Session Two Post-Classical Exploitation Dr. Richard Nowell Department of Film Studies and Audiovisual Culture Masaryk University ¨16:15 – 17:45 ¨Screening: ¨The Pom Pom Girls (1976) ¨ ¨17:45 – 18:00 ¨Break ¨ ¨18:00 – 19:15 ¨Post-Classical Exploitation pom_pom_girls_poster_01.jpg ¨Do you find The Pom Pom Girls unusual in any way? ¨ ¨For whom do you think this was film intended? ¨ ¨What efforts were made to appeal to these people? ¨ ¨How might its conditions of distribution and exhibition have influenced the film’s content? ¨ ¨ van.jpg eat_my_dust.jpg texas_chainsaw_massacre.jpg mack.jpg Deep-Throat.jpg here_come_the_tigers.jpg roller_boogie.jpg http://alansmitheepodcast.files.wordpress.com/2010/08/piranha_1978_movie_poster.jpg halloween_1_poster_01.jpg dont_answer_the_phone.jpg ¨1970s independent exploitation in histories of American Cinema ¨ ¨Structure of the American independent sector in the pre-video-era ¨ ¨Key strategies, markets, and trends for exploitation independents ¨ ¨Reconsidering oppositions and distinctions drawn between Hollywood and exploitation Independents ¨ ¨In contrast to the Hollywood Renaissance, has middle-class elitism marginalized serious consideration of exploitation cinema? ¨ ¨On the other hand, might one be wary of valorizing exploitation output as subversive by employing uncritical oppositional “cult” taste protocols? ¨ ¨Has gender and racial identity politics also posited an overly salacious picture of exploitation output by over-emphasizing or mischaracterizing genres like hardcore or blaxploitation? ¨ ¨ ¨The Masterpiece Tradition: ¨Canons of “visionary” filmmakers and “brilliant” filmmaking practice ¨ ¨The Megahit Tradition: ¨Canons of high cost and high earning hits (and misses) ¨ ¨1. Obscures most conduct and output ¨2. Prioritizes demand over supply ¨3. Produces histories of the exceptional godfather_ver1.jpg star_wars_ver2.jpg ¨ ¨In the context of American Cinema, what does the term “independent” suggest to you? ¨Independent Spirit: Content that is seen to differ from that of the imagined Hollywood mainstream ¨ ¨Hollywood’s outsourced productions – i.e. most modern films ¨ ¨ ¨Institutional Independence: Companies that do not belong to the MPAA juno_ver2.jpg e_t_the_extra_terrestrial_ver3.jpg halloween_1_poster_01.jpg ¨ ¨What does the term “exploitation film” or “exploitation cinema” mean to you? ¨Eric Schaefer’s ideas on the Classical-era can be expanded: ¨ ¨Production: cheap, independent ¨ ¨Content: Un-prestigious/absent from Hollywood films ¨ ¨Marketing: focus on this content ¨ ¨Exhibition: Mainly restricted to down-market debuts ¨ 4ortydeuce.jpg Drive-In-Theater.jpg ¨ ¨MPAA members have dominated American market ¨ ¨Financial clout undermines competition ¨ ¨Increasing production values prices competitors out of market ¨ ¨Gentrification of niche hits key strategy – forecloses independents’ product lines by offering glossier versions ¨ ¨Wide releases/blitz marketing facilitate event pictures ¨Hollywood never controls market fully ¨ ¨MPAA ratings prevent truly extreme or salacious content ¨ ¨Corporate structures and abiding laws prevent cost cutting ¨ ¨Hollywood content “compromised” to secure large audience ¨ ¨Hollywood tends to neglect some niche markets ¨ ¨Opens up opportunity for independents ¨Established Producer-distributors: ¨Private companies making and releasing several films regularly ¨ ¨Short-Lived Distributors: ¨Companies operating for a few years ¨ ¨Fly-by-night Distributors: ¨Release one or two films before disappearing ¨ ¨Outsiders: ¨Producers without distribution capacity ¨ ¨Hollywood Recession ¨ ¨Reduction of Production ¨ ¨Film famine ¨ ¨Exhibitor short-fall ¨ ¨Promise of “pickups” (distributors buying completed films for set fee) ¨ ¨Leads to over-production ¨ sound_of_music_ver2.jpg rock_n_roll_high_school.jpg ¨Independents contribute most US releases – up to 70% excluding