By Brett Wood

Forbidden Fruit: The Golden Age of the Exploitation movie bargains the 1st thorough exam of the exploitation cinema whereas shooting the devious spirit of this renegade movie stream. Abounding with anecdotes, personality sketches and insights, Forbidden Fruit deals bright depictions of exploitation kings and con-men, designated readings of the movies themselves and the original stretch of yank background that encouraged them.

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Generally, these pieces of found footage were cut into the narrative as films-withinthe-film, though occasionally the medical reels were meant to be a part of the story—as in the gratuitous cesarean birth which saves the child of a woman killed in a unwarranted car accident (more stock footage) in Narcotic. One of the most effective integrations of a medical reel into an exploitation narrative occurs in Edgar G. Ulmer’s Damaged Lives. A doctor takes a young husband on a tour of the long row of doors—like some game show nightmare—that comprise his V-D ward.

One Chicago judge in 1907 wrote, “These theaters cause, indirectly or directly, more juvenile crime coming into my court than all other causes combined,” citing as partial causes such films as Beware, My Husband Comes, The Bigamist, Gaieties of Divorce, Child Robbers and Paris Slums. 5 As censorship pressure intensified, the blood-and-flesh cinema of the turn of the century was shrewdly reshaped into something more palatable. ” 6 The long-term survival of this potentially lucrative technical novelty depended on its respectability.

Many of the pioneer filmmakers who sought their fortunes in this new profession invoked the pretense of scientific innovation. It must have been with a smile of satisfaction that Muybridge (née Edward Muggeridge) tallied his evening’s receipts from an exhibition of “photographic representations of animal locomotion,” thinking back on the hush that Even the earliest films bear the imprint of exploitation. For fell over the hundreds of example, Après le Bal - le Tub (1897, Georges Méliès) highbrows in the lecture audience as the zoopraxiscope ceased its concentration on camels, elephants and horses and began emitting images of men and women in movement, their nakedness cloaked only in Darwinian theory as they walked, climbed stairs, danced.

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