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  • Rodriguez, Robert Close
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“Bigger Than a Payphone, Smaller Than a Cadillac”: Porn Stardom in Exhausted: John C Holmes the Real Story

Neil JacksonWith special thanks to Martin Brooks and Oliver Carter for the supply of research material, and Phil Marson, Sarah Thomas, and Thomas Joseph Watson for some valuable suggestions.

Neil JacksonWith special thanks to Martin Brooks and Oliver Carter for the supply of research material, and Phil Marson, Sarah Thomas, and Thomas Joseph Watson for some valuable suggestions.

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...With special thanks to Martin Brooks and Oliver Carter for the supply of research material, and Phil Marson, Sarah Thomas, and Thomas Joseph Watson for some valuable suggestions.Quoted in Wadd: The Life and Times of John C. Holmes (Cass...

“The Smashing, Crashing, Pileup of the Century”: The Carsploitation Film

Robert J. Read

Robert J. Read

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...The term “carsploitation,” like other subgenres that fall within the parameters of the grindhouse mythos—such as blaxploitation, nunsploitation, nazisploitation, Canuxploitation, and Ozploitation—denotes a body of cinematic production...

Cars and Girls (and Burgers and Weed): Branding, Mainstreaming, and Crown International Pictures’ SoCal Drive-in Movies

Richard Nowell

Richard Nowell teaches American Cinema at the American Studies Department of Charles University in Prague, Czech Republic. He has served as a guest editor of the journal Iluminace, and he has published articles in several journals including the New Review of Film & Television Studies, Post Script, the Journal of Film and Video, InMedia , and Cinema Journal. Author affiliation details are correct at time of print publication.

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...A scene from the youth-centered comedy Pick-Up Summer (George Mihalka, 1980) depicted moviegoers enjoying the leisure opportunities available at the drive-in: making out in cars, stocking up on snacks, imbibing intoxicants, watching...

Run, Angel, Run: Serial Production and the Biker Movie, 1966–1972

Peter Stanfield

Peter Stanfield

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...The novelist and essayist Joan Didion watched nine biker films in seven days before publishing an account of the experience in a May 1970 edition of her regular Life magazine column. In the manner of an anthropologist, she sets out...

Grinding Out the Grind House: Exploitation, Myth, and Memory

Glenn Ward

Glenn Ward

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...Grind houses once existed, but “grindhouse cinema” and “grindhouse films,” as they are imagined today, never did. To put it less starkly, the term “grindhouse” has been used in the United States at least since the 1930s, but its...

From “Sex Entertainment for the Whole Family” to Mature Pictures: I Jomfruens Tegn and Transnational Erotic Cinema

Kevin Heffernan

Kevin Heffernan

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...Near the beginning of Finn Karlsson’s 1973 Danish hard-core film I Jomfruens Tegn (“In the Sign of the Virgin,” US title, Danish Pastries), Mr. Armand (Ole Søltof, star of major studio Palladium’s hugely popular Bedside series), a visiting...

Introduction: 42nd Street, and Beyond

Austin Fisher

Austin Fisher is Senior Lecturer in Film and Television Studies at Bournemouth University, author of Radical Frontiers in the Spaghetti Western (2011), founding co-editor of the “Global Exploitation Cinemas” book series and editor of Spaghetti Westerns at the Crossroads (2015). He serves on the Editorial Board of the Transnational Cinemas journal, is Co-Chair of the SCMS “Transnational Cinemas” Scholarly Interest Group, and founder of the “Spaghetti Cinema” festival. Author affiliation details are correct at time of print publication.

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Johnny Walker

Johnny Walker is a Lecturer in Media at Northumbria University, UK. His writing on horror and exploitation cinema can be read in journals such as Horror Studies, the Journal of British Cinema and Television, and in his forthcoming books Contemporary British Horror Cinema: Industry, Genre and Society (2015) and Snuff: Real Death and Screen Media (Bloomsbury, 2015). Author affiliation details are correct at time of print publication.

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...In the heart of little old New York,You’ll find a thoroughfare.It’s the part of little old New YorkThat runs into Times Square.Up until the release of Lloyd Bacon’s musical 42nd Street in 1933, the movie’s namesake had, for international...

Temporary Fleapits and Scabs’ Alley: The Theatrical Dissemination of Italian Cannibal Films in Melbourne, Australia

Dean Brandum

Dean Brandum

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...Between 1974 and 1981 a cycle of nine exploitation features, in which western protagonists encounter indigenous cannibalistic tribes in the rain forests of Asia and South America, were produced by Italian film companies. Such “cannibal...

Red Power, White Movies: Billy Jack, Johnny Firecloud, and the Cultural Politics of the “Indiansploitation” Cycle

David Church

David Church is a film historian specializing in genre studies, taste cultures, and histories of film exhibition and distribution. He is a Lecturer in Comparative Cultural Studies at Northern Arizona University, USA, and is the author of Grindhouse Nostalgia: Memory, Home Video, and Exploitation Film Fandom (2015). Author affiliation details are correct at time of print publication.

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...As low-budget independents working outside or on the margins of corporate capital, the exploitation filmmakers who served grind houses had long sought short-term economic returns from sensationalized depictions of timely or controversial...

“This Is Where We Came In”: The Economics of Unruly Audiences, Their Cinemas and Tastes, from Serial Houses to Grind Houses

Phyll Smith

Phyll Smith

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book chapter

...The unique thing about a motion picture theatre is that in and out of it there is continual traffic. To any other type of auditorium, patrons come at a certain hour before the performance begins, and there is only one performance. But most...