hardcore – dominate supply if not demand ¨ ¨Film is a glamorous business but a very risky investment ¨ ¨In 1970s, around 90% of American films lost money ¨ ¨Producers risk not securing a distributor – 50% of completed films were not released ¨ ¨Distributors cannot open films widely – therefore struggle ¨ ¨Hard to map the terrain due to fly-by-night outfits ¨ ¨Rush for gold involving some very shrewd entrepreneurs ¨ ¨Opportunistic due to capitalizing on Hollywood’s oversights ¨ ¨Changing industrial structure as companies fold fast as they cannot absorb cost of unsuccessful films ¨ ¨Output dominated by short-lived fads due to flops and to Hollywood moving into independents’ turf ¨ ¨ ¨Roger Corman/New World Pictures ¨ ¨1. Films differing from Hollywood ¨2. Distribution of imported Art Cinema ¨3. Training ground for future Hollywood talent ¨ ¨A world apart from Hollywood ¨ ¨Alibi for writers(?) corman.jpg autumn_sonata.jpg eat_my_dust.jpg francis_ford_coppola.jpg ¨New World Pictures ¨American International Pictures (AIP) ¨Crown International Pictures ¨Dimension Pictures ¨Film Ventures International (FVI) ¨Artists Releasing Corporation (ARC) ¨Sunn Classics ¨New Line Cinema ¨Bryanston Releasing ¨1. How does Lowry suggest Dimension Pictures tried to thrive in the shadow of Hollywood? ¨ ¨2. How does Wasser suggest Four-Wallers like Sunn Classics attempted to prosper? ¨ ¨3. Both companies’ success was short-lived; why so? ¨ ruby dimension.jpg kingdom_of_the_spiders_poster_01.jpg in_search_of_noahs_ark.jpg life_and_times_of_grizzly_adams.jpg ¨ ¨Marketing Campaigns often precede production of film ¨ ¨No A-list stars or high production values ¨ ¨Discourse of art not relevant to target markets low in cultural capital ¨ ¨Emphasis placed on non-copyrighted elements like genre ¨ ¨Generation of emotional responses ¨ ¨Avoiding negative word-of-mouth damaging business ¨ ¨Regional saturation release ¨ ¨Emphasis on promotion ¨ ¨Short runs at theatres ¨ ¨Repackaged under new titles ¨ ¨Or sold to Hollywood companies! last_house_on_the_left_poster_01.jpg ¨ ¨Despite Ratings system, Hollywood eschews Hardcore ¨ ¨Legal Challenges permit hardcore ¨ ¨Deep Throat and Devil in Miss Jones blockbuster hits ¨ ¨Porno-chic becomes cultural fad ¨ ¨Nixon limits public visibility http://s11.bdbphotos.com/images/orig/e/m/emu36bznavqr63ze.jpg Deep-Throat.jpg http://starlingsonaslipstream.files.wordpress.com/2009/10/behind_the_green_door_poster_011.jpg http://www.wrongsideoftheart.com/wp-content/gallery/posters-d/devil_in_miss_jones_poster_01.jpg ¨Cotton Comes to Harlem and Shaft highlights neglected black market ¨ ¨Cleopatra Jones indicates Hollywood interest in blaxploitation ¨ ¨Surge of independent black-centered genre films aimed at urban market ¨ ¨Sensation/socio-cultural critique ¨ ¨Blacks flock instead to blockbusters shaft.jpg cleopatra_jones.jpg foxy_brown.jpg cotton_comes_to_harlem.jpg ¨Ratings change facilitates unseen levels of Hollywood violence ¨ ¨The Exorcist (1973) is a megahit ¨ ¨The Omen (1976) also a big hit ¨ ¨Hollywood’s big budgets prevent profit despite solid ticket sales ¨ ¨Late-70s independent horror explosion exorcist_ver2.jpg omen.jpg hills_have_eyes_ver1.jpg i_spit_on_your_grave.jpg ¨Hollywood films indicate promise ¨ ¨Lipstick (1975): Rape/Revenge ¨ ¨Eyes of Laura Mars (1978): maniac ¨ ¨1979-1980, production surge ¨generates huge public controversy ¨ ¨Then Hollywood takes over again!!! ¨ lipstick.jpg maniac.jpg eyes_of_laura_mars.jpg i_spit_on_your_grave.jpg ¨Lipstick TV Spot: ¨http://www.youtube.com/watch?v=pWrZ6ns7y-o ¨ ¨Maniac Trailer: ¨ ¨http://www.youtube.com/watch?v=8cUhPy6Uotc ¨ ¨Do you find The Pom Pom Girls unusual in any way? ¨ ¨For whom do you think this was film intended? ¨ ¨What efforts were made to appeal to these people? ¨ ¨How might its conditions of distribution and exhibition have influenced the film’s