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From the Arthouse to the Grindhouse
Highbrow and Lowbrow Transgression in Cinema's First Century
Editors:
|
Publisher:
2010
Summary
While there are numerous books on art and exploitation cinema, very few attempt to examine both. Covering the first 100 years of cinematic transgressions, From the Arthouse to the Grindhouse is a collection of numerous essays representing key contributions to overlooked, forgotten, or under-analyzed parts of film history. From cult favorites like Arch Hall Jr. to revered but under-documented marquee names like Lon Chaney, filmmakers both major and minor are covered here.
Starting with a section that pairs exploitation pioneers like Dwain Esper alongside cutting edge auteurs like Erich Von Stroheim, the volume documents the bleeding edge of the high/low cultural divide. Other essays examine the sexual melodramas of Weimer German cinema, explore the concept of Borat as a model for the new standardized cult film, and discuss the films of directors Tod Browning, Pier Pasolini, and Peter Watkins. This volume also contains a section devoted to the idea of "reality" inside and outside the documentary sphere, emphasizing audiences' desire to believe that "this is really happening," whether they're horrified or titillated. Addressing many aspects of "transgression" in cinema, these essays suggest that the distance between the venues and the audiences may not be quite as wide as viewers might imagine.
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Bibliographic data
Copyright year
2010
ISBN-Print
978-0-8108-7654-5
ISBN-Online
978-0-8108-7655-2
Publisher
Rowman & Littlefield, Lanham
Language
English
Pages
340
Product type
Edited Book
Table of contents
ChapterPages
Contents No access
Foreword No access
Acknowledgments No access
Introduction No access
CHAPTER 1. Erotica in the Service of Social Hygiene: Sexual Enlightenment Melodramas in Austro-Hungarian and Weimar German Cinema No access
CHAPTER 2. Kicking against the Pricks: The Perverseness of Erich von Stroheim No access
CHAPTER 3. Two Helens and a Host of Tricks: Tod Browning’s The Thirteenth Chair No access
CHAPTER 4. The Prince of Exploitation: Dwain Esper No access
CHAPTER 5. Fondling Your Eyeballs: Watching Doris Wishman No access
CHAPTER 6. Exploring Cinema’s Sordid Side: The Films of Sonney and Friedman No access
CHAPTER 7. In Celebration of Going Too Far: Waterpower No access
CHAPTER 8. The Last Film, the Last Book: Pasolini and Sade No access
CHAPTER 9. Horror at the Crossroads: Class, Gender, and Taste at the Rialto No access
CHAPTER 10. Japanese Grindhouse: The Tobita Cinema in Osaka No access
CHAPTER 11. Grindhouse and Beyond No access
CHAPTER 12. Art and Grind in Seattle No access
CHAPTER 13. The Humanist Transgressions of Lon Chaney No access
CHAPTER 14. The Perfect Threat Arch Hall Jr., The Sadist, and the Ideal Teenager No access
CHAPTER 15. The History of a Sexual Revolutionary: Jamie Gillis No access
CHAPTER 16. Cult-ural Learnings from Borat: A Model for the New Standardized Cult Film No access
CHAPTER 17. The Transgressive Toke: Art and Misdemeanor in Deadhead Imagery No access
CHAPTER 18. The Real Faces of Death: Art Shock in Des Morts No access
CHAPTER 19. The Small World of Snuff: Fetish Custom Video No access
CHAPTER 20. There Is Nothing More Objectionable Than Objectivity: The Films of Peter Watkins No access
CHAPTER 21. It’s Only a Movie?: Reality as Transgression in Exploitation Cinema No access
Index No access Pages 317 - 334
About the Editors and Contributors No access Pages 335 - 340
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