- Title Pages
- Preface
-
1 The Emergence of Cinema -
2 Organising Early Film Audiences -
3 Nationalism, Trade and Market Domination -
4 Establishing Classical Norms -
5 The Age of the Dream Palace and the Rise of the Star System -
6 Competing with Hollywood: National Film Industries Outside Hollywood -
7 The Rise of the Studios and the Coming of Sound -
8 Realism, Nationalism and ‘Film Culture’ -
9 Adjustment, Depression and Regulation -
10 Totalitarianism, Dictatorship and Propaganda -
11 The Common People, Historic Drama and Preparations for War -
12 Wartime, Unity and Alienation -
13 Postwar Challenges: National Regeneration, Huac Investigations, Divestiture and Declining Audiences -
14 The Politics of Polarisation: Affluence, Anxiety and the Cold War -
15 Cinematic Spectacles and the Rise of the Independents -
16 New Waves, Specialist Audiences and Adult Films -
17 Radicalism, Revolution and Counter-Cinema -
18 Modernism, Nostalgia and the Hollywood Renaissance -
19 From Movie Brats to Movie Blockbusters -
20 The Exhibitors Strike Back: Multiplexes, Video and the Rise of Home Cinema -
21 Postmodernism, High Concept and Eighties Excess -
22 Cults, Independents and ‘Guerrilla’ Filmmaking -
23 From Cinemas to Theme Parks: Conglomeration, Synergy and Multimedia -
24 Globalisation and the New Millennium - Bibliography
- Index
New Waves, Specialist Audiences and Adult Films
New Waves, Specialist Audiences and Adult Films
- Chapter:
- (p.371) 16 New Waves, Specialist Audiences and Adult Films
- Source:
- Film Histories
- Author(s):
Paul Grainge
Mark Jancovich
Sharon Monteith
- Publisher:
- Edinburgh University Press
This chapter discusses changes in the film industry at the end of the 1950s and into the 1960s. As cinema's role as classic family entertainment was lost to television, films diversified to attract different audiences, including young Americans for whom sci-fi, horror and titillation at the drive-in would guarantee a great evening out, and more specialist ‘art house’ screenings for American audiences for whom European imports held the intellectual high ground. The chapter also includes the study, ‘The End of Classical Exploitation’ by Eric Schaefer, which explores the movie trends and the historical changes that evolved into the exploitation industry. It also sets the scene for the rise of ‘sexploitation’ films in the 1960s and ‘blaxploitation’ in the 1970s.
Keywords: television, drive-in, art house films, Eric Schaefer, exploitation industry, sexploitation, blaxploitation, film history
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- Title Pages
- Preface
-
1 The Emergence of Cinema -
2 Organising Early Film Audiences -
3 Nationalism, Trade and Market Domination -
4 Establishing Classical Norms -
5 The Age of the Dream Palace and the Rise of the Star System -
6 Competing with Hollywood: National Film Industries Outside Hollywood -
7 The Rise of the Studios and the Coming of Sound -
8 Realism, Nationalism and ‘Film Culture’ -
9 Adjustment, Depression and Regulation -
10 Totalitarianism, Dictatorship and Propaganda -
11 The Common People, Historic Drama and Preparations for War -
12 Wartime, Unity and Alienation -
13 Postwar Challenges: National Regeneration, Huac Investigations, Divestiture and Declining Audiences -
14 The Politics of Polarisation: Affluence, Anxiety and the Cold War -
15 Cinematic Spectacles and the Rise of the Independents -
16 New Waves, Specialist Audiences and Adult Films -
17 Radicalism, Revolution and Counter-Cinema -
18 Modernism, Nostalgia and the Hollywood Renaissance -
19 From Movie Brats to Movie Blockbusters -
20 The Exhibitors Strike Back: Multiplexes, Video and the Rise of Home Cinema -
21 Postmodernism, High Concept and Eighties Excess -
22 Cults, Independents and ‘Guerrilla’ Filmmaking -
23 From Cinemas to Theme Parks: Conglomeration, Synergy and Multimedia -
24 Globalisation and the New Millennium - Bibliography
- Index
