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Forums Index -> Rated Ex -> Artsploitation?
Tsotha-lanti
PostPosted: Wed Apr 04, 2007 7:33 pm  Reply with quote



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Yeah... it's a neologism I've coined myself, to describe movies which are somewhere in the grey zone between what's usually considered "art film" and exploitation. The first movie I'd describe as such is Oldboy... in fact, the scene where Oh Dae-Su tortures somebody by pulling his teeth out with a hammer while an excerpt from Vivaldi's The Four Seasons plays in the background is probably the very essence of "artsploitation".

From what I've read about'em, Salo: 120 Days of Sodom, Flavia the Heretic, The Night Porter and a lot of Miike films would probably also qualify.

Or is this concept pretty much bogus?
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greenterror
PostPosted: Fri Apr 06, 2007 6:28 am  Reply with quote



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i'd call I STAND ALONE, IRREVERSIBLE and stuff like NEKROMANTIK and SCHRAMM artsploitation. hell even the surreal and beautiful works of Jodorowsky would qualify as well imo. SALO yes, FLAVIA maybe, and NIGHT PORTER maybe too. there's alot of stuff i would say qualifies as such if ya dig in there and seek out these things. i may have even heard the term before from a fellow exploitation fan on some forum somewhere, it sounds very familiar.
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Tsotha-lanti
PostPosted: Fri Apr 06, 2007 7:07 am  Reply with quote



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What about Lars von Trier's The Idiots?
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pondo sinatra
PostPosted: Fri Apr 06, 2007 12:42 pm  Reply with quote



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Tsotha-lanti wrote:
What about Lars von Trier's The Idiots?


That would seem to fit within your criteria. What about any of the PUSSY POWER fuck films Von Trier produced for that label (for explicit adult fare). I haven't seen any to be able to comment.
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Tsotha-lanti
PostPosted: Fri Apr 06, 2007 1:06 pm  Reply with quote



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Come to think of it, von Trier is enough of a controversy-hound for a lot of his work to be in that grey zone.

EDIT: I also recall a capsule review of Peter Greenaway's The Baby of Mācon describing as the stuff that even the lowest exploitation promoter wouldn't stuff, dressed up in frilly clothes and powdered wigs and called art. Mr. Green Never seen any of Mr. Greenaway's work, though, so I guess I can't really judge.
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pondo sinatra
PostPosted: Fri Apr 06, 2007 1:16 pm  Reply with quote



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Tsotha-lanti wrote:
Come to think of it, von Trier is enough of a controversy-hound for a lot of his work to be in that grey zone.

EDIT: I also recall a capsule review of Peter Greenaway's The Baby of Mācon describing as the stuff that even the lowest exploitation promoter wouldn't stuff, dressed up in frilly clothes and powdered wigs and called art. Mr. Green Never seen any of Mr. Greenaway's work, though, so I guess I can't really judge.


I think Greenaway's A ZED & TWO NOUGHTS and THE COOK, THE THIEF, HIS WIFE & HER LOVER and THE BABY OF MACON definitely fit within the context of your neologism.
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greenterror
PostPosted: Fri Apr 06, 2007 3:21 pm  Reply with quote



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i agree completely.
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Tsotha-lanti
PostPosted: Sun Apr 08, 2007 1:47 pm  Reply with quote



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How the hell could I forget... David Cronenberg, the UNDISPUTED KING of artsploitation?
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greenterror
PostPosted: Mon Apr 09, 2007 6:29 am  Reply with quote



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another good call.
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Borgosi
PostPosted: Mon Apr 09, 2007 4:43 pm  Reply with quote



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I don't know if many of you will know these guys but directors like Rene Cardona, Ray Dennis Steckler, Any Milligan, and Ted V. Mikels are real grindhouse/drive-in movies directors. This guys made some of the all time classics. Movies like "The Rats Are Coming! The Werewolves Are Here!", "Invasion Of The Blood Farmers", "Corpse Grinders", "Night Of The Bloody Apes" and "The Incredibly Strange Creatures Who Stopped Living And Became Mixed Up Zombies"! These are movies that I used to watch at drive-ins and grindhouses. At times you couldn't believe what you were seeing.

