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Sexploitation film

April 22, 2023

A sexploitation film (or sex-exploitation film) is a class of independently produced, low-budget[3] feature film that is generally associated with the 1960s[4] and early 1970s, and that serves largely as a vehicle for the exhibition of non-explicit sexual situations and gratuitous nudity. The genre is a subgenre of exploitation films. The term "sexploitation" has been used since the 1940s.[5] Sexploitation films were generally exhibited in urban grindhouse theatres, the precursor to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content. The term soft-core is often used to designate non-explicit sexploitation films after the general legalisation of hardcore content. Nudist films are often considered to be subgenres of the sex-exploitation genre as well. "Nudie" films and "Nudie-cuties" are associated genres.[4]

Theatrical release poster for the 1969 Argentine film Éxtasis tropical, starring Isabel Sarli, one of the biggest stars of the sexploitation genre.[1][2]

In the United States

After a series of United States Supreme Court rulings in the late 1950s and 1960s, increasingly explicit sex films were distributed.[4] In 1957, Roth v. United States established that sex and obscenity were not synonymous.[4] The genre first emerged in the U.S. around 1960.[6]

There were initially three broad types: "nudie cuties" such as The Immoral Mr. Teas (1959), films set in nudist camps like Daughter of the Sun (1962) and somewhat more "artistic" foreign pictures, such as The Twilight Girls (1961).[3] Nudie cuties were popular in the early 1960s, and were a progression from the nudist camp films of the 1950s.[7] The Supreme Court had previously ruled that films set in nudist camps were exempt from the general ban on film nudity, as they were deemed to be educational.[7] In the early 1960s, films that purported to be documentaries and were thus "educational" enabled sexploitation producers to evade the censors.[8]

Nudie cuties were soon supplanted by "roughies," which commonly featured male violence against women, including kidnapping, rape and murder.[9][10] Lorna (1964) by Russ Meyer is widely considered to be the first roughie.[10] Herschell Gordon Lewis and David F. Friedman's Scum of the Earth! (1963) is another film that is cited as among the first in this genre.[11] Other notable roughie directors include Doris Wishman.[10]

In the United States, exploitation films initially played in grindhouse theatres,[12] as well as struggling independent theaters; however, by the end of the decade they were playing in established cinema chains.[3] As the genre developed during the 1960s films began showing scenes of simulated sex.[13] The films were opposed by religious groups and by the MPAA, which was concerned that sexploitation films were cutting into the profits of major film distributors.[14] Customers who attended screenings of sexploitation films were often characterised by the mainstream media as deviant, "dirty old men" and "raincoaters."[6]

In the mid-1960s some newspapers began banning advertisements for the films.[15] By the late 1960s the films were attracting a larger and broader audience, however, including couples rather than the single males who originally made up the vast majority of patrons.[14] The genre rapidly declined in the early 1970s due to advertising bans, the closure of many grindhouses and drive-in theaters and the growth of hardcore pornography in the "Golden Age of Porn."[12] Many theaters which had screened sexploitation films either switched to hardcore pornographic films or closed down.[16]

White coaters

In the late 1960s, American obscenity laws were tested by the Swedish film I Am Curious (Yellow).[4] After the 1969 ruling by the Supreme Court that the film was not obscene[17][18] because of its educational context, the late 1960s and early 1970s saw a number of sexploitation films produced following this same format. These were widely referred to as "white coaters," because, in these films, a doctor dressed in a white coat would give an introduction to the graphic content that followed, qualifying the film as "educational." The ruling led to a surge in the production of sex films.[4] Language of Love and other Swedish and American films capitalised on this idea until the laws were relaxed.[19]

In Argentina

 
Isabel Sarli in Carne (1968).

In the 1960s Argentine sexploitation films were made within a regular basis. The biggest national stars in that genre were Isabel Sarli and Libertad Leblanc. The genre rapidly declined during the 1980s, particularly with the advent of democracy in Argentina since 1983 onwards, and it disappeared completely in the 1990s, except for some low budget direct-to-video productions.

Although these movies were released in their home country, government censorship at the time (Argentina alternated between democracy and dictatorship for most of the 60s and 70s) was prone to -or had the steady habit of- heavily editing the films before their release, threatening with a full ban if the studio or the director did not comply. Armando Bó, who made several sexploitation and erotic films with his romantic partner and muse Isabel Sarli, is one of the most well-known cases in Argentina of having disputes with the censors who wanted to either put him in jail for making "obscene material" or ban his films, which were released mostly in a truncated form, and with many scenes excised from his movies at the time of their release.

