stu Segall is a Boston area-born TV and movie producer and director who is the founder of Stu Segall Productions, a San Diego, California-based TV production studio. Segall began his career in 1970, directing sexploitation movies and hard-core pornography, including the famous Insatiable, starring Marilyn Chambers. Eventually, he got work in television. In 1984, Stephen J. Cannell tapped him to produce the TV series Hunter.
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The film and its star are not well received, except for Glick who enjoyed it. Unfortunately, he fell asleep before the film ended. After this scoop, Glick gets another prize interview with Miranda Coolidge (Elizabeth Perkins), who becomes the key figure in the murder mystery. Coolidge is starring in a lesbian sexploitation movie called African Queens (a takeoff of The African Queen), but is soon involved in the aforementioned murder.
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Emanuelle in America is a 1977 Italian sexploitation film, the third in a series starring Laura Gemser made to cash in on the success of the French film Emmanuelle (1974) and its sequels. It was the second in the series to be directed by Joe D'Amato. It is infamous for its explicit sexual content and graphic violence, And is often regarded as one of the best exploitation films of all time.
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Stucker was born in Des Moines, Iowa. His family moved to Shaker Heights, Ohio, where he distinguished himself in school as a pianist and class clown. He graduated from high school in 1965. Stucker made his screen debut co-starring in the 1975 comedic sexploitation film Carnal Madness as Bruce Wilson, a gay fashion designer who escapes from an insane asylum with two fellow inmates, fleeing to an all-girls school.
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Il dio serpente (The snake god) is a 1970 Italian erotic fantasy film directed by Piero Vivarelli and featuring Italian-based American actress Nadia Cassini in her first lead role. The film is an earlier example of voodoo (and later zombie) themed sexploitation films shot in the Venezuela by Italian directors. The theme song of the film, "Djamballà" by Augusto Martelli, reached the first position in the Italian hit parade.
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Pete Walker (born 4 July 1939) is an English film director, writer and producer, specializing in horror and sexploitation films, frequently combining the two.Keeping the British End Up: Four Decades of Saucy Cinema by Simon Sheridan (third edition) (Reynolds & Hearn Books, 2007).X-Rated - Adventures of an Exploitation Filmmaker by Simon Sheridan (Reynolds & Hearn Books, 2008).Shepperton Babylon: The Lost Worlds of British Cinema by Matthew Sweet (Faber & Faber, 2005).
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Knight Publishing Corp. had launched Adam magazine in 1956 as an attempt to follow Playboy's success. Adam Film Quarterly was spun off from that magazine by William Rotsler in 1966 to cover the sexploitation film industry. The first issue's cover price was US$1 and the cover story was about The Notorious Daughter of Fanny Hill, an erotic movie directed by Peter Stootsberry and produced by Bradford Hallworth.
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Conservative Argentine authorities rated these movies as PM-18 (age 18 and above), save for a few tamer films aimed at family audiences. The "Olmedo and Porcel" movies are considered to be the pinnacle of Argentina's sexploitation movie genre. Most of these movies were directed by Gerardo Sofovich or his brother Hugo, who also directed Olmedo's TV shows El Chupete (The Pacifier) and No Toca Botón! (Don't Touch That Button!).
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Jenny introduces viewers to the series' expression of magic. In contrast to the more clichéd portrayals of magic in the media as an evil force akin to Satan-worshiping tinged with sexploitation, magic in Buffy instead represents a more earth-bound force that can be harnessed for a physical price.Wilcox and Lavery, pp. 187–188. Jenny tells Giles that email and bone-casting are equally valid forms of receiving information.
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Black Emanuelle (Italian: Emanuelle nera) is an Italian softcore sexploitation film from 1975 directed by Bitto Albertini. This Africa set film was shot mostly in Kenya. The music was composed by Nico Fidenco. Black Emanuelle was followed by a number of sequels, all revolving around follows the erotic adventures of Mae Jordan (played by Laura Gemser), a globe-trotting, hedonistic investigative journalist and photographer known to her readers as "Emanuelle".
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The Telephone Book received mostly negative reviews upon release. In a contemporary review written for The New York Times, critic A. H. Weiler called the film "an occasionally interesting, if wrong, number." Kevin Thomas of the Los Angeles Times, however, called the film "so bleakly brilliant that those in search of the usual sexploitation entertainment attend at peril". The Los Angeles Herald Examiner also published a positive review of the film.
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Mike Davis is an American screenwriter. He was born and raised in Philadelphia, Pennsylvania and optioned his first screenplay, the story of Elvis Presley returning from the grave to become President, shortly after graduating NYU's Tisch School of the Arts. In 2004 he formed Stag Films, writing and co-producing the independent feature film, Pervert! starring Mary Carey, an homage to Russ Meyer, 1970s sexploitation and grindhouse horror films.
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A story of a policeman's hunt for a rapist-murderer, this predominantly black & white film emphasizes the murders with color in addition to the 3-D. Comparing it to the later U.S. 3-D sexploitation film The Stewardesses (1969), Allmovie calls Hentaima "an altogether more gruesome affair featuring brutal rape, murder, and necrophilia."Weisser, p. 308. Seki remade the film as Abnormal Sex Crimes (Ijō sei hanzai, 1969).
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In the 1970s, Mexico City experienced a new golden age of nightlife and cabarets. This was made possible, in large part, by the demise of the "League of Decency". Mexican cinema, which had success early in the decade, again fell into decline with the rise of low-quality sexploitation films. The clearest example was the rise of the so-called cine de ficheras in the late seventies and early eighties.
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18 Softcore sex films are often romances of some kind, and the genre has a long tradition, particularly in Europe. Directors such as Radley Metzger (Theresa and Isabelle 1968), Joseph Sarno (Inga 1968), and Just Jaeckin (Emmanuelle 1974) were influential pioneers of the softcore-romance film. Their "middlebrow sexploitation" movies put stories of female desire at the center, and helped pave the way for softcore's reemergence in the 1990s.Andrews (2006), pg.
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24 Hours of Explicit Sex (original title: 24 Horas de Sexo Explícito) is a 1985 sexploitation B-film by Brazilian director José Mojica Marins. Marins is also known by his alter ego Zé do Caixão (Eng: Coffin Joe). Marins shot the film for the production company Fotocenas Filmes which agreed to finance his project of a new Zé do Caixão film. After the release of the film, producers failed to finance Marins for his project.
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Frauengefängnis (released in the US as Barbed Wire Dolls and in the UK as Caged Women) is a 1975 Swiss horror film directed by Jesús Franco. It is part of the women in prison cycle of violent sexploitation films that flourished in the 1970s and early 1980s. When originally submitted for release in 1976, the British Board of Film Classification rejected it. It was only passed the following year after extensive cuts.
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Roberta Vasquez (born February 13, 1963) is an American model and B movie actress. She was Playboy's Playmate of the Month for November 1984. Vasquez went on to star in several sexploitation–action films in the late-1980s and early-1990s written and directed by Andy Sidaris. She has worked as a California State Police officer as well as playing an officer in the 1990 Clint Eastwood buddy cop film, The Rookie.
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Cinema X was a British film magazine best known for its coverage of sexploitation films. Early issues of the magazine were undated, but it is believed the first issue was published in 1969. The first film to grace the cover of Cinema X was Loving Feeling, directed by Norman J. Warren. Other films covered in the first issue were I Am Curious (Yellow), Curse of the Crimson Altar, and Therese and Isabelle.
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H.O.T.S. is a 1979 sex comedy. The film stars three Playboy Playmates -- Susan Kiger (January 1977), Pamela Bryant (April, 1978), and Sandy Johnson (June, 1974), as well as former Miss USA of 1972, Lindsay Bloom, sexploitation actress Angela Aames, and later genre movie veteran Lisa London in her film debut. Danny Bonaduce appears in a supporting role. The cast frequently appears in tight white T-shirts with the H.O.T.S. logo and red-orange shorts.
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In 2015, Vinegar Syndrome began developing a subscription-based, VOD-style streaming service called Skinaflix, described by Rubin as "Netflix for sex films, but curated for cinephiles". Funded by an Indiegogo campaign, the service was initially intended to offer sexploitation films and other X-rated works, but its catalog was expanded to include films from other genres prior to its launch. Additionally, the name of the service was changed to VinegarSyndrome.TV and finally to Exploitation.
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Lee Pfeiffer of Cinema Retro called the film "downright weird", writing: "Whatever early talent Tobalina might have conveyed on screen is compromised by the bare bones production budget, which was probably close to zero." He noted that the film would likely appeal to "baby boomer males who want a trip back in time to an era in which such fare was considered daring and controversial", and to fans of cult sexploitation films.
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The stage name she adopted is a variation on George Spelvin, a name traditionally used as a pseudonym by stage actors for the second billing, when playing two roles. She made her first movie, The Twilight Girls, a softcore lesbian film, in 1957. and appeared in a few sexploitation features during the late 1960s. Graham moved into porn when her friend, actor Harry Reems, introduced her to adult film director Gerard Damiano.
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Nick and Jake has also been produced as an audio play starring Alan Arkin, Tom Conti and Ali MacGraw. His screenwriting credits include The Cheerleaders (1973), a sexploitation film characteristic of the era. Richards has written 16 works of nonfiction. Struggle and Lose, Struggle and Win: The Story of the United Mine Workers (written with Elizabeth Levy) was listed by The New York Times as one of the best young adult books of 1977.
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It rented the Tivoli Theatre, known for showing sexploitation films, and planned a screening of Flaming Creatures, excerpts from Smith's Normal Love, and Andy Warhol's Newsreel. The theatre canceled the event due to the obscene content in Flaming Creatures. Several hundred people gathered at the theatre, and Smith was given his award in an impromptu ceremony. A crowd of several hundred people led by Barbara Rubin occupied the Tivoli until police could clear the building.