content? ¨ ¨ ¨Under Pres. Marilyn Tenser ¨ ¨Target small town drive-ins ¨ ¨Make films appear female-friendly ¨ ¨Spotlight titillation, friendship, romance, and mixed-sex high-jinx ¨ ¨Broken narration to make films watchable for distracted audience pom_pom_girls_ver2.jpg crown.jpg ¨The Pom Pom Girls Trailer: ¨ ¨http://www.youtube.com/watch?v=S_LfscC2WGc ¨ ¨Van Nuys Blvd. Trailer: ¨ ¨http://www.youtube.com/watch?v=Z3MOXwdkJp8&NR=1 ¨Over half US theatrical market; but neglected between 1973-6 ¨ ¨Hollywood does not capitalize on American Graffiti in 1972 ¨ ¨Crown enjoys drive-in hits ¨ ¨Carrie confirms potential ¨ ¨Hollywood gentrification ensues american_graffiti_ver1.jpg van.jpg carrie.jpg animal_house_ver2.jpg ¨The Pom Pom Girls is youth-market hit ¨ ¨The Van replicates its success in 1977 ¨ ¨Provokes Hollywood’s most aggressive youth market operations ¨ ¨Generates animal comedy cycle ¨ ¨Template for Hollywood date-movie ¨ pom_pom_girls_poster_01.jpg fast_times_at_ridgemont_high.jpg american_pie.jpg superbad_ver2.jpg ¨Major independent hit Benji (1974) reveals children are underserved ¨ ¨Bad News Bears major Hollywood hit ¨ ¨Initiates small surge in kids films ¨ ¨Most fail as adolescents flock to youth-market films ¨ ¨Occasional hits reignite production benji_ver1.jpg bad_news_bears.jpg here_come_the_tigers.jpg meatballs.jpg ¨Cater to underserved southern market ¨ ¨Maximize attendance at southern-state all-year-round drive-ins ¨ ¨Use of southern settings and heroes ¨ ¨Valorize blue-collar masculinity ¨ ¨Gentrified by Hollywood: Smokey and the Bandit (1977) is megahit Eat My Dust! Poster dixie_dynamite.jpg Smokey and the Bandit Poster - Click to View Extra Large Image convoy.jpg ¨Eat My Dust Trailer: ¨ ¨http://www.youtube.com/watch?v=Ldos-bzILXw ¨ ¨Smokey and the Bandit Trailer: ¨ ¨http://www.youtube.com/watch?v=UACtATttjEk ¨Make films to sell to distributors for a set fee ¨ ¨Second guess what distributors deem commercially viable ¨ ¨Usually avoided independents distributors due to unreliability ¨ ¨Usually targeted Hollywood distributors ¨ ¨Evoke recent hits more quickly and cheaply than Hollywood ¨ ¨Therefore making cheap imitations of Hollywood fare ¨ Irwin_Yablans.jpg fade_to_black.jpg halloween_1_poster_01.jpg roller_boogie.jpg halloween_3.jpg parasite.jpg halloween_ii.jpg seduction.jpg tourist_trap.jpg ¨Backed by Syrian Money ¨ ¨Date-movie made to capitalize on Carrie and Crown-style hits ¨ ¨Distributed by producer after Hollywood turns it down ¨ ¨Released every Halloween ¨ ¨By 1982, became major hit halloween_1_poster_01.jpg ¨Made to capitalize on Saturday Night Fever, Grease, and Ice Castles ¨ ¨Money generated by pre-sales based on success of Halloween ¨ ¨Film made huge profit for Yablans before completion ¨ ¨Bombs leaving Hollywood distributor out of pocket roller_boogie.jpg saturday_night_fever.jpg ice_castles.jpg grease.jpg ¨Roller Boogie Trailer: ¨ ¨http://www.youtube.com/watch?v=7NRnIIQ9bnc sean cunningham.jpg here_come_the_tigers.jpg friday_13th_1_poster_01.jpg stranger_is_watching_poster_01.jpg spring_break.jpg together.jpg last_house_on_the_left_poster_01.jpg ¨Has minor hits in early 70s ¨ ¨Fails with kids films ¨ ¨Bases Friday the 13th on several hits ¨ ¨Sells Friday the 13th to Paramount ¨ ¨Film is hit; Cunningham makes it to Hollywood and has financial security for his family for life! ¨ ¨ ¨ friday_13th_1_poster_01.jpg ¨In terms of content and conduct Hollywood and the exploitation sector are more heavily intertwined than often suggested ¨ ¨Exploitation ghettoizes low-cost low-brow entertainment – distancing Hollywood’s own involvement in such output ¨ ¨Maintaining strict divisions obscures the institutionalization of exploitation practices in and outside of Hollywood ¨ ¨Outsiders dealings with Hollywood distributors truly complicate neat distinctions between what is or is not Hollywood product ¨ ¨ ¨ ¨ ¨ ¨