One of the most notorious agents of government censorship during that period was Miguel Paulino Tato, who worked during de jure and de facto administrations as the director of the Argentine Ente de Calificación Cinematográfica (Film Rating Organization). In that capacity, Tato censored -banned or heavily edited- dozens of erotic or sexploitation films (from Argentina and from all over the world) during the 1960s and 1970s; he also banned or cut hundreds of domestic/international films of any kind and genre during the same era, always using the pretext of a righteous and moral fight against either "Marxism", "anti-catholic" or "subversive" movies who were, in his view, trying to "contaminate" the country's values and national identity. Although he exercised a mostly bureaucratic role, Tato was keen on giving interviews to the media describing his far-right authoritarian views and even boasting about being "a nazi" on several occasions. He was also -and proudly- a racist, and quite famously said on television, at the time of the Argentinian premiere of Shaft in Africa (1973): "Negros go back to Africa!" ("¡Negros, al Africa!").[20]

Rivalry between Isabel Sarli and Libertad Leblanc

Libertad Leblanc's rivalry with Isabel Sarli -who was, and probably still is, the greatest sex symbol in Argentine cinema- was very conspicuous in the 1960s. They were the two greatest figures of erotic cinema in their home country, competing for the headlines as well as the box office success, and at the same time the contrast between the two, in appearance and in personality (on screen and off as well) couldn't be bigger: Isabel Sarli was a flashy brunette, with generous shapes and natural attributes. Libertad Leblanc was instead rather slim, reportedly had breast implants, dyed her hair platinum blonde, and maintained her distinctive white skin by constantly avoiding exposure to the sun. Sarli had a shy and somewhat innocent personality, and she always exuded a "homely and easy-going" public image; her movies were usually melodramas and comedies with a lot of nudity. In contrast, Leblanc was uninhibited and cunning, and gave a public image of a vamp or a seductress; she was dubbed as "The White Goddess" (La diosa blanca) by the media,[21] and her filmography includes police movies and thrillers.

"La Sarli", as they used to call her, was, as an actress, a product entirely created by Armando Bó, since the Argentine director was not only her longtime lover —Sarli and Bó were never legally married, but lived together as a couple until his death— but also her manager, her film producer and director, and even an authority figure, simultaneously. On the other hand, "La Leblanc", as they also used to call her, had a different background and was already used -from a young age, actually- to make her way on her own, and she was a true self-made woman of her time: she had disputes and argued as equals with producers, directors and distributors; she was her own manager and she co-produced almost all of her films -at a time when no woman did so-, as well as being almost always in charge of the distribution and promotion of her films. In this regard, a Mexican producer, with whom Leblanc made eight films, once told the media that "Libertad Leblanc, when talking about business, has a mustache".

In fact, it was Libertad Leblanc herself who installed the rivalry between her and Sarli in the media, as well as the popular conscience. In order to promote her first film, La Flor de Irupé (1962), Leblanc suggested a promotional poster with a black and white nude and a caption that read: "Libertad Leblanc, rival of Isabel Sarli". Although Isabel Sarli did not say anything at the time, Armando Bó, in a wrathful rapture, accused Leblanc of deviously using Sarli's international fame. Some time later, in a 2004 interview, Leblanc was sincere about the whole affair: “And [Bó] was right; but hey: we didn't spend a dime [on publicity] and everything came out perfectly"; in that same interview, when asked if she really believed there was a true rivalry between Sarli and her, Leblanc replied: "Not in any way. With Armando [Bó] we did have our run-ins because that fame [the publicity controversy] also circulated around the world. But she is divine; very naïve, yes, but she is a gorgeous woman...".[22]

