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NIGHTMARE USA: The Untold Story of the Exploitation Independents
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NIGHTMARE USA: The Untold Story of the Exploitation Independents
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Overview
Product Details
ISBN-13: | 9781903254462 |
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Publisher: | FAB Press |
Publication date: | 07/24/2007 |
Pages: | 528 |
Sales rank: | 180,294 |
Product dimensions: | 10.00(w) x 11.50(h) x 1.50(d) |
About the Author
Read an Excerpt
The 1970s were fertile years for American horror cinema, with movies such as The Last House on the Left (1972), The Texas Chain Saw Massacre (1974), Halloween (1978) and Dawn of the Dead (1978) opening up bold new directions for screen terror. Nowadays these films are regarded as classics of the genre, but this wasn't always so; in the 1970s they were just as likely to be attacked for being crude, nasty, despicable, and unnecessarily graphic. Part of the issue was snobbery about their origins: these were not the standard products of respected major studios, with name actors and prestige technicians. Instead they belonged to a subterranean film industry, the 'exploitation' arena, where some of the wildest and most shocking films imaginable proliferated, unchecked by censorship or the dictates of 'good taste'. Films like The Headless Eyes (Kent Bateman, 1971), I Drink Your Blood (David Durston, 1971) and Bloodsucking Freaks (Joel M. Reed, 1976) were recklessly bizarre journeys to the outer fringes of horror, and they thrived commercially thanks to a complex network of independent distributors and exhibitors. Gloriously unregulated, this network established a country-wide free-for-all where all that mattered was the hard sell. From Texas drive-ins to the grindhouses of New York, sex and violence ruled the roost, and the race was on to be more extreme, more horrific, more bizarre. With only potential profits to guide tone and content, the rulebook went out the window. Consequently, marginal or eccentric filmmakers found the exploitation industry the perfect place to explore their obsessions: as long as you made a buck, you could go as far out as you pleased! Of course the 'exploitation independents' also created some of the most hopelessly inept movies ever to run through a projector. Some are hilarious, others are dull beyond belief: what matters is that taken together, both good and bad constitute a parallel cinema where imagination and daring trump taste and respectability. These movies added immensely to the richness of American cinema. In their oddness and imperfection, their cheapness and occasional amateurism, they provide a glimpse of a freer, less mediated film environment. Their great value was in challenging the notion that cultural power in cinema was located entirely in Hollywood, encouraging optimism and engagement in the medium at a local level. For these reasons the exploitation independents deserve our admiration.