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Images in a Convent () is a 1979 sexploitation film by Italian cult filmmaker Joe D'Amato starring Paola Senatore, Marina Hedman and Donald O'Brien. The film belongs to the 'nunsploitation' subgenre. It contains strong scenes of graphic violence relating to demonic possession and is among few films containing original hardcore pornography that already passed Italian censorship in 1979 and were projected in some Italian cinemas. It includes explicit lesbianic depictions of digital penetration and cunnilingus.
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Quentin Tarantino screened the film at his festival in 2007. A critic at the screening wrote: > This flick is kind of bizarre. It’s a serial killer flick that’s not really > high on the gore or suspense. It’s a sexploitation flick without much > titillation. It’s a William Smith movie where he’s kind of unthreatening > (until the end when he’s as badass as you want him to be). None of that > means it’s a lame movie.
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Many gialli, highly stylized films mixing sexploitation and ultraviolence, were picked up for U.S. B-market distribution and would prove influential on American horror films in turn, especially of the slasher type. While in the past, the term B movie had been applied, both in the United States and abroad, almost exclusively to low- and modest-budget American films, the growing Italian exploitation film industry now also became associated with the label (usually styled in Italy as B-movie).
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Layanam () is a 1989 Indian Malayalam-language erotic drama film directed by Thulasidas and produced by R. B. Choudary.Ashish Rajadhyaksha & Paul Willemen, Encyclopaedia of Indian Cinema, page 518, British Film Institute, 1994, The film features prominent sexploitation actresses Silk Smitha, Abhilasha, and Devishri, as well as young Nandu. It was one of the biggest hits in the South Indian soft-porn industry, and has earned a cult status. The movie was later dubbed in Tamil, Telugu, Kannada, and Hindi.
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These were softcore sexploitation films of the type that were shown in western grindhouse's and drive-ins. Ōkura also claims to have produced the first pink film directed by a woman. Kyōko Ōgimachi, an actress in Shintōhō's ama films of the 1950s, directed Yakuza Geisha in 1965. However Jasper Sharp reports that several pink film insiders are skeptical of this claim, as Ōgimachi was Mitsugu Ōkura's mistress, and he was known to treat her with favoritism.
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However, the sexploitation films of Doris Wishman took a feminist approach which avoids and subverts the male gaze and traditional goal-oriented methods. Wishman's subject matter, though exploitative and transgressive, was always framed in terms of female empowerment and the feminine spectator. Her use of common cult film motifs – female nudity and ambiguous gender – were repurposed to comment on feminist topics. Similarly, the films of Russ Meyer were a complicated combination of transgressive, mainstream, progressive, and regressive elements.
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Two of Starr's performances, including the combustible sofa, are among the burlesque routines featured in the 1956 compilation film Buxom Beautease, produced and directed by Irving Klaw. Director Doris Wishman's 1962 film Blaze Starr Goes Nudist, a nudie- sexploitation film, features Starr's one lead movie role. As the title suggests, she plays herself. The film is also known as Blaze Starr Goes Back to Nature, Blaze Starr Goes Wild, Blaze Starr the Original, and Busting Out.
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Distributed by The Samuel Goldwyn Company and MGM Home Entertainment. Included in the collection of the UCLA Film Archive, Wigstock’s 20th Anniversary was celebrated by screenings at The Hammer Museum’s Billy Wilder Theater, the Museum of Modern Art and The Anthology Film Archives. Shils produced and directed ten episodes of HBO's reality series, America Undercover: Real Sex (Sheila Nevins, Executive Producer). Including "Ladies' Night" and "Doris Wishman: Queen of Sexploitation," a portrait of the trailblazing female film director.
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According to Leon Hunt the film represents the suburban wives as both "banal and voracious, passive and rapacious, timid and uncontainable." The Daily Mirror described the characters as a "monstrous regiment of frustrated wives".Hunt, Leon, British Low Culture: From Safari Suits to Sexploitation, Routledge, 2013, p.104-6. It portrays suburbia as a deadened, lifeless space, one that mirrors the "sexual desert" experienced by the characters, but which, as Hunt says, "just intensifies desire rather than diminishing it".
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Exploitation films may adopt the subject matter and styling of regular film genres, particularly horror films and documentary films, and their themes are sometimes influenced by other so- called exploitative media, such as pulp magazines. They often blur the distinctions between genres by containing elements of two or more genres at a time. Their subgenres are identifiable by the characteristics they use. For example, Doris Wishman's Let Me Die A Woman contains elements of both shock documentary and sexploitation.
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The authors also used egregious examples to represent less reputable film genres, such as blaxploitation films (Trouble Man), Japanese monster movies (Godzilla vs. Hedorah), Spaghetti Westerns (Return of Sabata) and jungle movies (Daughter of the Jungle) alongside anime (Alakazam the Great), disaster movies (Airport 1975), sexploitation films (Myra Breckinridge), Elvis Presley vehicles (Spinout), and mainstream films like At Long Last Love, Bring Me the Head of Alfredo Garcia, Hurry Sundown, King Richard and the Crusaders, Say One for Me.
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Set in a misty graveyard, the Lord of the Dead (Criswell) and his sexy consort, the Black Ghoul (a Vampira look-alike), preside over a series of macabre performances by topless dancers from beyond the grave (recruited by Wood from local strip clubs). The film also features a Wolf Man and a Mummy. Together, Wood and Apostolof went on to make a string of sexploitation films up to 1977. Wood co-wrote the screenplays and occasionally acted.
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Neri, the bombshell, was also much in demand for erotic giallo thrillers, horror, and sexploitation films. She was in Jess Franco's box office hit 99 Women (1969), one of the first women in prison films, and Top Sensation (The Seducers) (1969) opposite Edwige Fenech. In 1972 she played Farley Granger's wife in Amuck!. Granger plays a wealthy author who hires a beautiful secretary (Barbara Bouchet) and engages in kinky sex games with her and his wife.
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Armando Bó (3 May 1914 – 8 October 1981) was an Argentine film actor, director, producer, screenwriter and score composer of the classic era. He is mostly known for his sexploitation films in the 1960s and 1970s starring his favorite actress and romantic partner, sex symbol Isabel Sarli. His works include the first nude scene in an Argentine film (El trueno entre las hojas). Bó's son is the actor Víctor Bó and his grandson is the screenwriter Armando Bó.
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Digard burst into cinema in Sweden where she starred in several softcore erotic films. In 1967, she went to the U.S. where she soon began appearing in numerous sexploitation movies such as Uschi's Hollywood Adventure (aka Raquel's Motel, 1970), a film so low-budget it was shot without sound and then dubbed with a narrative voiceover. She also appeared in pornographic magazines. She was among the best known big bust models in the late 1960s and early 1970s.
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Suburban Secrets (US television title Lust for Laura) is a 2004 sexploitation and softcore adult film, written and directed by Joseph W. Sarno. The film stars Isadora Edison, Tina Tyler, Kay Kirtland, and Chelsea Mundae. Seduction Cinema regular A.J. Khan also appears, in a film where the director transposes the theme of his 1976 "classic" Misty into a modern-day environment. The film was Sarno's last filmLast film per IMDB and NYT obituary (he died in 2010) and his first since 1990.
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Mad Cowgirl is a low-budget film by Gregory Hatanaka. Hatanaka dedicated the movie to Doris Wishman, who directed 1960s sexploitation films such as Diary of a Nudist, Behind the Nudist Curtain and Bad Girls Go to Hell, and actor John Cassavetes. Mad Cowgirl officially was selected to the SF Indiefest and the Silverlake Film Festival, followed by a limited release in major cities such as New York City and Seattle. Mad Cowgirl was released on DVD on December 5, 2006.
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Another popular clothing fetish involves cheerleader uniforms. The popularity of the provocative Dallas Cowboys Cheerleaders in the 1970s established the cheerleader as an American icon of wholesome sex appeal. An entire subgenre of sexploitation films emerged, with titles such as The Swinging Cheerleaders (1974) and Cheerleaders's Wild Weekend (1979), plus countless pornographic films starting with Debbie Does Dallas in 1978. As a result, the uniform remains an American favorite for Halloween costumes, costume parties, exotic dancers, specialty prostitutes, and role-playing couples.
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Women in Cages is a 1971 women in prison sexploitation film directed by Gerardo de León and starring Jennifer Gan, Judy Brown, Roberta Collins, and Pam Grier. Co-produced by Roger Corman, it was prominently featured in the Planet Terror portion of the 2007 film Grindhouse. Grindhouse director Quentin Tarantino said of the film, "I'm a huge, huge fan of Gerry de Leon.... the film is just harsh, harsh, harsh." He described the final shot as one of "devastating despair".
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In the early 1970s, she was directed by then-husband and Manhattan theatre owner Don Schain in a series of softcore sexploitation action films, most notably the "Ginger" trilogy, consisting of Ginger, The Abductors and Girls Are For Loving. Caffaro played Ginger McAllister, a tough and resourceful bed-hopping private-eye and spy. Her missions involved busting up seedy wrongdoers involved in drugs, prostitution and white slavery. Her character also spends an inordinate amount of time bound and gagged and/or raped.
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Something Weird Video was founded in 1990 by Mike Vraney in Seattle. He was inspired by his teenage job as a theater projectionist. His love for the obscure films that never made it to video prompted him to transfer hundreds of ancient reels of film to VHS videotape and DVD. On the company website, Vraney explains the label's genesis: > In my mind, the last great genre to be scavenged were the exploitation / > sexploitation films of the '30s through the '70s.
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In 1992 he founded New Odeon film studio, having become a director, screenwriter and producer of his films. For the way to shoot quickly and cheaply, as well as the presence of dubious humor and sexploitation, he was compared to Ed Wood. At the same time, his achievements include the fact that he made many films in the conditions of the decline of the film industry in Russia in the 90s and gave many film actors the opportunity to work in their specialty.