Notable sexploitation directors

See also

Notes

  1. ^ Parish, James Robert; Stanke, Don E. (1975). The Glamour Girls. Arlington House. p. 463. ISBN 978-0870002441. Retrieved 20 October 2013.
  2. ^ Turan, Kenneth; Zito, Stephen F. (1975). Sinema: American Pornographic Films and the People Who Make Them. New American Library. p. 66. ISBN 978-0275507701. Retrieved 20 October 2013.
  3. ^ a b c Sconce, p. 20
  4. ^ a b c d e f g Weitzer, Ronald John (2000). Sex for Sale: Prostitution, Pornography, and the Sex Industry. Routledge. p. 51. ISBN 0-415-92295-X.
  5. ^ "sexploitation | Origin and meaning of sexploitation by Online Etymology Dictionary". www.etymonline.com. Retrieved 2021-10-08.
  6. ^ a b Sconce, p. 19
  7. ^ a b Sconce, p. 49
  8. ^ Sconce, p. 60
  9. ^ a b Sconce, p.50
  10. ^ a b c Sconce, p. 52
  11. ^ "The Defilers/Scum of the Earth (1965/1963)". digitallyobsessed.com. 2001-02-25. Retrieved 2010-01-04.
  12. ^ a b Sconce, p. 42
  13. ^ Sconce, p. 28
  14. ^ a b Sconce, p. 35
  15. ^ Sconce, p. 36
  16. ^ Piepenburg, Erik (2016-06-02). "Sexploitation Films, Short on Good Taste, Still Have Devotees (Published 2016)". The New York Times. ISSN 0362-4331. Retrieved 2021-01-13.
  17. ^ "BYRNE v. KARALEXIS, 396 U.S. 976 (1969)". Justia Law. Retrieved 2023-01-09.
  18. ^ "Film International". filmint.nu. Retrieved 16 January 2016.
  19. ^ Harris, Will (2005-08-31). "Harry Reems Interview: Harry Reems Lays It on the Table". Bullz-Eye.com.
  20. ^ "Miguel Tato, aquel increíble señor tijeras". LA NACION (in Spanish). 1999-02-28. Retrieved 2023-01-09.
  21. ^ Ibercine (2021-05-01). "Muere actriz argentina Libertad Leblanc". IBERCINE (in Spanish). Retrieved 2023-01-09.
  22. ^ "Página/12 :: las12". www.pagina12.com.ar (in Spanish). Retrieved 2023-01-09.
  23. ^ Sconce, p. 10
  24. ^ Sconce, p. 24
  25. ^ Sconce, p. 22

References

Further reading

External links

 
Wikimedia Commons has media related to Sexploitation.
  • Sexploitation Movies: Definition and data base
  • Razor Reel:
  • Something Weird Video: Popular online resource for sexploitation movies
  • Interview with Stephanie Rothman

