Sexploitation film

The sexploitation film is a sub-genre of the erotic exploitation film .

This type of film was popular in the United States in the 1960s ; predominantly the so-called grindhouses specializing in B-movies showed such films. In Europe, it peaked in the 1970s. The low-budget productions offered viewers softcore entertainment ( soft sex / soft porn in contrast to the hardcore porn films that were also legalized at the time ), which created erotic effects with simulated sex scenes.

History and history

The beginnings of the genre developed in the USA already in the years after the Second World War ; however, the term as a description of the film type only became common in the early 1960s. The development went hand in hand with the sexual revolution, which sought to portray and deal with nudity and sex. Part of this liberalization was the softening and eventual abolition of the US Hays Code . The sexploitation films shown in cinemas became competition for cheap 16mm films in the US .

Protagonists and content

Edgar G. Ulmer is considered the godfather of the genre. The directors David F. Friedman , Joseph W. Sarno , Radley Metzger and Russ Meyer were other important protagonists. The Meyer film The Immoral Mr. Teas (1959), which was copied several times, about a man who can see through women's clothes, is considered to be groundbreaking. Meyer's other well-known films were Lorna (1964, with violent scenes) and Vixen (1968, in Germany under the title Ohne Gnade - Schätze ). The genre later developed into films that took up certain subjects, such as the stay of women in prisons ( women's prison films ), or the experiences of cheerleaders . Another subgenre was sexploitation films with Nazi themes, called Naziploitation , such as the Don Edmonds production Ilsa, She Wolf of the SS .

Germany and worldwide

In Germany the sexploitation film became an important source of income in cinemas from the late 1960s. In 1971, the first two parts of the Schoolgirl Report and the first part of the Housewives Report (Genre: Report Films ) were the three most successful cinema films of the year. The peak was reached in the mid-1970s; At the time, around half of all German film productions fell under the genre. The so-called Lederhosen films were a particularly popular version of the sexploitation film in Germany . The nudist films popular in Europe in the 1970s are also considered a subgenre of the sexploitation film. Films such as the sequel to Emmanuelle were made in France and Italy . In the 1990s, horror films with sex scenes were also popular in Japan, which are also counted among the sexploitation films.

Web links

Commons : Sexploitationfilm - Collection of images, videos and audio files

Individual evidence

^ ^A ^b Christopher Justice, Edgar J. Ulmer: The Godfather of Sexploitation , in: Gary Rhodes, Edgar G. Ulmer: Detour on Poverty Row , ISBN 978-0-7391-2568-7 , Rowman & Littlefield, 2009, p. 25ff., In English
^ ^A ^b ^c Annette Kuhn and Guy Westwell, A Dictionary of Film Studies , ISBN 978-0-19-103465-7 , p. 150, in English
↑ Eric Schaefer: Gauging a Revolution: 16 mm Film and the Rise of the Pornographic feature . In: Linda Williams (Ed.): Porn Studies. Duke University Press, 2004, ISBN 978-0-8223-3312-8 , p. 372, in English
↑ David Chute, Wages of Sin (I) , Film comment , 1986, in a footnote in: David K. Frasier, IX. Sexploitation , in: Russ Meyer, The Life and Films: A Biography and a Comprehensive, Illustrated and Annotated Filmography and Bibliography , McFarland, 1997, ISBN 978-0-7864-8063-0 , p. 66
↑ Steffen Hantke: Caligari's Heirs: The German Cinema of Fear After 1945. Scarecrow Press, 2007, ISBN 978-0-8108-5878-7 , in English
↑ ^a ^b Harald Steinwender, Alexander Zahlten: Sexploitation films from West Germany . In: Terri Ginsberg, Andrea Mensch: A Companion to German Cinema. John Wiley & Sons, 2012, ISBN 978-1-4051-9436-5 , p. 289, in English
↑ Max Pechmann: J-Horror and K-Horror or the other in Asian horror cinema . In: Michael Dellwing, Martin Harbusch: Vergemeinschaftung in times of the zombie apocalypse: Social constructions on the fantastic other. Springer-Verlag, 2014, ISBN 978-3-658-01722-4 , p. 316

[cj-1] A ^b Christopher Justice, Edgar J. Ulmer: The Godfather of Sexploitation , in: Gary Rhodes, Edgar G. Ulmer: Detour on Poverty Row , ISBN 978-0-7391-2568-7 , Rowman & Littlefield, 2009, p. 25ff., In English

[akgw-2] A ^b ^c Annette Kuhn and Guy Westwell, A Dictionary of Film Studies , ISBN 978-0-19-103465-7 , p. 150, in English

[3] Eric Schaefer: Gauging a Revolution: 16 mm Film and the Rise of the Pornographic feature . In: Linda Williams (Ed.): Porn Studies. Duke University Press, 2004, ISBN 978-0-8223-3312-8 , p. 372, in English

[4] David Chute, Wages of Sin (I) , Film comment , 1986, in a footnote in: David K. Frasier, IX. Sexploitation , in: Russ Meyer, The Life and Films: A Biography and a Comprehensive, Illustrated and Annotated Filmography and Bibliography , McFarland, 1997, ISBN 978-0-7864-8063-0 , p. 66

[5] Steffen Hantke: Caligari's Heirs: The German Cinema of Fear After 1945. Scarecrow Press, 2007, ISBN 978-0-8108-5878-7 , in English

[hsaz-6] Harald Steinwender, Alexander Zahlten: Sexploitation films from West Germany . In: Terri Ginsberg, Andrea Mensch: A Companion to German Cinema. John Wiley & Sons, 2012, ISBN 978-1-4051-9436-5 , p. 289, in English

[7] Max Pechmann: J-Horror and K-Horror or the other in Asian horror cinema . In: Michael Dellwing, Martin Harbusch: Vergemeinschaftung in times of the zombie apocalypse: Social constructions on the fantastic other. Springer-Verlag, 2014, ISBN 978-3-658-01722-4 , p. 316