This guys didn't always have a budget, at all, but they always had passion. I think it was Mikels that would go from film lab to film and buy undelvoped leader film and splice it together until he got enough to film. Now that real low budget film making.
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pondo sinatra
PostPosted: Mon Apr 09, 2007 4:55 pm  Reply with quote



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Borgosi wrote:
I don't know if many of you will know these guys but directors like Rene Cardona, Ray Dennis Steckler, Any Milligan, and Ted V. Mikels are real grindhouse/drive-in movies directors. This guys made some of the all time classics. Movies like "The Rats Are Coming! The Werewolves Are Here!", "Invasion Of The Blood Farmers", "Corpse Grinders", "Night Of The Bloody Apes" and "The Incredibly Strange Creatures Who Stopped Living And Became Mixed Up Zombies"! These are movies that I used to watch at drive-ins and grindhouses. At times you couldn't believe what you were seeing.

This guys didn't always have a budget, at all, but they always had passion. I think it was Mikels that would go from film lab to film and buy undelvoped leader film and splice it together until he got enough to film. Now that real low budget film making.


I think you've missed the point of this thread. We're not talking about clear exploitation kings, but people who make films that are exploitation films that have that crossed over into the arthouse circuit.

I agree with your sentiments (and saw a few of the films you've mentioned when they were playing theaters!) but that's a completely different topic than what the original poster brought up.
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Borgosi
PostPosted: Mon Apr 09, 2007 5:48 pm  Reply with quote



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pondo sinatra wrote:
Borgosi wrote:
I don't know if many of you will know these guys but directors like Rene Cardona, Ray Dennis Steckler, Any Milligan, and Ted V. Mikels are real grindhouse/drive-in movies directors. This guys made some of the all time classics. Movies like "The Rats Are Coming! The Werewolves Are Here!", "Invasion Of The Blood Farmers", "Corpse Grinders", "Night Of The Bloody Apes" and "The Incredibly Strange Creatures Who Stopped Living And Became Mixed Up Zombies"! These are movies that I used to watch at drive-ins and grindhouses. At times you couldn't believe what you were seeing.

This guys didn't always have a budget, at all, but they always had passion. I think it was Mikels that would go from film lab to film and buy undelvoped leader film and splice it together until he got enough to film. Now that real low budget film making.


I think you've missed the point of this thread. We're not talking about clear exploitation kings, but people who make films that are exploitation films that have that crossed over into the arthouse circuit.

I agree with your sentiments (and saw a few of the films you've mentioned when they were playing theaters!) but that's a completely different topic than what the original poster brought up.


The oniginal post listed "Flavia the Heretic" and any list of drive-in/grindhouse classics should include that movie as well as the ones I listed above and "Aswang" and "Alucarda". Low budget filmmakers that are outside of the Hollywood mainstream by choice, that make movies because of their passion for film, is what make film art is all about. Directors that would make their movies even if they never made any movie, that is what a film artist really is, isn't it?
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greenterror
PostPosted: Mon Apr 09, 2007 7:08 pm  Reply with quote



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i love Night of the Bloody Apes, but wouldn't go so far as to call it arthouse exploitation. it is a great cheese gore flick with some titties thrown in here and there for good measure. i think the thread starter meant those hybrid films that cross into both genres territory. i may be worng in that assumtion, but that's what i got from it.
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Borgosi
PostPosted: Mon Apr 09, 2007 7:17 pm  Reply with quote



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I don't think we need to start asking what "art" is. I tried that once and it wasn't a good thing.
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Tsotha-lanti
PostPosted: Mon Apr 09, 2007 10:02 pm  Reply with quote



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Now that I think of it... it's a bit funny that the best known exploitation directors are the ones that cross over into "art film". They are, incidentally, also the only ones who don't lose that much credibility when they become mainstream, I guess.
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