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Wyler's direction is notable only for the coldness and for an impatience to get on with the story at the expense of any feeling of real involvement . . . I must say I wasn't bored by it, just depressed."New York Times review Variety called it "not much more than an interracial sexploitation film."Variety review TV Guide rates it two out of a possible four stars and comments, "Though the cast gives some strong performances, ultimately the film is an empty affair.
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She transitioned and set her sights on Hollywood, beginning her career as an extra and actress performing nude scenes in low- budget B-movies, sexploitation films, and softcore porn film and video. In the mid‑1980s, she appeared nude in many episodes of Electric Blue, a softcore porn show that aired mainly on the Playboy Channel. She costarred with many porn stars including Kitten Natividad, Candie Evans, Taylor St. Clair, Ron Jeremy, and Ginger Lynn Allen. She also began performing stunt and body double work.
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Confessions from the David Galaxy Affair (UK re-release title: Star Sex) is a 1979 British sexploitation comedy film directed by Willy Roe and starring Alan Lake, Glynn Edwards, Mary Millington, Bernie Winters, Diana Dors and Antony Booth. A playboy astrologer has to prove an alibi to police for a robbery five years before. Dors performed the film's theme song over the opening titles. The film was financed by businessman David Sullivan to promote the career of Millington, who was his girlfriend at the time.
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By the time the major studio, Nikkatsu took over the sexploitation genre in the early 1970s with its Roman Porno films, a distribution system for independent pink films had been established, with Ōkura and Shintōhō Eiga controlling most of the venues.Sharp, p. 203. Ōkura's production arm was eventually named OP Eiga, while the distribution retained the Ōkura name.Sharp, p. 338. Typical of the studio's output in the 1980s, director Kazuhisa Ogawa, with regular star Mayumi Sanjo specialized in a series of college girl films.
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Mainstream pornography did not arrive in Japan until the advent of Pink film. Pink film was theatrical film which featured soft core, suggestive themes and later full-on nudity and sexual acts. The first wave of the Pink film in Japan was contemporary with the similar U.S. sexploitation film genres, the "nudie- cuties" and "roughies". Nudity and sex officially entered Japanese cinema with Satoru Kobayashi's controversial and popular independent production Flesh Market (Nikutai no Ichiba, 1962), which is considered the first true pink film.
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A buxom, freckled redhead, Colleen Brennan began her career posing for men's magazines such as Swank and Penthouse. She later started as Sharon Kelly in several 1970s softcore sexploitation films produced by Harry Novak. She also made appearances in Russ Meyer's Supervixens (1975) and the women in prison films Ilsa, She Wolf of the SS (1975) and its first sequel Ilsa, Harem Keeper of the Oil Sheiks (1976). She also appeared in small parts in the mainstream films Shampoo, Hustle and The Boob Tube.
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The film was a financial success, grossing over $12,000 in a single theater over a week's run upon opening,Friedman, 271. and continued to enjoy financial success while avoiding the type of censorship previous exploitation films such as Mom and Dad faced.Friedman, 272-274. The film ushered in a new form of sexploitation film, the "nudie cutie", and Friedman, who worked with the American Film Institute to catalog such films for them, estimated over 600 Pierre-style films were released between 1961 and 1970.
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Reform School Girl is a 1957 film starring Gloria Castillo as a teenage girl who is sent to a reformatory."Reform School Girl" Internet Movie Database (IMDb) Retrieved October 6, 2012 ”Reform School Girl” All Movie Database Retrieved October 6, 2012 The film was directed by Edward Bernds and was produced by Samuel Z. Arkoff. Reform School Girl was one of many sexploitation films released by American International Pictures (AIP) during the 1950s and 1960s. AIP's films during this period were largely focused on juvenile delinquency.
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Reason magazine called Viva an "uncannily precise rendition of the look, sound, mood, and arch dialogue" of seventies sexploitation films, with "high-key, pseudo-Technicolor lighting and spare, colorful set design." Viva had a very limited theatrical release. Biller's second feature film, The Love Witch, premiered in 2016 at the International Film Festival Rotterdam. The film is a twist on classic serial killer films, featuring a woman who kills through calculated sexuality and "love magic", causing her male victims to fall too much in love.
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Braun was always on the move, and made his hardcore movies in a number of countries, including Spain, France, Sweden, Denmark and the Netherlands. In December 1960, American female director Doris Wishman began producing a series of eight pornographic films, or nudist films without sex scenes, including Hideout in the Sun (1960), Nude on the Moon (1961) and Diary of a Nudist (1961). She also produced a series of sexploitation films. In the 1960s, social and judicial attitudes towards the explicit depiction of sexuality began to change.
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Several more murders follow, tied to a decade-long string of killings of victims chosen in alphabetical order. The Girl Who Knew Too Much is considered to be the first giallo film, a film genre with a mixture of thriller, sexploitation and horror conventions. An alternative cut titled Evil Eye was released in the United States by American International Pictures; this version features a score by Les Baxter, deletes several scenes, and adds others which place a greater emphasis on comedy compared to the Italian release.
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There are many Mexican LGBT+ films, a genre that has developed through the film history of the country since the 1970s. Gay characters have appeared in Mexican cinema since the 1930s, but were not integrated until the ficheras of the 1970s. After this genre of sexploitation comedy, Mexico produced films as part of the wave of Maricón cinema. In 2001, with the success of Y Tu Mamá También, Mexico propelled Latin America into a period of increased LGBT+ film production unified as New Maricón Cinema.
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Despite the first issue's success, Griffith and Kinney were dubious about Company & Son's accounting practices, so they brought issue #2 to Print Mint (which later also published issue #4). Issues #3 and #5–8 were published by Last Gasp under their "Sexploitation Comics Group" imprint. Early issues were in high demand and underwent many additional printings; The Young Lust Reader (And/Or Press, 1974) collected stories from the first three issues of Young Lust. There was a ten-year gap between issues #6 (published December 1980) and #7 (published 1990).
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In 1983 Tyrrell played Solly, in the sexploitation film Angel and its 1984 sequel, Avenging Angel. Then followed roles in the adventure film Flesh+Blood, the Vincent Price anthology horror film From a Whisper to a Scream (1987), the animated feature film The Chipmunk Adventure (1987), and Big Top Pee-wee (the 1988 sequel to 1985's Pee-wee's Big Adventure) followed. Tyrrell took a supporting role in John Waters' Cry-Baby (1990). In 1992, Tyrrell performed her own one-woman show, Susan Tyrrell: My Rotten Life, a Bitter Operetta.
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Themes repeatedly visited in the prison films include escape attempts, gang activities inside the prison, efforts of wrongly convicted persons to prove their innocence, and guard and management cruelty. An entire subgenre of films exists where the toughest prisoners are permitted (or forced) to engage in boxing matches or martial arts bouts, replete with high-stakes wagering on the outcomes. Another subgenre exists of sexploitation films featuring women in prison engaging in sexual activities. Prison films set during war have become a popular subgenre known as prisoner of war film.
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With the Code gone and the X rating established, major studio A films like Midnight Cowboy could now show "adult" imagery, while the market for increasingly hardcore pornography exploded. In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film, Finders Keepers, Lovers Weepers!, was reviewed in The New York Times.Canby (1969). Soon, Corman was creating nudity-filled sexploitation pictures such as Private Duty Nurses (1971) and Women in Cages (1971).Di Franco (1979), pp. 162, 165.
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Francesco "Nino" Castelnuovo (born 28 October 1936) is an Italian actor of film, stage and television. Castelnuovo appeared as Guy Foucher in the French- language musical film The Umbrellas of Cherbourg (1964) and as D'Agostino in the romantic-drama The English Patient (1996). His other films include the drama Rocco and His Brothers (1960), the sexploitation Camille 2000 (1969), the black-comedy L'emmerdeur (A Pain in the ..., 1973), the giallo film Il prato macchiato di rosso (1973), and the spaghetti-westerns Massacre Time (1966) and The Five Man Army (1969).
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In 1963, while living in Miami, she was secretary to a producer of "nudie" movies and a receptionist at the Burger King home office; she also worked for Avis during this period. In her website autobiography, she indicates that she appeared in an (unnamed) sexploitation film in 1963, portraying a police sergeant. During this time, she was known by her birth name of Judith Carr. She did not begin using the moniker "Juliet Anderson" until later in her adult film career, when she made the transition from 8mm productions to feature films.
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He met some of the actors for his early films at Caffe Cino. His first released film was a 30-minute black-and-white 16 mm short drama entitled Vapors (1965). The film, set on one Friday evening in the St. Mark's Baths, a gay bathhouse for men, portrays an emotionally awkward and unconsummated meeting between two strangers. Milligan was later employed by producers of exploitation films, particularly William Mishkin, to direct softcore sexploitation and horror features, many featuring actors known from the off-off Broadway theater community.
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Mantis in Lace is a 1968 sexploitation film directed by William Rotsler and starring Susan Stewart, Vic Lance, Steven Vincent, Pat Barrington, and Stuart Lancaster. It was produced by Harry Novak.IMDb: Mantis in Lace (1968) At least two differently edited versions have been released, one of which has more emphasis on sex and one of which emphasizes violence.Eccentric Cinema: Mantis In Lace Per the Internet Movie Database (IMDb), the movie was released under the title, Lila, which coincides with the movie's opening scene also crediting the film's title as Lila.
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The World Is Full of Married Men is a 1979 British romantic drama film based on Jackie Collins' first novel, The World Is Full of Married Men. According to Jackie Collins' website, it is about "The glamorous but seedy world of entertainment provides the setting for Jackie Collins' explosive expose' of sexual double standards and naked ambition." In their review, Variety called it "sexploitation melodrama which, cunningly, will titillate both sexes." Franciosa "brings a mercifully light touch", Nicholas was "uncharismatic", and Hale was "effective as a laconic wife".
