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exploitation film
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Journal Article
Camera Obscura (2018) 33 (1 (97)): 1–27.
Published: 01 May 2018
... production. Although Turkish film producers first adapted European exploitation films (particularly Italian erotic comedies), in time they created a trashy and irregular film practice addressing the specific needs of its assumed audience: young, unemployed, underclass men with rural backgrounds. The article...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 179–186.
Published: 01 May 2017
...Alicia Kozma This article examines Stephanie Rothman and her career as a second-wave exploitation film director between 1966 and 1974. Marginally represented in film histories and archives, Rothman made seven films during her short career and flourished in the primarily masculinized world of second...
Journal Article
Camera Obscura (2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... that these filmmakers exploit what I term the audience's cruel knowledge about actresses in order to position the films in relation to the other art forms associated with their actresses (ballet and pornography). Building from the premise that spectacle and excess are necessary to both celebrity and cruelty, I argue...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... adorable characters both naturalized and eroticized the racial exploitation these films celebrated. For in her performances of complex racial, sexual, and gendered masquerades, Temple's characters engaged in forms of passing that were crucial to the domestication of blackness during this period. Camera...
Journal Article
Camera Obscura (2022) 37 (2 (110)): 59–89.
Published: 01 September 2022
... her later, supposedly Weird Wave films. The conceptual capaciousness of the term fit , as both a film title and a concept, refracts across Tsangari's films and career at large. This article exploits wordplay around fit as a technical standard of sound and image cohesion (how image and sound fit...
FIGURES
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Journal Article
Camera Obscura (2011) 25 (3 (75)): 69–99.
Published: 01 December 2011
... bears out Cameron’s tongue-in-cheek claim that “British
films could imagine Africa on British terms or not at all” (199).
Eventually Justin transitions from an Imperial Man to the arche-
type that Cameron identifies as the Helper: “The white who is in
Africa to help rather than to exploit...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... Schaefer has detailed, sexploitation films inherited some
of their presentational and publicity tactics from their industrial
progenitor, the classical exploitation film, while narrowing their
concern with the body out of control to overtly sexualized sub-
jects.1 Sexploitation’s subcycles ranged...
Journal Article
Camera Obscura (2008) 23 (2 (68)): 1–39.
Published: 01 September 2008
... the notion of the stranger. Coincidence in this case would seem to satisfy a contemporary desire for recognition and connection among strangers, which the film would then exploit for its melodramatic potential. Yet far from facilitating a purely utopian meditation on countering the alienating structures...
Journal Article
Camera Obscura (2010) 25 (2 (74)): 75–117.
Published: 01 September 2010
... in Hollywood, she exploited the new possibilities of mass media—films, paperbacks, newspapers, and magazines—to simultaneously promote herself and her sexual agenda. Furthermore, she used her films to eroticize cinematic structures of spectatorship. Camera Obscura 2010 Laura Horak is a PhD candidate...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... rendered by montage or whip pans. The Snake Pit and Sorry, Wrong Number , like other films of the 1940s centered on female insanity, exploit the language of cinema in order to make spectators partake in their pathologized versions of the sensory world. This restructuring of perception by mental illness has...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 192–193.
Published: 01 May 2000
... A History of Exploitation
Films, 1919–1959. Durham, NC: Duke University Press, 1999.
Sharrett, Christopher, ed. Mythologies of Violence in Postmodern Media.
Detroit, MI: Wayne State University Press, 1999.
Stokes, Melvyn...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 1–25.
Published: 01 December 2015
... it aside, resuming her recounting of the aftermath of
her public break with Pirotto. This brief, seemingly trivial incident
crystallizes Lola’s role within the film as a locus for the commer-
cial exploitation of Romantic myth. Her once-transgressive behav-
ior is used as a ploy to sell cigars. She...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
...Shane Vogel This essay examines Lena Horne's reputation in the first half of her career as a reserved, refined, and affectively distant diva. Approaching her performance of aloofness—communicated and enacted both on film and in live cabaret shows—as an acute response to the interracial intimacy...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
... serving as a location scout, to working as an editing
consultant, to performing as an extra on numerous low-budget
independent features, many of which were exploitation films
dealing with countercultural themes like drugs, sex, and rock
and roll.30 Arguably, Conner’s greatest influence...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
... on the exploitation film formula (for which didactic
moralizing justifies the inclusion of sexually explicit, violent, or
otherwise “immoral” content), Kane’s commitment to depicting
truly hardcore sex enables her to incorporate an oppositional and
often feminist perspective.65 More broadly, the alt...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 41–72.
Published: 01 September 1991
.... In response to this
problematic marking of Holden as active hero/passive pinup, the film
tends to deny its own terms of visual representation. To borrow the
significant phrasing of Life’s description of Rock Hudson’s ambiguous
appeal, Picnic exploits the sight of Holden’s “bare chest’’ as a primary...
Journal Article
Camera Obscura (1992) 10 (2 (29)): 91–129.
Published: 01 May 1992
... from sensational exploitation.”5
Believing all precautions had been taken, the various producers and
promoters anticipated that the film would be as favorably received as
were the two other films of the same genre released in the preceding
months.6 Undoubtedly, they were...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... be legal serves as a governing metaphor for a global system of accumulation in which the legal consumption of pleasure in one part of the world is dependent on the extralegal exploitation of bodies in another. The film also raises the exploi- tation of bodies as the source of pleasure in capitalism...
Journal Article
Camera Obscura (2001) 16 (1 (46)): 1–45.
Published: 01 May 2001
..., only two were shown in dubb-
ed prints—Day for Night and Fuego (dir. Armando Bo, 1968), an
erotic melodrama from Argentina screened as part of series
on exploitation films. I expected no complaints regarding the
aural status of the latter, nor did I...
Journal Article
Camera Obscura (1980) 2 (2 (5)): 111–114.
Published: 01 September 1980
...Jan Worth Women Working
Notes on Taking A Part
Jan Worth
Taking A Part: directed and shot by Jan Worth; camera assistant: Anne
Cottringer; lighting: Nina Kellgren and Anne Cottringer; sound:
Christine Felce, Fern Presant. 1979,45min., Ektachrome, 16mm.
The film concerns itself...
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