Kirjahaku

Examines the American exploitation film blaxploitation, exploitation-horror and sexploitation between 1959-1977What is an exploitation film? 'The Style of Sleaze' reasons that the aesthetic and thematic approach of the key texts within three distinct exploitation demarcations blaxploitation, horror and sexploitation indicate a concurrent evolution of filmmaking that could be seen as an identifiable cinematic movement. Offering a fresh perspective on studies of marginal cinema, 'The Style of Sleaze' maintains that defining exploitation cinema as a vaguely attributed 'excess' is unhelpful, and instead concludes that this period in American film history produced a number of the most transgressive, and yet morally complex, motion pictures ever made.

What is an exploitation film? The Style of Sleaze reasons that the aesthetic and thematic approach of the key texts within three distinct exploitation demarcations blaxploitation, horror and sexploitation indicate a concurrent evolution of filmmaking that could be seen as an identifiable cinematic movement. Offering a fresh perspective on studies of marginal cinema, The Style of Sleaze maintains that defining exploitation cinema as a vaguely attributed 'excess' is unhelpful, and instead concludes that this period in American film history produced a number of the most transgressive, and yet morally complex, motion pictures ever made.

Images of Apartheid: Filmmaking on the Fringe in the Old South Africa is an exploration of the low budget, black-action cinema that emerged in South Africa during the 1970s and led to subsequent gangster and race-conflict films that defined an era of prolific genre activity, from Joe Bullet (1973) to American Ninja 4 (1990). Contextualising and documenting the cheap, government-funded 'B-Scheme' films, largely unseen since the fall of the National Party, but also acknowledging the impact of international co-productions such as The Wild Geese (1978) and locally made provocation, including the classic Mapantsula (1988), this study is an exhaustive tour of race-representation and state-subsidised subversion. Also discussing the political turbulence of the era, Images of Apartheid argues that so-called 'ZAxploitation' should be considered within both localised and wider international paracinematic networks of genre adaptation, resulting in the identification of a uniquely South African form of trash and treasure, and schlock and awe.

Provides the first study of South Africa's B-Scheme cinema Identifies a South African cinema of low-budget blaxploitation Features many interviews with South African filmmakers, conducted as part of the research Provided audiences of the time with unique, apartheid-era adaptations of popular blaxploitation films such as Shaft (1971) and Super Fly(1972) Images of Apartheid: Filmmaking on the Fringe in the Old South Africa is an exploration of the low budget, black-action cinema that emerged in South Africa during the 1970s and led to subsequent gangster and race-conflict films that defined an era of prolific genre activity, from Joe Bullet (1973) to American Ninja 4 (1990). Contextualising and documenting the cheap, government-funded 'B-Scheme' films, largely unseen since the fall of the National Party, but also acknowledging the impact of international co-productions such as The Wild Geese (1978) and locally made provocation, including the classic Mapantsula (1988), this study is an exhaustive tour of race-representation and state-subsidised subversion. Also discussing the political turbulence of the era, Images of Apartheid argues that so-called 'ZAxploitation' should be considered within both localised and wider international paracinematic networks of genre adaptation, resulting in the identification of a uniquely South African form of trash and treasure, and schlock and awe.

This is the first study to explore South Africa both in horror cinema and as a formidable producer of celluloid scares. From framing the notorious apartheid system as a mental asylum in the ground-breaking and criminally underseen Jannie Totsiens (Jans Rautenbach, 1970) to such seventies exploitation shockers as The Demon (Percival Rubens, 1979) through to the blockbuster hit District 9 (Neill Blomkamp, 2009) and beyond, this book suggests that South Africa should finally obtain its rightful place in the canon of wider genre studies and horror cinema fandom.Taking in the 80s nightmares of Darrell Roodt and concluding with an analysis of the recent boom-period in South African fright-films, including discussion of such contemporary efforts as The Tokoloshe (Jerome Pikwane, 2018) and the Troma-esque leanings of Fried Barry (Ryan Kruger, 2020), South African Horror Cinema focuses on ever-changing identities and perspectives, and embraces the frequently carnivalesque and grotesque elements of a most unique lineage in macabre motion pictures.

RoboCop is one of the most iconic characters and movie franchises in cinema. A pop culture icon, with three movies, TV spin-offs, and a blockbuster re-envisioning, this will be the first comprehensive book on the sci-fi classic. This official, illustrated history will include stills and never before seen behind the scenes images, artwork and designs, as well as script extracts and new interviews.