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Sexploitation films resemble softcore pornography. Films in this genre are an excuse for showing scenes involving nude or semi-nude women. Many movies contain vivid sex scenes, but sexploitations are more graphic than mainstream films. When sexploitations are plot-driven, most of the plot could include killers, slavery, fem-dom, martial-arts, similar style and lines from glamour and screwball comedies, features love interests and flirtation akin to romance films, over-the-top direction, like cheeky homages, fan service and caricatures, and broad performances that may contain sleazy teasing and alluding to foreplay or kink.
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A Night to Dismember is a 1983 American slasher horror film, produced and directed by Doris Wishman. The film stars pornographic actress Samantha Fox as a psychotic young woman, recently released from a psychiatric institution, who is driven to kill by an ancestral curse. It was the first and only foray into the horror genre for Wishman, who mainly directed and produced sexploitation films. Inspired by the success of slasher films such as Halloween (1978), Wishman signed on to direct and produce the film, derived from a screenplay by Judith J. Kushner.
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Case of the Full Moon Murders (also known as The Case of the Smiling Stiffs) is a 1973 sexploitation comedy film directed by Sean S. Cunningham and Brud Talbot and starring Fred J. Lincoln, Harry Reems, and Sandra Peabody. It features many of the same cast and crew as the 1972 horror film The Last House on the Left, though is wholly disparate in terms of its tone and content. It was advertised with the tagline "The First Sex-Rated Whodunit," reflecting the film's mix of softcore pornography and mystery film elements.
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Big Bad Mama is a 1974 American action-crime-sexploitation comedy movie produced by Roger Corman, starring Angie Dickinson, William Shatner, and Tom Skerritt, with Susan Sennett and Robbie Lee. This movie is about a mother, Wilma (played by Dickinson), and her two daughters, Polly (Robbie Lee) and Billie Jean (Susan Sennett), who go on a crime spree. After the mother unexpectedly falls in love with a bank robber it all ends, with tragic consequences. Big Bad Mama became a cult hit and was followed by a sequel, Big Bad Mama II, in 1987.
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The Telephone Book is a 1971 American independent sexploitation comedy film written and directed by Nelson Lyon and starring Sarah Kennedy, along with Norman Rose, James Harder, and Jill Clayburgh. The film follows a solitary but lustful woman named Alice, who falls in love with a stranger who makes obscene phone calls to her. The film is satirical in nature, and often breaks the fourth wall. The film was released in the United States in 1971, and received an X rating from the Motion Picture Association of America.
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Often compared by critics to Breathless (1960) and Rebel Without a Cause (1955), it is a stylistic departure from studio norms, driven by its jazz score and employing filmic techniques described as being as energetic and frantic as its characters. It achieved success in Japan and was followed by Black Sun (1964), featuring many of the same cast, crew and characters, with the addition of acclaimed drummer Max Roach to the soundtrack. Audubon Films released The Warped Ones in the United States in 1963 where it was marketed as a sexploitation film.
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Henri Pachard, Jackson St. Louis and Crystal Blue were the pseudonyms of the American film director Ron Sullivan (June 4, 1939 – September 27, 2008). In the late 1960s, using his real name, Sullivan directed a number of sex-and- sadism Sexploitation films for the then-thriving 42nd Street grindhouse market. Working for Sam Lake Enterprises in New York, he directed his first film, Lust Weekend (1967). This was followed by The Bizarre Ones (1967), Scare Their Pants Off (1968), and This Sporting House, with future adult star Jennifer Welles, in 1969.
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José Mojica Marins José Mojica Marins (March 13, 1936 – February 19, 2020) was a Brazilian filmmaker, director, screenwriter, film and television actor and media personality. Marins is also known by his alter ego Zé do Caixão (in English, Coffin Joe). Marins is noted for his trademark low-budget film style, and was known to primarily use friends and amateur actors to portray characters and function as crew. Although primarily known for films of the horror genre, Marins also produced trash cinema, exploitation, drugsploitation, sexploitation (often in the form of pseudo-documentaries), and westerns.
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Janet Banzet (May 17, 1934 – July 29, 1971), also credited as Marie Brent and several other names, was an American actress who appeared in several sexploitation films of the late 1960s and early 1970s. She starred in several provocatively titled films directed by Michael Findlay and Joseph W. Sarno. She had a small role in the 1970 adult film The Party at Kitty and Stud's better known later under the title Italian Stallion which was Sylvester Stallone's film debut.Sylvester Stallone interview , Playboy, September 1978 She acted in about 40 movies.
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Years after it she also produced a series of sexploitation films. Directed by Abiola Abrams in 2006, Afrodite Superstar is regarded as the first erotic film to be both directed by a black women and marketed at black women. Other black female directors in adult film include Shine Louise Houston, Diana Devoe, and Estelle Joseph, director of the award-winning City of Flesh series. Swedish filmmaker Mia Engberg along with twelve different directors produced a collection of feminist pornographic short films titled Dirty Diaries which was released in September 2009.
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The earliest erotic theatres in the U.S. were in California, and showed 35-millimetre low-production-quality independently produced films. In 1960 there existed about twenty theatres in the U.S. that showed erotic movies exclusively. In the late 1960s and early 1970s, they spread to the rest of the country. Small "storefront" theatres with only a lot dozen seats sprang up, and by 1970, 750 pornographic theatres existed in the U.S. In the 1970s, theatres shifted from showing 35-millimetre sexploitation films to more explicit 16-millimetre "beaver" films.
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In the mid-1970s, she went on to direct a pair of low-budget thrillers featuring burlesque performer Chesty Morgan: Deadly Weapons and Double Agent 73, the former of which was distributed internationally by Hallmark Releasing Corporation, and made on a budget of $50,000. When producing roughies, Wishman shot them with a handheld camera, a tactic used by experimental filmmakers, and exploitation filmmakers trying to cut down shooting costs. Anti-obscenity law at the time greatly limited the circulation of the films of Doris Wishman and other sexploitation directors.
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Vampire Hookers is a 1978 sexploitation horror film directed by Cirio H. Santiago and written by Howard R. Cohen. An international co-production of the Philippines and the United States, the film stars John Carradine as a vampire named Richmond Reed, who recruits three female vampires who pose as prostitutes in order to lure victims to their lair. The other members of the cast include Bruce Fairbairn, Trey Wilson, Karen Stride, Lenka Novak, and Katie Dolan. Vampire Hookers is also known by a number of other titles, including Cemetery Girls, Night of the Bloodsuckers, Sensuous Vampires, and Twice Bitten.
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In 1958, the film Thunder Among the Leaves directed by Armando Bó was released. The film featured the later sex-symbol Isabel Sarli in her first starring role, and marked the beginning of her partnership with future husband Armando Bó, which would span almost three decades and made numerous sexploitation films. Now considered a classic, a scene in which she bathes in a lake was the first one to feature full frontal nudity in Argentine cinema. The film was a highly controversial box- office success; it has been described as a "boom" and "scandalous" and shocked the mostly Catholic Argentine society.
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Dementia 13 (known in the United Kingdom as The Haunted and the Hunted) is a 1963 independently made black-and-white horror-thriller film, written and directed by Francis Coppola and produced by Roger Corman. The film stars William Campbell, Patrick Magee, and Luana Anders. It was released in the United States by American International Pictures during the fall of 1963 as the bottom half of a double feature with Corman's X: The Man with the X-ray Eyes. Although Coppola had been involved in at least two sexploitation films previously, Dementia 13 served as his first mainstream "legitimate" directorial effort.
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Critical opinion of the film is decidedly mixed. On the one hand, some consider the film trash and sexploitation, while others point out that the film was shot at a unique time in the 20th century when a new openness about sexuality and its depiction on film allowed showing scenes only vaguely hinted at in the novel and earlier (and also later) movie adaptations. A marked difference between this version and the novel is the final scene. Instead of Dorian slicing the painting with the knife (thereby inadvertently killing himself), he is seen committing suicide with the knife deliberately.
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The popularity of ping pong shows in Thailand dates back to the mid 1970s and a show is featured in the 1976 sexploitation film Emanuelle in Bangkok. The shows are officially prohibited under the obscenity legislation of Thai law, and in 2004 the government further limited what is permitted. Nevertheless, demand from foreign tourists and local police corruption usually results in the practice being implicitly condoned by Thai officials. There are instances of women performing at ping pong shows also working as prostitutes, but in many ping pong show bars performers do not sell sex to customers.
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Fons directed another Perez Galdós adaptation the following year, Marianella (1972), but it was becoming increasingly apparent to critics and audiences that the promise shown in his first film had largely dissipated. Even a collaboration with Carmen Martí- Gaite, on an adaptation of one of her stories Emilia... parada y fonda (Emilia) (1976), scripted by the novelist herself, did little to alter the apparent downward course of Fon’s filmmaking career. By the early 1980s, Fons was directing cheap comic sexploitation films such as The Cid cabreador (The Vexing Cid) (1983). He retired as film director in the 1980s.
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The film featured Isabel Sarli in her first starring role and made her a sex symbol. It also marked the beginning of her partnership with Armando Bó. The partnership spanned almost three decades and made numerous sexploitation films. Now considered a classic, the bath scene was the first one to feature full frontal nudity in Argentine cinema, and in all of Latin America. The News and Courier wrote "the opening in Buenos Aires was hailed as the start of a new era for Argentina's movie industry" after the end of Juan Perón's service as president and his propaganda techniques.
