Blaxploitation cinema : the essential reference guide / Josiah Howard
Guildford: FAB Press, 2008.
Call No: 722.81 (=9) HOW Author: Howard, Josiah Source: UK Place: Guildford Publisher: FAB Press PubDate: 2008 PhysDes: 239 pages; illustrations ; 26 cm Subject: BLAXPLOITATION FILMS; POSTERS Summary: An overview of the Blaxploitation genre of cinema, with: interivews of key film directors, over 270 film listings, and colour poster reproductions for many of the films mentioned in the book ISBN: 9781903254448 Contents: About the book -- defining Blaxploitation films -- What's Going On? -- Q&A: ten directors discuss their films -- Paul Bogart, Matt Cimer, Larry Cohen, Robert A. Endelson, Jamaa Fanaka, Jack Hill, Jonathan Kaplan, Arthur Marks, Cirio H. Santiago, Don Schain -- A-to-Z Blaxploitation filmography -- bibliography -- Blaxploitation Admat gallery -- index More info
subject clippings file
Blaxploitation films / Mikel J Koven
Harpenden, Herts, UK: Kamera Books, 2010.
Call No: 722.81 (=9) KOV Author: Koven, Mikel J Source: UK Place: Harpenden, Herts, UK Publisher: Kamera Books PubDate: 2010 PhysDes: 160 p.,  p. of col. plates : col. ill., ports ; 20 cm Subject: BLAXPLOITATION FILMS; BLACKS IN FILMS; RACIAL STEREOTYPES IN FILMS Summary: In the early 1970s a type of film emerged that featured all-black casts; really cool soul, R 'n' B, and disco soundtracks; characters sporting big guns, big dashikis, and even bigger 'fros; and had some of the meanest, baddest attitudes to shoot their way across the screen. An antidote to the sanitized "safe" images of blackness that Sidney Poitier and Bill Cosby presented to America, these films depicted a reality about the world which African-American audiences could identify with, even if the stories themselves were pure fantasy. This guide reviews and discusses more than 60 Blaxploitation films, considering them from the perspectives of class and racial rebellion, genre, and Stickin' it to the Man. Subgenres covered include Blaxploitation horror films, kung-fu movies, westerns, and parodies Notes: Includes bibliographical references and index ISBN: 9781842433348 More info
Celluloid jukebox : popular music and the movies since the 50s / edited by Jonathan Romney and Adrian Wootton
London: British Film Institute, 1995.
Grindhouse : cultural exchange on 42nd street, and beyond / edited by Austin Fishers and Johnny Walker
New York: Bloomsbury Academic, 2016.
Call No: 722.81 GRI Author: Fisher, Austin (ed.); Walker, Johnny (ed.) Source: US/UK Place: New York Publisher: Bloomsbury Academic PubDate: 2016 PhysDes: 266 pages ; 25 cm Series: Global exploitation cinemas Subject: EXPLOITATION FILMS; BLAXPLOITATION FILMS; HORROR FILMS; HISTORY OF CINEMA; HISTORY OF CINEMA. 1960's; HISTORY OF CINEMA. 1970's; HISTORY OF CINEMA. 1980's; EROTIC FILMS; MOVEMENTS AND STYLES IN FILM HISTORY; POPULAR CULTURE AND THE CINEMA; CRITICISM Summary: "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 understood." -- BOOK BACK COVER Notes: Includes bibliographical references and index ISBN: 9781628927498 Contents: -- 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 -- index -- More info
L.A. Rebellion : creating a new black cinema / edited by Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart
Oakland, California: University of California Press, 2015.
