Every knows what “exploitation” films are: films that deliberately appeal to audiences baser nature, and try to lure in viewers with the promise of sex, nudity, violence, and moral degeneracy.
When a film tries to appeal to an audience’s higher nature, to their intellect and aesthetic sense, but at the same time promises plenty of sex, nudity, violence, and moral degeneracy, then you have an “artsploitation” film.
Not all art films which deal with sex or include nudity or violence qualify as artsploitation films. There needs to be some gratuitous or sensationalist element to merit the “-ploitation” suffix. There’s little truly exploitative about the way sex is treated in Sex and Lucia, for example; sex is a natural part of the character’s relationship and there are good plot and thematic justifications for each coupling.
Although the “artsploitation” genre can’t be reduced to a simple recipe, and does not necessarily involve remaking some sort of recognized formula film in an arty way, as a first step at identifying the category, here’s a short list of some art films that also fit neatly into a recognized exploitation film sub-genre:
- EL TOPO (1970) = arthouse + Spaghetti Western
- THE DEVILS (1971) = arthouse + nunsploitation
- LIQUID SKY (1982) = arthouse + science fiction
- GOTHIC (1986) = arthouse + horror
- LAIR OF THE WHITE WORM (1988) = arthouse + horror
- SANTA SANGRE (1989) = arthouse + serial killers
- THE THIEF, THE COOK, HIS WIFE & HER LOVER (1989)= arthouse + gross-out cannibal film
- DELLAMORTE, DELLAMORE [CEMETARY MAN] (1994) = arthouse + zombie film
- KIDS (1995) = arthouse + juvenile delinquency
- NOWHERE (1997) = arthouse + juvenile delinquency + drugsploitation + sci-fi B-movie
Another simple way to identify an artsploitation film: look for the name “Ken Russell” under director.
Exploitation films, which used to play at drive-ins, fleapits and grindhouses, and are now often released directly to video, are considered “trash cinema,” and distinguishable both from mainstream films and from art-house films. They began as early as the 1930s, when Hollywood’s Hays Code created a lucrative gray market for films dealing with forbidden subject matter like prostitution, drug abuse, and revenge killings. Cheaply made films such as Reefer Madness [Tell Your Children] (1936) (the famously campy anti-marijuana flick), Child Bride (1938) (which dealt with the “serious” problem of child marriage among hillbillies by having a 12 year old girl perform nude scenes), and Mom and Dad (1945) (which advertised itself as a “hygiene” film and showed the birth of an illegitimate baby in graphic, gaping detail) quickly stepped in to take advantage of Hollywood’s shyness about sex. An alternative, parallel cinema of forbidden delights Continue reading ARTSPLOITATION – THE BASTARD OFFSPRING OF “BLOOD OF A POET” AND “SEX MANIAC”