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Monson got his start at the prestigious Pasadena Playhouse’s school of theatre, known as the Hollywood “Star Factory.” In 1964, with his first wife Laura Shelton, he founded the Curtain Call Theater in North Hollywood, a critically acclaimed invitational playhouse run by professional actors on a cooperative basis. The Curtain Call Theater was one of the first legitimate theatres to open in the NoHo Arts District which is now considered Hollywood's theatre district. In addition to working in theatre, Monson also directed and wrote screenplays for low-budget sexploitation and grind house films during the 1970s and 1980s.
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Cinema Sewer is a movie magazine published by Robin Bougie of Vancouver, British Columbia, Canada. It has been published either biannually or yearly since 1997. The publication is in a comic-book-sized format, and uses graphic pornographic comics, illustrations, and writing to focus on and review classic films in the exploitation, blaxploitation, sexploitation, horror, and porn genres. It also covers obscure underground creations such as video mixtapes and employee training videos. In October 2007, UK publisher FAB Press published a book collecting the best of the first 12 issues, which has since gone into three reprinted editions.
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The action begins when a young couple, Bob (William Bates) and Shirley (sexploitation actress Pat Barrington, billed as Pat Barringer) survive a car crash only to find themselves tied to posts in a misty cemetery where they are forced to watch dead spirits dance for the Emperor of the Night played by Criswell (best known for Plan 9 from Outer Space). Criswell reprises his role from the earlier film. Wood convinced Apostolof to cast his friend Criswell in the film. His lines were written on cue cards, which he had difficulty reading because he wasn't wearing his glasses.
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The critically acclaimed 1964 film The Pawnbroker includes a flashback scene showing nude women kept in a concentration camp brothel. The Italian Giallo thriller In the Folds of the Flesh (also known as Nelle pieghe della carne, 1970) has a similar flashback sequence with unrealistically attractive nude women being herded into a Nazi gas chamber. However, the earliest full-blown sexploitation film set in a Nazi camp was Love Camp 7 (1969). The film can also be viewed as a precursor to the similarly themed women in prison genre which was initially popularized by Roger Corman's The Big Doll House (1971).
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Tom Milne of The Monthly Film Bulletin wrote that early on "Inserts looks as though it might be going somewhere as a reflection on Hollywood's fall from dream factory to second-hand porn pusher," but then "the script wanders well out of its depth into some turgid ruminations about artistic integrity versus commercial opportunism, simultaneously taking the opportunity to indulge a little titillation until the whole thing begins to founder with embarrassed self-mockery into routine sexploitation." The film holds a score of 73% on Rotten Tomatoes based on 11 reviews, with an average rating of 6.08/10.
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The Jekyll and Hyde Portfolio is a 1971 American sexploitation slasher film produced and directed by Eric Jeffrey Haims. Loosely based on the 1886 novella Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson, the film's plot concerns an insane killer with dual personalities who stalks and murders victims at a nursing academy. It stars Sebastian Brook, Mady Maguire, Donn Greer, Gray Daniels, John Terry, and Rene Bond. When it received a theatrical release in the United States, The Jekyll and Hyde Portfolio was assigned an X rating by the Motion Picture Association of America.
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Filmed over four weeks in the winter of 1977, The Playbirds was the official follow-up to Come Play with Me, which also starred Mary Millington. In The Playbirds, Millington plays an undercover policewoman investigating the murders of models from David Sullivan's magazine Playbirds. The title sequence shows Millington walking through Soho when it was at the height of its domination by the sex industry, giving a visual record of the district's history. Millington collaborated with director Willy Roe on two further sexploitation pictures, Confessions from the David Galaxy Affair and Queen of the Blues, both released theatrically in the summer of 1979.
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Cinemation Industries was a New York City-based film studio and distributor owned and run by exploitation producer Jerry Gross. Gross released Girl on a Chain Gang (1966) and achieved success with Cinemation's release of sexploitation films such as Inga and Fanny Hill (both 1968). Among other films, the company has distributed exploitation films such as Shanty Tramp (1967), Teenage Mother (1967), The Cheerleaders (1973), The Black Six (1974), and The Black Godfather (1974). The company, however, also distributed unexpected smash hit independent films like Melvin Van Peebles' Sweet Sweetback's Baad Asssss Song (1971) and Ralph Bakshi's Fritz the Cat (1972).
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Tales From the Crypt Presents Bordello of Blood is neither. Instead, it's only a bath of blood and bare skin, with some lame wisecracks thrown in for bad measure." Writing for The Washington Post, Richard Harrington said, "Triple the length of its cable television inspiration, Tales From the Crypt Presents Bordello of Blood is triple the gore, triple the naked women, but not, alas, triple the fun." Variety panned the film, writing, "another cheesy goulash of smart-alecky humor and full-bore gore, spiced with more shots of topless lovelies than you'd find in a '60s sexploitation flick.
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Her work in the 1970-'80's was all in the soft core genre of exploitation, except that in the mid-1970s Wishman directed two hardcore pornographic features entitled Satan Was a Lady (1975) and Come With Me, My Love (1976), both of which featured Annie Sprinkle. With the collapse of censorship law, demand for nudity in film rose, impacting Wishman's film direction. Hardcore was now available and explicit sex could be filmed; this, however, Wishman and many sexploitation directors considered distasteful. Wishman was not fond of working on pornographic films and later in her life denied having directed them.
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At this time the Daily Mail newspaper was very critical of the sexual content of Channel 5's late night schedule, referring to Channel 5 as Channel Filth and the Confessions series as "Films from the darkest days of British cinema". The film was a popular hit for the British sexploitation genre, while film critics reportedly loathed it and decried it as a "tawdry" and vulgar spectacle. Sian Barber points at this contradiction between the popular taste and the critics' notions of quality, and concludes that it offers significant insights on actual "audience preferences". Preferences shaped by "the tastes, values and frustrated desires of ordinary filmgoers".
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In their Japanese Cinema Encyclopedia: The Sex Films, the Weissers write that Inflatable Sex Doll of the Wastelands is "one of the major cult films of the '60s". They give the film a rating of three out of four stars, noting that, due to the surrealistic and hallucinatory nature of the plot, the film may not be to all viewers' tastes. They judge the film is "even more eccentric" than director Seijun Suzuki's Branded to Kill (1967), which Atsushi Yamatoya helped write. According to the Weissers, despite several very erotic scenes, because the film emphasizes a hard-boiled mystery plot rather than sexploitation, it is not technically a pink film.
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The Fiend (also known as Beware My Brethren) is a 1972 British horror film produced and directed by Robert Hartford-Davis and starring Ann Todd, Tony Beckley and Patrick Magee. The film is set against a background of religious fanaticism and, as with other films directed by Hartford-Davis, also includes elements of the sexploitation genre of the early 1970s. The Fiend as originally released runs for 98 minutes, but an edited version of 87 minutes (removing most of its more graphic content) was produced for the American market. The film was released on DVD in 2005; however the DVD uses the cut version.
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Emanuelle and the Last Cannibals () is a 1977 Italian sexploitation cannibal film directed by Joe D'Amato. The film involves Emanuelle (Laura Gemser) a photojournalist who discovers a woman in a mental hospital who is a cannibal who has tattoos of an Amazonian tribe on her skin. Along with Professor Mark Lester (Gabriele Tinti), the two travel to the Amazon with a team to discover the source of the long-thought-extinct tribe that still practices cannibalism today. The film is an entry in the Black Emanuelle series and features elements of cannibal films which had just gained popularity after the release of Ultimo mondo cannibale (1977).
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Retrieved on 4 March 2008. Seven more films followed in 1957, before Saunders began to make films which marked a departure from the formulaic work he had been employed on previously. The 1958 "English sexploitation movie", Nudist Paradise,Nudist Paradise (1958 film) , director: EMoviePoster.com website. Retrieved on 4 March 2008. was perhaps the beginning of the end of Saunders' mainstream career in films, although he did make a horror movie the same year, called Womaneater, the story of a crazed scientist who feeds women to a flesh-eating tree in return for a life-giving serum.Womaneater (1958 film) , director: Encyclopedia of Fantastic Film and Television website. Retrieved on 4 March 2008.
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Gordon's acting roles were confined to appearing, mostly sans wardrobe, in a string of obscure sexploitation films produced for the adults- only grindhouse circuit. Her first three films, Once Upon a Knight (1961), written by Bob Cresse, Surftide 77 (1962), directed by Lee Frost, and Tonight for Sure (1962), directed by Francis Ford Coppola, were standard "nudie cutie" comedies typical of the early sixties. In 1968, Olympic International (created by the writer-director team of Frost and Cresse) produced the "roughie" thriller The Animal. Gordon has her most substantial and realistic role as a single mother terrorized and turned into an abused sex slave by a psychopath.
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July 2009 saw her play the protagonist in kunoichi sexploitation V-Cinema film that was also released in an AV version. Hara made a TV appearance with a major role in the late night 24-part manga-based J-dorama series Jōō Virgin, which was broadcast on TV Tokyo from October to December 2009. Also in the cast were fellow AV actresses Yuma Asami, Akiho Yoshizawa and Sora Aoi. On December 11, 2009, Shueisha published Hara's autobiography titled My Real Name Is Mai Kato: Why I Became an AV Actress (本名、加藤まい 私がAV女優になった理由) ().
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After looking into this > further, I realized that there were nearly 2,000 movies out there yet to be > discovered. So with this for inspiration, my quest began and wouldn't you > know, just out of the blue I fell into a large collection of 16 mm girlie > arcade loops (which became the first compilation videos we put together). > Around the same time I received an unexpected phone call that suddenly made > all this real: my future and hands-down the king of sexploitation Dave > Friedman was on the other end of the line. This would be the beginning of a > long and fruitful friendship for both of us.