Call No: 82LAR LAR Source: US Place: Oakland, California Publisher: University of California Press PubDate: 2015 PhysDes: xxviii, 454 pages : illustrations ; 23 cm Subject: BLAXPLOITATION FILMS; LOS ANGELES IN FILMS; BLACKS AND THE CINEMA; BLACKS AND THE CINEMA. US; BLACKS IN FILMS. USA; BLACKS, FILMS MADE BY; BLACKS, FILMS MADE BY. US; L.A. REBELLION Summary: "L.A. Rebellion: Creating a New Black Cinema is the first book dedicated to the films and filmmakers of the L.A. Rebellion, a group of African and African American independent film and video artists that formed at the University of California, Los Angeles, in the 1970s and 1980s. The group--including Charles Burnett, Julie Dash, Haile Gerima, Billy Woodberry, Jamaa Fanaka, and Zeinabu irene Davis--shared a desire to create alternatives to the dominant modes of narrative, style, and practice in American cinema, works that reflected the full complexity of Black experiences. This landmark collection of essays and oral histories examines the creative output of the L.A. Rebellion, contextualizing the group's film practices and offering sustained analyses of the wide range of works, with particular attention to newly discovered films and lesser-known filmmakers. Based on extensive archival work and preservation, this collection includes a complete filmography of the movement, over 100 illustrations (most of which are previously unpublished), and a bibliography of primary and secondary materials. This is an indispensible sourcebook for scholars and enthusiasts, establishing the key role played by the L.A. Rebellion within the histories of cinema, Black visual culture, and postwar art in Los Angeles"--Provided by publisher Notes: Includes bibliographical references (pages 403-425) and index -- Filmography: pages (pages 355-402) ISBN: 9780520284685 Contents: Preface : Once upon a time in the West...L.A. Rebellion / Clyde Taylor -- Introduction : Emancipating the image : the L.A. Rebellion of black filmmakers -- Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart -- Threads and nets : the L.A. Rebellion in retrospect and in motion / Chuck Kleinhans -- Rebellious unlearning : UCLA Project One films (1967-1978) / Allyson Nadia Field -- Tough enough : Blaxploitation and the L.A. Rebellion / Jan-Christopher Horak -- Anticipations of the rebellion : black music and politics in some earlier cinemas / David E. James -- Re/soundings : music and the political goals of the L.A. Rebellion / Morgan Woolsey -- Struggles for the Sign in the Black Atlantic: Los Angeles collective of black filmmakers / Michael T. Martin -- Bruising moments : affect and the L.A. Rebellion / Samantha N. Sheppard -- The L.A. Rebellion plays itself / Jacqueline Najuma Stewart -- Encountering the rebellion : liquid blackness reflects on the expansive possibilities of the L.A. Rebellion films / Alessandra Raengo -- Part two : L.A. Rebellion oral histories (pages 321-353) More info
Recontextualizing the historical reception of Blaxploitation : articulations of class, black nationalism, and anxiety in the genre's advertisements
Velvet Light trap (2002) vol.50 p.48-61 Author: Kraszewski, Jon PhysDes: Article Subject: BLAXPLOITATION FILMS; BLACKS AND THE CINEMA; BLACKS IN FILMS; ADVERTISING FOR FILMS; BLACULA (US, William Crain, 1972); I'M GONNA GIT YOU SUCKA (US, Keenen Ivory Wayans, 1988); JACKIE BROWN (US, Quentin Tarantino, 1997); SHAFT (US, Gordon Parks Jr., 1971); SHAFT (US, John Singleton, 2000); SWEET SWEETBACK'S BAADASSSSS SONG (US, Melvin Van Peebles, 1971) Summary: This is a study of blaxploitation advertisements and the genre, examing the complex relationship between blaxpoitaton text and spectator. The heterogeneous identity at play within blaxploitation's black spectators is examined. Class becomes important to studying blaxploitation and its audience not because it demarcates a subgenre that diverged in interest from other films concerned with violence and ultrasexuality but because class - specifically the way in functions in blaxploitation advertisements - can help reconceptualize the blackness of blaxploitation and its spectators in more dynamic ways. The genre is situated in a complex historical moment where three relatively autonomous influences on black identity operated simultaneously. More info