April 22, 2023
sexploitation, film, examples, perspective, this, article, deal, primarily, with, united, states, represent, worldwide, view, subject, improve, this, article, discuss, issue, talk, page, create, article, appropriate, january, 2014, learn, when, remove, this, t. The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject You may improve this article discuss the issue on the talk page or create a new article as appropriate January 2014 Learn how and when to remove this template message A sexploitation film or sex exploitation film is a class of independently produced low budget 3 feature film that is generally associated with the 1960s 4 and early 1970s and that serves largely as a vehicle for the exhibition of non explicit sexual situations and gratuitous nudity The genre is a subgenre of exploitation films The term sexploitation has been used since the 1940s 5 Sexploitation films were generally exhibited in urban grindhouse theatres the precursor to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content The term soft core is often used to designate non explicit sexploitation films after the general legalisation of hardcore content Nudist films are often considered to be subgenres of the sex exploitation genre as well Nudie films and Nudie cuties are associated genres 4 Theatrical release poster for the 1969 Argentine film Extasis tropical starring Isabel Sarli one of the biggest stars of the sexploitation genre 1 2 Contents 1 In the United States 1 1 White coaters 2 In Argentina 2 1 Rivalry between Isabel Sarli and Libertad Leblanc 3 Notable sexploitation directors 4 See also 5 Notes 6 References 7 Further reading 8 External linksIn the United States EditAfter a series of United States Supreme Court rulings in the late 1950s and 1960s increasingly explicit sex films were distributed 4 In 1957 Roth v United States established that sex and obscenity were not synonymous 4 The genre first emerged in the U S around 1960 6 There were initially three broad types nudie cuties such as The Immoral Mr Teas 1959 films set in nudist camps like Daughter of the Sun 1962 and somewhat more artistic foreign pictures such as The Twilight Girls 1961 3 Nudie cuties were popular in the early 1960s and were a progression from the nudist camp films of the 1950s 7 The Supreme Court had previously ruled that films set in nudist camps were exempt from the general ban on film nudity as they were deemed to be educational 7 In the early 1960s films that purported to be documentaries and were thus educational enabled sexploitation producers to evade the censors 8 Nudie cuties were soon supplanted by roughies which commonly featured male violence against women including kidnapping rape and murder 9 10 Lorna 1964 by Russ Meyer is widely considered to be the first roughie 10 Herschell Gordon Lewis and David F Friedman s Scum of the Earth 1963 is another film that is cited as among the first in this genre 11 Other notable roughie directors include Doris Wishman 10 In the United States exploitation films initially played in grindhouse theatres 12 as well as struggling independent theaters however by the end of the decade they were playing in established cinema chains 3 As the genre developed during the 1960s films began showing scenes of simulated sex 13 The films were opposed by religious groups and by the MPAA which was concerned that sexploitation films were cutting into the profits of major film distributors 14 Customers who attended screenings of sexploitation films were often characterised by the mainstream media as deviant dirty old men and raincoaters 6 In the mid 1960s some newspapers began banning advertisements for the films 15 By the late 1960s the films were attracting a larger and broader audience however including couples rather than the single males who originally made up the vast majority of patrons 14 The genre rapidly declined in the early 1970s due to advertising bans the closure of many grindhouses and drive in theaters and the growth of hardcore pornography in the Golden Age of Porn 12 Many theaters which had screened sexploitation films either switched to hardcore pornographic films or closed down 16 White coaters Edit In the late 1960s American obscenity laws were tested by the Swedish film I Am Curious Yellow 4 After the 1969 ruling by the Supreme Court that the film was not obscene 17 18 because of its educational context the late 1960s and early 1970s saw a number of sexploitation films produced following this same format These were widely referred to as white coaters because in these films a doctor dressed in a white coat would give an introduction to the graphic content that followed qualifying the film as educational The ruling led to a surge in the production of sex films 4 Language of Love and other Swedish and American films capitalised on this idea until the laws were relaxed 19 In Argentina Edit Isabel Sarli in Carne 1968 In the 1960s Argentine sexploitation films were made within a regular basis The biggest national stars in that genre were Isabel Sarli and Libertad Leblanc The genre rapidly declined during the 1980s particularly with the advent of democracy in Argentina since 1983 onwards and it disappeared completely in the 1990s except for some low budget direct to video productions Although these movies were released in their home country government censorship at the time Argentina alternated between democracy and dictatorship for most of the 60s and 70s was prone to or had the steady habit of heavily editing the films before their release threatening with a full ban if the studio or the director did not comply Armando Bo who made several sexploitation and erotic films with his romantic partner and muse Isabel Sarli is one of the most well known cases in Argentina of having disputes with the censors who wanted to either put him in jail for making obscene material or ban his films which were released mostly in a truncated form and with many scenes excised from his movies at the time of their release One of the most notorious agents of government censorship during that period was Miguel Paulino Tato who worked during de jure and de facto administrations as the director of the Argentine Ente de Calificacion Cinematografica Film Rating Organization In that capacity Tato censored banned or heavily edited dozens of erotic or sexploitation films from Argentina and from all over the world during the 1960s and 1970s he also banned or cut hundreds of domestic international films of any kind and genre during the same era always using