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Several of these horror films also incorporate the sub-theme of voyeurism, whereby the motel owner spies on (or even films) the sexual exploits of the guests. This plays on the long-established connotations of motels and illicit sexual activity, which has itself formed the basis for numerous other films, variously representing the thriller, comedy, teen film, and sexploitation genres. Stephen C. Apostolof's Motel Confidential (1967) and the porn film Motel for Lovers (1970) were two notable early examples. More recent manifestations include Paradise Motel (1985), Talking Walls (1987), Desire and Hell at Sunset Motel (1991), and the Korean films Motel Cactus (1997) and The Motel (2005).
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Hilda Isabel Gorrindo Sarli (; 9 July 1929“Murió Isabel “Coca” Sarli”. infoarenales.com. 25 June 2019 – 25 June 2019), nicknamed Coca, was an Argentine actress and glamour model, known for starring in several sexploitation films by Armando Bó, especially in the 1960s and 1970s. She began her career as a model and beauty queen, becoming Miss Argentina and reaching the semi-finals of Miss Universe 1955. She was discovered by Bó in 1956 and made her acting debut the following year with Thunder Among the Leaves, in which a controversial nude scene featuring Sarli made it the first film to feature full frontal nudity in Argentine cinema.
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She was involved with independent women's think tank Women's Forum Australia from 2005 to 2009. She has also worked as a consultant to NGOs whose focus is on addressing global poverty, including World Vision Australia, from 2005-2008, engaged in the development of WVA's Don't Trade Lives campaign. In 2009, she co-founded Collective Shout for a World Free of Sexploitation, a grass-roots campaigning movement which targets advertisers, corporations, and marketers which objectify women and sexualise girls to sell products and services. Tankard Reist is a contributing editor of five books published by Duffy & Snellgrove and Spinifex Press, including one with Abigail Bray and another with Caroline Norma.
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Seeking to attract a new audience, Toei entered the sexploitation market in 1971 with its "Pinky Violence" series. Takashi Itamochi, president of Nikkatsu, Japan's oldest major film studio, made the decision to put the company's high production values and professional talent into the adult, or 'pink film' industry as a way of attracting a new audience. When Nikkatsu launched its Roman Porno series in November 1971 with the Apartment Wife series, these often well-made and artistic softcore erotic films proved popular with both the public and the critics. This introduction of erotica into mainstream Japanese movie theaters has been credited with saving Nikkatsu from collapse at that time.
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The Suckers is a 1972 American sexploitation film directed by Stu Segall under the pseudonym Arthur Byrd, and written by Ted Paramore (credited as Edward Everett). It is an adaptation of the 1924 short story "The Most Dangerous Game", written by Richard Connell, with a plot that follows a big-game hunter who invites employees from a modeling agency to his estate, where he hunts them. The film stars Richard Smedley, Lori Rose, Vincent Stevens, Sandy Dempsey, Barbara Mills, and Norman Fields. The Suckers was filmed in the Bronson Canyon area of California over the course of three days, and was released in the United States in 1972.
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Sex Vixens from Space is an erotic text adventure game developed and self- published by Free Spirit Software and originally released in 1988 for the Commodore 64 and Apple II as part of the compilation Sex And Violence Vol. 1, and later released as a standalone game by November 1988 for DOS and Amiga, and in 1989 for the Atari ST. Sex Vixens from Space is the first entry in the Brad Stallion series, and is succeeded by Planet of Lust (1989), Bride of the Robot (1989), and Sex Olympics (1991). Sex Vixens was inspired by the 1974 sexploitation film Flesh Gordon. Sex Vixens from Space was panned by reviewers.
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In the October election an editorial asserted: "ALL our instincts are left rather than right and we would vote for any able politician who would describe himself as a Social Democrat." In the 1975 referendum on Britain continuing membership of the European Economic Community, it advocated a vote to stay in the Common Market. The editor, Larry Lamb, was originally from a Labour background with a socialist upbringing, while his temporary replacement Bernard Shrimsley (1972–75) was a middle-class uncommitted Conservative. An extensive advertising campaign on the ITV network in this period, voiced by actor Christopher Timothy,Léon Hunt British Low Culture: From Safari Suits to Sexploitation, London: Routledge, 1998, p.
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An official video was released for the song. The music video—a parody of a sexploitation film trailer—was directed by Chris Marrs Piliero, starring Tricia Helfer, Diora Baird, Sean Patrick Flanery, Christian Serratos, Corbin Bernsen, Todd Bridges, and Shaun White, as well as Dan Auerbach and Patrick Carney of the band in the role of "Las Teclas de Negro" (comically translated from Spanish as "The Keys of Black"). A behind-the-scenes interview with Piliero, filmed during production of the video, has tongue-in-cheek commentary and brief clips of the cast members describing their characters. The video was one of five nominees for the 2011 MTV Video Music Award for Best Rock Video.
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" Writing in The National, author Saeed Saeed named it "the most scandalous Madonna track this decade", declaring that "[t]he brooding bass- filled verse gives way to a poptastic chorus that uses hedonistic sound effects harking back to her 1990 'Justify My Love.'" Bradley Stern of MuuMuse also found it to be "the most shocking moment of sexploitation", declaring: "blasphemy has truly never tasted sweeter." The Daily Telegraphs Andy Gill noted that the song "manages to be sacrilegious and ear-burningly naughty." While reviewing Rebel Heart in Time Out, Nick Levine called it "a brilliantly ridiculous hymn to cunnilingus", where Madonna manages to "alternate between showing off, getting off and taking stock.
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Included also is Lucy Lawless' six-season portrayal of Xena: Warrior Princess; Angelina Jolie as Lara Croft in two Tomb Raider movies; Sigourney Weaver as Ripley in the sci-fi Alien adventures, and all the various women who have played vampire slayers, superheroes (and villains), as well as assorted television, cartoon, comics, and video game fighter characters in the various movie action/adventure genres. In addition, the book highlights Hong Kong martials arts warriors such as Angela Mao (Enter the Dragon) and Zhang Ziyi (Crouching Tiger, Hidden Dragon) and J.R. Taylor - Packed, Stacked and on the Attack (Mr. Skin, July 1st, 2006)Cynthia Rothrock, and also sexploitation films, including the controversial Ilsa trilogy.
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During his sexploitation period, Sarno worked with such actors as Uta Erickson, Dyanne Thorne (star of the Ilsa series), Audrey Campbell (Olga's House of Shame series), Michael Alaimo, Patricia McNair, Tod Moore, and his cousin, Joe Santos, who would become a regular on television's The Rockford Files. Beginning in 1968, Sarno's work became somewhat more explicit, predicting the emergence of soft-core. His breakthrough feature Inga (1968) was one of the first X-rated films released in the United States. Other noteworthy soft-core features include Vibrations (1968), Passion in Hot Hollows (1969), Daddy, Darling (1970), Young Playthings (1972), Confessions of a Young American Housewife (1974, which was about foursomes), and Misty (1975).
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During the early 1970s, in Munich, Hofbauer teamed with Walter Boos, Wolf C. Hartwig and Ludwig Spitaler to produce the original thirteen films under the banner Schulmadchen Report (or Schoolgirl Report); the stories were adapted from books written by Günther Hunold, while Günther Heller composed the film script, Klaus Werner did the camera work, and the music was handled by Gert Wilden & Orchestra. Hofbauer and Boos were referred to as the 'Titans of Teen Libido'. The films were classified as 'sexploitation', and were extremely popular, seen by more than 30 million people all over the world. In the United States, the films were released in grindhouses and drive-ins, and the names of the films were changed to conform to American standards.
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In 1971, Culver played a supporting role in a low budget sexploitation thriller film, Ginger. While the film was a commercial and critical failure, Variety noted his performance positively, saying "Only Calvin Culver ... shows any indication of better things to come." This in turn led to an offer to appear in Casey, a gay pornographic film in which Culver played the title role, a gay man who is visited by his fairy godmother Wanda (Culver playing a dual role in drag), and is granted a series of wishes which make him sexually irresistible to other men. Culver later took the character's name, Casey, and that of the popular Scottish singer-songwriter Donovan to create the pseudonym under which he would appear in all his other erotic roles.
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Baby Love is a 1969 British drama film directed by Alastair Reid and starring Diana Dors, Linda Hayden Troy Dante and Ann Lynn.Simon Sheridan, Keeping the British End Up: Four Decades of Saucy Cinema, Titan Books 2011 p 59-60 The film tells the story of a 15 year-old schoolgirl who seduces her adoptive family after her mother committed suicide. Reid went on to work in television, while Linda Hayden, who was only 15 at the time of filming, later appeared in sexploitation movies, including two of the entries in the Confessions film series, Confessions of a Window Cleaner (1974) and Confessions from a Holiday Camp (1977). The film features an uncredited appearance by Bruce Robinson, later to direct Withnail & I (1987).
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Tom Lanham of Entertainment Weekly gave the song a B+ rating referencing the predictability after other performers from the Mickey Mouse Club writing "Yet another ex-Mouseketeer scampers down the Britney-pop path with a suggestive synth ditty and a husky voice well beyond her 18 years." Lanham wrote her vocal performance is "uncomfortably adult" and called the track "a sinfully sweet confection". A writer for the Pittsburgh Post-Gazette gave the song a positive review calling it a "smoldering soul-pop" track and described Aguilera's vocals as being "provocative" whilst calling the song a "pleasure" to listen to. In a review for the album Christina Aguilera critic Robert Christgau called the song a "dazzling clever piece of teen self- exploration cum sexploitation".
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The films included The Warped Ones, Shohei Imamura's Pigs and Battleships (1961) and Kon Ichikawa's The Burmese Harp (1956) and were to be distributed by Kanji or sold to other distribution companies. An English-dubbed version of The Warped Ones was then released in the United States on December 18, 1963, by Radley Metzger's sexploitation-centric Audubon Films, initially as The Weird Lovemakers, then The Warped Ones became the more common title. It was marketed as an American film, and misleadingly implied to contain sexually explicit material, in order to appeal to a wider audience. The original film resurfaced some four decades later at the 2005 Udine Far East Film Festival in the No Borders, No Limits: Nikkatsu Action Cinema retrospective.
