Grindhouse: Cultural Exchange on 42nd Street, and Beyond

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Prof Austin Fisher (Bournemouth University, UK) Johnny Walker (Northumbria University, UK)

Grindhouse

Cultural Exchange on 42nd Street, and Beyond

Prof Austin Fisher (Bournemouth University, UK), Johnny Walker (Northumbria University, UK)

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English

Bloomsbury Academic USA
22 September 2016

Film theory & criticism; Media studies; Cinema industry

Series: Global Exploitation Cinemas

The pervasive image of New York’s 42nd Street as a hub of sensational thrills, vice and excess, is from where “grindhouse cinema,” the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind’s eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate “exploitation” films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres.

The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider “grindhouse cinema” from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of “grindhouse” itself, add flesh to the bones of its cadaverous history, or examine the term’s contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

Edited by: Prof Austin Fisher (Bournemouth University UK), Johnny Walker (Northumbria University, UK)
Imprint: Bloomsbury Academic USA
Country of Publication: United States
Dimensions: Height: 229mm, Width: 152mm, Spine: 23mm
Weight: 439g
ISBN: 9781628927498
ISBN 10: 1628927496
Series: Global Exploitation Cinemas
Pages: 280
Publication Date: 22 September 2016
Audience: Professional and scholarly , College/higher education , Undergraduate , Primary
Format: Paperback
Publisher's Status: Active

Table of Contents Acknowledgments Introduction: 42nd Street, and Beyond Austin Fisher and Johnny Walker Chapter 1 Grinding out the Grindhouse: Exploitation, Myth and Memory Glenn Ward Chapter 2 Where Did We Come In?: The Economics of Unruly Audiences, Their Cinemas and Tastes, From Serial Houses to Grind Houses. Phyll Smith Chapter 3 Temporary Fleapits and Scabs’ Alley:The Theatrical Dissemination of Italian Cannibal Films in Melbourne, Australia Dean Brandum Chapter 4 Run, Angel, Run: Serial Production and the Biker Movie, 1966-72 Peter Stanfield Chapter 5 “The Smashing, Crashing, Pileup of the Century”: The Carsploitation Film Robert J Read Chapter 6 Cars and Girls (and Burgers and Weed): Branding, Mainstreaming, and Crown International Pictures’ SoCal Drive-in Movies Richard Nowell Chapter 7 From “Sex Entertainment for the Whole Family” to Mature Pictures: I Jomfruens Tegn and Transnational Erotic Cinema Kevin Heffernan Chapter 8 ‘Bigger Than A Payphone, Smaller Than A Cadillac’: Porn Stardom in Exhausted: John C Holmes The Real Story Neil Jackson Chapter 9 From Opera House to Grindhouse (And Back Again): Ozploitation In and Beyond Australia Alexandra Heller-Nicholas Chapter 10 Go West, Brother: the Politics of Landscape in the Blaxploitation Western Austin Fisher Chapter 11 Red Power, White Movies: Billy Jack, Johnny Firecloud, and the Cultural Politics of the “Indiansploitation” Cycle David Church Chapter 12 Sleazy Strip-Joints and Perverse Porn Circuses: The Remediation of Grindhouse in the Porn Productions of Jack the Zipper Clarissa Smith Select Bibliography Contributors

Author Website: www.snuffmovie.co.uk

Austin Fisher is Associate Professor of Popular Culture at Bournemouth University, author of Radical Frontiers in the Spaghetti Western (2011), founding co-editor of the “Global Exploitation Cinemas” book series and editor of Spaghetti Westerns at the Crossroads (2015). He serves on the Editorial Board of the Transnational Cinemas journal, is Co-Chair of the SCMS “Transnational Cinemas” Scholarly Interest Group, and founder of the “Spaghetti Cinema” festival. Johnny Walker is Associate Professor in the Department of Arts at Northumbria University, UK. His writing on horror and exploitation cinema can be read in journals such as Horror Studies, the Journal of British Cinema and Television, and in his forthcoming books Contemporary British Horror Cinema: Industry, Genre and Society (2015) and Snuff: Real Death and Screen Media (Bloomsbury, 2015).

Reviews for Grindhouse: Cultural Exchange on 42nd Street, and Beyond

The Grindhouse is a fascinating phenomenon but it is too often seen as a wild and eclectic one, something that is praised for being chaotic and anarchic. The current collection goes beyond this celebratory rhetoric to examine the multiple forms and histories that converge in the Grindhouse. It unpicks and unpacks the phenomenon in ways that demonstrate its richness and variety, but also make sense of that richness and variety. Most significantly, it does so without destroying the pleasures of the Grindhouse. On the contrary it manages to question the experience while preserving its sense of fascination. And that is a very rare thing. * Mark Jancovich, Professor of Film and Television Studies, University of East Anglia, United Kingdom * Grindhouse sets a new standard for the study of exploitation cinema history. In a time when grindhouse aesthetics have become retro chic, this book moves us beyond the seedy, cult mythologies of grindhouse. Examining grindhouse cinema beyond myth and morality, beyond genre conventions or industrial norms, and even beyond the U.S. context, this collection takes a nuanced look at this complex body—no cadaver—of film history. The book demands that we interrogate how the turbulent racial, national and sexual politics of the 1960s to 1980s gave birth to a movement in cinema whose significance to the popular and film cultures of today cannot be underestimated. A tour de force and a must read for anyone interested in film on the (not so) perverse margins of cinema history. * Mireille Miller-Young, Associate Professor of Feminist Studies, University of California, Santa Barbara, USA *