the pretext of a righteous and moral fight against either Marxism anti catholic or subversive movies who were in his view trying to contaminate the country s values and national identity Although he exercised a mostly bureaucratic role Tato was keen on giving interviews to the media describing his far right authoritarian views and even boasting about being a nazi on several occasions He was also and proudly a racist and quite famously said on television at the time of the Argentinian premiere of Shaft in Africa 1973 Negros go back to Africa Negros al Africa 20 Rivalry between Isabel Sarli and Libertad Leblanc Edit Argentine actress Libertad Leblanc in La Flor de Irupe 1962 Libertad Leblanc s rivalry with Isabel Sarli who was and probably still is the greatest sex symbol in Argentine cinema was very conspicuous in the 1960s They were the two greatest figures of erotic cinema in their home country competing for the headlines as well as the box office success and at the same time the contrast between the two in appearance and in personality on screen and off as well couldn t be bigger Isabel Sarli was a flashy brunette with generous shapes and natural attributes Libertad Leblanc was instead rather slim reportedly had breast implants dyed her hair platinum blonde and maintained her distinctive white skin by constantly avoiding exposure to the sun Sarli had a shy and somewhat innocent personality and she always exuded a homely and easy going public image her movies were usually melodramas and comedies with a lot of nudity In contrast Leblanc was uninhibited and cunning and gave a public image of a vamp or a seductress she was dubbed as The White Goddess La diosa blanca by the media 21 and her filmography includes police movies and thrillers La Sarli as they used to call her was as an actress a product entirely created by Armando Bo since the Argentine director was not only her longtime lover Sarli and Bo were never legally married but lived together as a couple until his death but also her manager her film producer and director and even an authority figure simultaneously On the other hand La Leblanc as they also used to call her had a different background and was already used from a young age actually to make her way on her own and she was a true self made woman of her time she had disputes and argued as equals with producers directors and distributors she was her own manager and she co produced almost all of her films at a time when no woman did so as well as being almost always in charge of the distribution and promotion of her films In this regard a Mexican producer with whom Leblanc made eight films once told the media that Libertad Leblanc when talking about business has a mustache In fact it was Libertad Leblanc herself who installed the rivalry between her and Sarli in the media as well as the popular conscience In order to promote her first film La Flor de Irupe 1962 Leblanc suggested a promotional poster with a black and white nude and a caption that read Libertad Leblanc rival of Isabel Sarli Although Isabel Sarli did not say anything at the time Armando Bo in a wrathful rapture accused Leblanc of deviously using Sarli s international fame Some time later in a 2004 interview Leblanc was sincere about the whole affair And Bo was right but hey we didn t spend a dime on publicity and everything came out perfectly in that same interview when asked if she really believed there was a true rivalry between Sarli and her Leblanc replied Not in any way With Armando Bo we did have our run ins because that fame the publicity controversy also circulated around the world But she is divine very naive yes but she is a gorgeous woman 22 Notable sexploitation directors EditAndy Sidaris Andy Milligan Armando Bo Carl Monson David F Friedman 4 9 Doris Wishman 23 Emilio Vieyra Fred Olen Ray George Harrison Marks Jean Rollin Jesus Franco Jim Wynorski Joseph W Sarno Joe D Amato Michael Findlay Radley Metzger 24 Russ Meyer 25 Stanley Long Stephanie Rothman Stephen C Apostolof Tinto Brass Ted V MikelsSee also EditBavarian porn Black Emanuelle Commedia sexy all italiana List of Japanese sexploitation films Mexican sex comedy Nudity in film Pink film Pornochanchada Pornographic film Pulp magazineNotes Edit Parish James Robert Stanke Don E 1975 The Glamour Girls Arlington House p 463 ISBN 978 0870002441 Retrieved 20 October 2013 Turan Kenneth Zito Stephen F 1975 Sinema American Pornographic Films and the People Who Make Them New American Library p 66 ISBN 978 0275507701 Retrieved 20 October 2013 a b c Sconce p 20 a b c d e f g Weitzer Ronald John 2000 Sex for Sale Prostitution Pornography and the Sex Industry Routledge p 51 ISBN 0 415 92295 X sexploitation Origin and meaning of sexploitation by Online Etymology Dictionary www etymonline com Retrieved 2021 10 08 a b Sconce p 19 a b Sconce p 49 Sconce p 60 a b Sconce p 50 a b c Sconce p 52 The Defilers Scum of the Earth 1965 1963 digitallyobsessed com 2001 02 25 Retrieved 2010 01 04 a b Sconce p 42 Sconce p 28 a b Sconce p 35 Sconce p 36 Piepenburg Erik 2016 06 02 Sexploitation Films Short on Good Taste Still Have Devotees Published 2016 The New York Times ISSN 0362 4331 Retrieved 2021 01 13 BYRNE v KARALEXIS 396 U S 976 1969 Justia Law Retrieved 2023 01 09 Film International filmint nu Retrieved 16 January 2016 Harris Will 2005 08 31 Harry Reems Interview Harry Reems Lays It on the Table Bullz Eye com Miguel Tato aquel increible senor tijeras LA NACION in Spanish 1999 02 28 Retrieved 2023 01 09 Ibercine 2021 05 01 Muere actriz argentina Libertad Leblanc IBERCINE in Spanish Retrieved 2023 01 09 Pagina 12 las12 www pagina12 com ar in Spanish Retrieved 2023 01 09 Sconce p 10 Sconce p 24 Sconce p 22References EditSconce Jeffrey 2007 Sleaze Artists Cinema at the Margins of Taste Style and Politics Duke University Press ISBN 978 0 8223 3964 9 Further reading EditRE Search No 10 Incredibly Strange Films RE Search Publications 1986 by V Vale Andrea Juno ISBN 0 940642 09 3 Immoral Tales European Sex amp Horror Movies 1956 1984 1994 by Cathal Tohill and Pete Tombs ISBN 0 312 13519 XExternal links Edit Wikimedia Commons has media related to Sexploitation Sexploitation Movies Definition and data base Razor Reel Sexploitation The European Story Something Weird Video Popular online resource for sexploitation movies Interview with Stephanie Rothman Retrieved from https en wikipedia org w index php title Sexploitation film amp oldid 1147983641, wikipedia, wiki, book, books, library,

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