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Ilsa, the Wicked Warden (originally released as Greta: Haus Ohne Männer, and also known as Greta, the Mad Butcher, Ilsa: Absolute Power, and Wanda, the Wicked Warden) is a 1977 sexploitation film directed by Jesús Franco and starring Dyanne Thorne. The film is considered to be the third entry in the Ilsa film series, but was not originally filmed with the intent of being as such, despite starring Dyanne Thorne. The film's plot follows Ilsa, a warden at a psychiatric hospital for young women, and a girl who feigns illness so that she can investigate what happened to her sister who stayed at the hospital. Ilsa, the Wicked Warden contained scenes of graphic violence, which writer Ric Meyers commented was "sicker" than its predecessor in its depictions.
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A reviewer in The Scotsman commented that the presence of Drake "brought serious glamour to urban alienation". In the early 1970s, Drake was associated with the boom in British sexploitation movies, repeatedly appearing nude or topless. She played a nude artist's model in the 1970 film Connecting Rooms, and was one of Peter Sellers' conquests in the film There's a Girl in My Soup. She also played one of the lead roles in the sex comedy Au Pair Girls (1972) and appeared in two Derek Ford films, Suburban Wives (1971) and its sequel Commuter Husbands (1972), in which she played the narrator who links the disparate episodes together. Her early television appearances include The Avengers (1967), Coronation Street (as Inga Olsen in 1967) and The Saint (1968).
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The act of seizing these game [sic] is the act of a fascist government." Tim Harris, the CEO of ASoft, Sex Vixens' European publisher, said in a statement to Your Sinclair that "The game's been hyped up, but there isn't really that much sexual content. It's a heck of a lot tamer than Strip Poker." In an interview with Italian gaming magazine Amiga Magazine, the president of Free Spirit Software, Joseph Hubbard, expressed that Sex Vixens from Space was inspired by the 1974 sexploitation film Flesh Gordon, stating that "When we made Sex Vixens, we thought of an old soft-core movie called Flesh Gordon ... It gave the public some eroticism and a lot of fun, although not necessarily in that order.
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Although he did voices for the Looney Tunes, James might be remembered best for performing the voice of Mr. Turtle in the classic commercials for Tootsie Pops which ran throughout the 1970s. From 1978 to 1982, he could be heard as Orson, Mork’s (Robin Williams) boss on the Planet Ork, in the live-action TV series Mork & Mindy (a Happy Days spin-off). In addition, he provided character voice overs in the Pink Panther cartoon shorts. He also made several live acting appearances, including the action/sexploitation film Big Bad Mama (1974) starring Angie Dickenson, William Shatner and Tom Skerritt, where he played the minor role of a sheriff, Capone (1975), where he played the part of Judge H.B. Wilkerson, and the part of "Ace" in Sixpack Annie (1975).
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Ozploitation films are exploitation films – a category of low-budget horror, comedy, and action films – made in AustraliaGo Down Under with 20 Must-See Ozploitation Films!-Film School Rejects after the introduction of the R rating in 1971.20 Outrageous Ozploitation Classics-The Grindhouse Cinema Database The year also marked the beginnings of the Australian New Wave movement, and the Ozploitation style peaked within the same time frame (early 1970s to late 1980s). Ozploitation is often considered a smaller wave within the New Wave, covering a wide range of genres from sexploitation, biker films, horror films and even Kung fu.Ozploitation: Exploitation From Down Under-The Grindhouse Cinema DatabaseAFI Silver Theatre and Culture Center The origin of the term "Ozploitation" is credited to the documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation!.
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The movement had two expressed aims: to protest against "sexploitation" in the media and the arts, and to offer the teaching of Christ as the key to recovering moral stability in the nation. Some supporters naturally emphasized the first, and others the second. Plans were made for major public events, including the lighting of beacons on hilltops throughout the United Kingdom, and culminating in a massed march to a public rally in Trafalgar Square and an open-air concert of Christian music in Hyde Park. The administrative task of enlisting the support of Christian churches and denominations throughout the UK was a colossal one, as indeed was the necessity for public relations with the press and the general public. The committee and many local volunteers were occupied with this throughout the first half of 1971.
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"Supervixen" is an alternative rock song written and performed by alternative rock band Garbage and is the opening track on their self-titled debut studio album (1995). The song was titled after Russ Meyer's 1975 sexploitation film Supervixens but was influenced by Pier Paolo Pasolini's period horror art film Salò, or the 120 Days of Sodom, which had been playing on a monitor above the soundboard at Smart Studios when the band were working on it. In the United States, "Supervixen" was released as an airplay-only single to alternative radio in October 1996. At the time, "Stupid Girl" was still charting highly on the Billboard Hot 100, and the band's debut album had been certified platinum by the Recording Industry Association of America (RIAA) for shipping a million units within the United States.
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Edward Davis Wood Jr. (October 10, 1924 – December 10, 1978) was an American filmmaker, actor, and author. In the 1950s, Wood directed several low-budget science fiction, crime and horror films, notably Glen or Glenda (1953), Jail Bait (1954), Bride of the Monster (1955), Plan 9 from Outer Space (1959), Night of the Ghouls (1959) and The Sinister Urge (1960). In the 1960s and 1970s, he moved towards sexploitation and pornographic films, and wrote over 80 pulp crime, horror and sex novels. Notable for their campy aesthetics, technical errors, unsophisticated special effects, ill-fitting stock footage, eccentric casts, idiosyncratic stories, and non sequitur dialogue, Wood's films remained largely obscure until he was posthumously awarded a Golden Turkey Award for Worst Director of All Time in 1980, renewing public interest in his life and work.
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Ilsa, She Wolf of the SS is considered the quintessential Nazisploitation film Nazi exploitation (also Nazisploitation) is a subgenre of exploitation film and sexploitation film that involves Nazis committing sex crimes, often as camp or prison overseers during World War II. Most follow the women in prison formula, only relocated to a concentration camp, extermination camp, or Nazi brothel, and with an added emphasis on sadism, gore, and degradation. The most infamous and influential title (which set the standards of the genre) is a Canadian production, Ilsa, She Wolf of the SS (1974). Its surprise success and sequels led European filmmakers, mostly in Italy, to produce dozens of similar films. While the Ilsa series were profitable, the other films were mostly box- office flops, and the genre all but vanished by the mid-1980s.
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Other rival cinemas followed suit, notably the Cineclub 24 in Tottenham Court Road, the Compton Cinema Club, and the Exxon Cinema Club run by David Waterfield in Danbury Street, Islington. Membership Only hardcore film clubs remained legal until the passing of the Cinematograph Act 1982. The end of the 1960s saw the appearance of British sexploitation films in public cinemas, such as Her Private Hell (1968) and The Wife Swappers (1969). Changes to the British cinema certification system in 1970 replaced the previous X rating at 16 with a AA category for those over 14 and a new age for X-films at 18. British sex comedy films appeared in the 1970s, such as Confessions of a Window Cleaner (1974), Eskimo Nell (1975) and I'm Not Feeling Myself Tonight (1976).
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After Score, Wilbur appeared in the sexploitation film Teenage Hitchhikers. According to newspaper articles published by Margaret Caldwell, Wilbur's longtime close friend, the actress only accepted the part in the film version of Score to make enough money to produce a documentary short written and directed by her friend Robin Lehman. Wilbur also co-produced Lehman's shorts The End of the Game (1975) and Nightlife (1976), earning an Academy Award nomination for the latter and winning an Oscar for the former in 1976. In later years, she worked as a dedicated animal rights activist and wrote two unpublished books of verse about the Maneki Neko, a porcelain Japanese feline commonly known as "The Beckoning Cat": Maneki Neko: The Japanese Legend Of The Beckoning Cat and The Japanese Legend of the Cat and the Crone.
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The Exorcist was also at the center of controversy due to its alleged use of subliminal imagery introduced as special effects during the production of the film. Wilson Bryan Key wrote a whole chapter on the film in his book Media Sexploitation alleging repeated use of subliminal and semi-subliminal imagery and sound effects. Key observed the use of the Pazuzu face (which Key mistakenly assumed was Jason Miller in death mask makeup, instead of actress Eileen Dietz) and claimed that the safety padding on the bedposts was shaped to cast phallic shadows on the wall and that a skull face is superimposed into one of Father Merrin's breath clouds. Key also wrote much about the sound design, identifying the use of pig squeals, for instance, and elaborating on his opinion of the subliminal intent of it all.
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In the context of 20th-century literature and film, especially among English speakers and non-Italians in general, giallo refers specifically to a particular Italian thriller-horror genre that has mystery or detective elements and often contains slasher, crime fiction, psychological thriller, psychological horror, sexploitation, psychedelic and, less frequently, supernatural horror elements. This particular style of Italian-produced murder mystery thriller-horror film usually blends the atmosphere and suspense of thriller fiction with elements of horror fiction (such as slasher violence) and eroticism (similar to the French fantastique genre), and often involves a mysterious killer whose identity is not revealed until the final act of the film. The genre developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined over the next few decades. (Some examples continue to be produced).
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RE/Search No. 10: Incredibly Strange Films is a book about American underground and other films. It was guest edited by Jim Morton, with associate editor Boyd Rice, in the RE/Search series edited by V. Vale and Andrea Juno, originally published in 1985 and expanded in 1986. Among the subjects covered are the work of filmmakers Russ Meyer, Herschell Gordon Lewis, Frank Henenlotter, Larry Cohen, Doris Wishman, David F. Friedman, Ed Wood, Radley Metzger, Joseph W. Sarno, Ray Dennis Steckler, Ted V. Mikels, Dick Bakalyan, and genres such as women in prison film, mondo films, exploitation films, beach party films, Santo films, educational films, LSD films, juvenile delinquent films, biker films, and sexploitation films. It includes essays on Young Playthings, Wizard of Gore, God Told Me To, Blast of Silence, Daughter of Horror, Spider Baby, and George Romero.
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58 He wrote and produced Pretty Maids All in a Row (1971), a sexploitation film directed by Roger Vadim, for MGM. The cast included Rock Hudson, Angie Dickinson, Telly Savalas, and Roddy McDowall alongside Star Trek regular James Doohan, and William J. Campbell, who had appeared as a guest in two Star Trek episodes, "The Squire Of Gothos" and "The Trouble With Tribbles". Variety was unimpressed: "Whatever substance was in the original [novel by Francis Pollini] or screen concept has been plowed under, leaving only superficial, one-joke results." Herbert Solow had given Roddenberry the work as a favor, paying him $100,000 for the script. Gene Roddenberry at a Star Trek convention in 1976 Faced with a mortgage and a $2,000-per-month alimony obligation as a result of his 1969 divorce, he began to support himself largely by giving college lectures and appearances at science fiction conventions.
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Hey, why don't you direct one and I'll do the other?" Tarantino quickly replied, "And we've got to call it Grindhouse!" The film's name originates from the American term for theaters that played "all the exploitation genres: kung fu, horror, Giallo, sexploitation, the 'good old boy' redneck car-chase movies, blaxploitation, spaghetti Westerns—all those risible genres that were released in the 70s." According to Rodriguez, "The posters were much better than the movies, but we're actually making something that lives up to the posters." Rodriguez first came up with the idea for Planet Terror during the production of The Faculty: "I remember telling Elijah Wood and Josh Hartnett, all these young actors, that zombie movies were dead and hadn't been around in a while, but that I thought they were going to come back in a big way because they’d been gone for so long.
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The Party Animal is an independently produced comedy written and directed by David Beaird released in 1984 across the United States where despite mainstream critical derision, due to its anti-establishment, rebellious and politically incorrect spirit, the movie did respectably well at the box office and has since become an underground cult classic. An over-the-top slapstick mockumentary-style comedy with a punk rock twist, The Party Animal was reacting to and spoofing the college campus sexploitation genre popularised by mainstream studio box office hits such as Animal House and Porky's. Made on a shoestring budget, it 'took the piss' out of the formulaic Hollywood college campus romps and marched to its own anarchic drum. Considered to be one of the funniest and most irreverent comedies of the 80s with a soundtrack featuring Buzzcocks, The Untouchables (who also perform in the film), The Fleshtones, The Convertables and Chelsea.
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Trunk Records is a British independent record label, which specialises mainly in lost film scores, unreleased TV music, library music, old advertising jingles, art, sexploitation and kitsch releases. It was founded in 1995 by Jonny Trunk, and has since gained a cult following as a result of the releases of highly influential material from scores for films such as The Wicker Man, Deep Throat, Kes, The Blood on Satan's Claw and George A. Romero's Dawn of the Dead. Other releases include soundtracks for 1970s UK Television series such as The Tomorrow People, UFO and Vernon Elliott's score for Clangers and Ivor the Engine. As well as film music and jazz, the label has also brought to public attention the lost or unreleased works of electronic pioneers such as Tristram Cary and John Baker, artists such as Bruce Lacey and avant-garde recordings made both by and for children, including the work inspired by radical free thinker and educational pioneer John Paynter.
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He then worked as a regional marketing man for Paramount, and sensed the money in independent distributing. He started his own company in the 1950s, which mainly produced so-called nudie cutie films such as Goldilocks and The Three Bares, shot in nudist colonies, films that were the closest thing to pornography legally available at the time. This trend was followed by the sexploitation and "roughie" genres, depicting simulated sex with a more violent edge, often horror- or crime-related. Examples of Friedman's roughies are The Defilers (1965),Briggs (2003), p. 99 The Lustful Turk (1968), The Head Mistress (1968) and The Adult Version of Jekyll and Hide (1971, directed by Byron Mabe).Andrews (2006), p. 288 Helming one of those movies, Friedman started his working relationship with Chicago-based teacher and filmmaker Herschell Gordon Lewis. Friedman went on to produce the latter's 1963 film Blood Feast, an American exploitation film often considered the first "gore" or splatter film. He was also the producer of two of the first Nazi exploitation films, Love Camp 7 (1969)Andrews (2006), p.
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The Werewolves are Here! was one of Mishkin's films in which he had Milligan insert new killer rat scenes shot in New York, mostly at his new Staten Island house on Corson Street where Milligan lived during that time and filmed another horror period piece there in 1973 which was titled Blood. After directing the 1972 sexploitation drama Fleshpot on 42nd Street, Milligan's output was restricted mostly to gory horror movies as he moved to the southern tip of Staten Island in the Tottenville neighborhood where he lived in and owned and operated a dilapidated hotel located at the corner end of Main Street and Ellis Street right next to the southern end of Staten Island Railway (which is currently an Italian themed restaurant named Vincent Angelina's Ristorante). On October 27, 1977, Milligan moved into 335 West 39th Street in Manhattan (a four-story building purchased for $50,000 by Milligan and stockholders), where he founded and ran the Troupe Theatre, an off-off Broadway venue above which he lived in a third-floor loft until he left New York City for good in March 1985.
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By the mid-1930s, the Hays Code banned any homosexual themes in Hollywood-made films and several pre-Code films had to be cut to be re-released. For example, The Sign of the Cross originally included the erotic "Dance of the Naked Moon", but the dance was considered a "lesbian dance" and was cut for a 1938 reissue. Even suggestions of a romantic attraction between women were rare, and the "L-word" was taboo. Lesbianism was not treated in American cinema until the 1962 release of Walk on the Wild Side in which there is a subtly implied lesbian relationship between Jo and Hallie. Depictions of lovemaking between women first appeared in several films of the late 1960s – The Fox (1967), The Killing of Sister George (1968), and Therese and Isabelle (1968). During the 1970s, depictions of sex between women were largely restricted to semi-pornographic softcore and sexploitation films, such as Cherry, Harry & Raquel! (1970), Score (1974), Emmanuelle (1974), and Bilitis (1977). Although semi-explicit heterosexual sex scenes had been part of mainstream cinema since the late 1960s, equivalent depictions of women having sex only began making their appearance in mainstream film during the 1980s.
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Sanford, who grew up in Wallingford, Connecticut and East Lyme, Connecticut, has specialized in creating comic books and strips based on true life incidents and people. Most of the 200 or so reality-based comic books he has created were done for Revolutionary Comics, as well as for Comic Zone (UFO/Alien Encounters, Cult TV), Pop Comics (The Beatles , the Rolling Stones, Star Trek: The Original Crew), Re-Visionary Press (Sexploitation Cinema: A Cartoon History, Triple-X Cinema: A Cartoon History), Celebrity Comics (Elvis Scrapbook), Tower Records (Pulse!), Bluewater Productions (Orbit: the Stan Lee Story, Hard Rock Heroes), and others. Among the co-creators to work on reality comics with Sanford are Tom Luth, Stuart Immonen, Scott Jackson, Leonard Kirk, Michael Avon Oeming, Aaron Sowd, Todd Loren, Holly Golightly, Pat Broderick, Robert Schnakenberg, Terry Dodson, Greg Fox, Brad W. Foster, Bart Mendoza, Gene Simmons, Jamie Murray, Jim Holliday, William Margold, Jenna Jameson, Marilyn Chambers, Ginger Lynn, Hyapatia Lee, Annie Sprinkle, Robert Williams, and Dick Ayers. One of his few comic book projects not reality-based is Deepest Dimension Terror Anthology, co-created with Star Trek, Twilight Zone, and Logan’s Run writer George Clayton Johnson.
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Mihara signed up with Shintoho in 1951 but appeared mostly in minor roles, pursuing the career of a pin-up model and stripper,三原葉子ファンからみたピンキー・バイオレンス 僕たちが1970年代初期に東映ピンキー・バイオレンスを見に行ったのは池玲子や杉本美樹では断じてない、お目当ては三原葉子だったのだ！！ until her role as the lead actress in Teruo Ishii's 1957 film Nude Actress Murder Case: Five Criminals. The following year, Shintoho made Mihara the star of their low-budget ama series in place of Michiko Maeda. She first appeared in Yoshiki Onoda's Cannibal Ama (1958) followed by the 1959 Girl Divers at Spook Mansion. Following Shintoho's bankruptcy in 1961, Mihara worked almost exclusively for Toei, including four films in Ishii's Abashiri Prison yakuza film series in 1966 and 1967 and later in their onsen geisha sexploitation films, eventually becoming a staple actress of the studio's "pinky violence" subgenre by the early 1970s.
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Randall's entertainment career began in the 1950s with writing gags for Milton Berle, before producing his first film, a George Jessel-narrated documentary about the 1958 World's Fair titled Holiday in Brussels, in 1959. He became saddled with debt after producing two unsuccessful Broadway plays and relocated to Italy, where he specialized in producing and distributing low-budget mondo, sexploitation and giallo films, such as Primitive Love (1964), The Wild, Wild World of Jayne Mansfield (1968), Four Times That Night (1971), The French Sex Murders (1972) and The Girl in Room 2A (1974). During his time in Europe, he often worked under the aliases Robert H. Oliver and Claudio Rainis. Having earned a reputation in being able to acquire highly-disparate sources of finance for his films, Randall spent the 1970s and early 1980s primarily between Rome, London and Hong Kong producing a wide range of films, including hardcore pornography such as Black Deep Throat (1976, starring Ajita Wilson), blacksploitation films including Death Dimension (1978, starring Jim Kelly), women-in-prison films such as Escape from Women's Prison (1978), Bruceploitation films including The Clones of Bruce Lee (1980) and slasher films such as Pieces (1982).
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