FILM POSTERS Tia Naan nO ey ie ENA NCR urd Lung RC) Ereerrentiens Pec petitsFILM POSTERS EXPLOITATION edited by tony nourmand and graham marsh foreword by dave kehr nDEVERGREEN is an imprint of TASCHEN GmbH (©2008 TASCHEN GmbH Hohenzollenring £8, D-S0672 Kéln ‘[Link] Copyright © 2005 by Reel Poster Co, Lid [Al rights reaorved. No part of this book may be reproduced oF uttzedin eny form, or by any ‘means, elecronic or mechancal nclucirg Dhotacopyng, recorsing or by any formation storage and retrieval system, without permission in writng trom tye copyright owner. (SAN appa seose Printed in Singapore [An cirection and design by Graham Mersh ‘Text by Tony Nourmand and Algon Aiteh oon Research and co-oranation by Alson Allchson Page layout by Trevor Gray ‘Text edited by Roxanna Hajan\ Proct-oading by Roxanna Hajar and Alon Atchison Pneipal conservation by rie var Baptiste Prneipal photography by A.J. Photographics Unless otherwise stated, al images used inthis book are rom Tne Reel Poster Archive ACKNOWLEDGEMENTS Torok AbuZayyad Fichard & Barbara Alen Farhao Arnrahmact Marin Bridgewater Kamyar Brounand ote By op Burts Mra Ns P. Cakes Glyn Calingham ‘Andrew Cohen Emma Copley “Tony Crawey Chri Dar Fabyan Daw ‘Grog Feranc Lelie Garener ‘The Heldane Coloction Hout Hamm ‘The Hastings Colestion Sayan Hodgson onerta Heornweg Yoshikazu Inoue Eris & Prim Joan-Baptiste ‘Andy Jotnson ‘Wayne Josoph ohn & Bile Kish Peter & Betty Langs Ficnard Lonceane. {nsirow MacDonales Krzyeztot Marcinhiowicz stone Marsh hip Masteter Kiroy MeDeniat “Tomoaki ‘Ngo’ Nagao Hamid and Dorss Noumang ‘The Nowvele Vague Collecion Separate Cnoma Philip Salam [No Sheiko-xace Dan strebin ‘Simon Tapson Una Teset ‘The Crow From The lend ‘The X-fated Collocten ‘ana Kir Goddard ‘Special thanks fo Bruce Marchant without his help, these bocks would not be possible“Everything een ERC is Ee eas) Diwiisesoe » g thinkinemevie 2 @.doyou appear How de you po isdity?” > “hude nyouttin? feck about inirmocy Sorewi ‘onthe screen? I andithese are f [Link], I believe Ye ONES we'Te oe Bao. ae a between hwo: Q al jet consenting adults | |. What are you Cre isgrect. fying tosay oe Behwwen ve witthis pickre? Wefontastic Axnat as aq ||| snoucies QHaveyou ‘[Link] "to one's life leariied anything did youleorn about about sex ex? “wa xxx Qlsthe fim && — working on ths film? the most fun Frommy perents. a ‘youcan have: Thats why Im screwed up. Aves. Pus my own sexual experiences, ict isa comedy. tox Everything You Always Wantad To Know About Sex .. (1972 US 41 «27 in, (104 » 69 em) ‘Advance) Courteay of tha Tony Nourmand Cellection CONTENTS Foreword by Dave Kehr 6 Missing From The Mainstream 10 The Posters 12 Title Index 191 Artist, Designer and Photographer Index 191FOREWORD Tony Nourmand and Graham Marsh have focused previous books in their series on film poster art on well-defined, discrete genres: the science-fiction film, horror movies, the thriller as practiced by Alfred Hitchcock. The expicitation film is something else. Whereas classical genres ko tho westorn or the dotective film depend on a base collection of stock charactors, thomos and situations, exploitation films can, and do, draw on a range of subjects a¢ wide as fiction iteelf, from the innocent burlesque of the late 60s ‘nudios’ like Russ Meyer's Tho Immoral Mr. Teastto the ketchup-soaked sadism of 2 608 shocker ike Herschell Gordon Lewis's Color Me Blood Red. An exploitation film can be about childbirth or venereal disease, drug abuse or drag racing, a dance craze or crime spree. It may be the one genre defined not by content, but by attitude - a certain willingness on the part of limmakers, and an unbridled enthusiasm on the part of exhibitors, 10 appeal to the public's less noble impulses. It’s nota secret that sex sells. Ithhas been selling ever since Thomas. A. Edison successfully commercialized motion picture entertainment the 1890s, with two-minute cheesecake films like Fatima, Muscle Dancor and Annabelle Serpentine Dance (beth 1895). Violence, the second horseman of the exploitation apocalypse, eppears with rolish In Edison's The Exacution Of Mary, Quoon Of Scots (another 1895 release) and reaches a truly bizarre extreme in the 1903 Electrocuting An Elephant (which, unlike so many exploitation films, delivers precisely what it promises — the spectacle of a rogue elephant being alectrocuted at Coney Island) But wherever sex and violence can be found, censors will surely jollow. It took very litle time for civic croups to begin cracking down on the new medium, denouncing the nickelodeons as dens of vice hat encouraged drinking, prostitution and lack of respect toward one's betters (it was not a coincidence that the censors carne from he patrician class, while much of the audience for early film sonsisted of working class immigrants). The censors and the filmmakers shared one thing: @ love of Dublicity. Soon, the two sides discovered that their's could be 2 ‘Tho clorgymen and polit their constituents by loudly denouncing he immorality of the new modium; the filmmakers and exhibitors were more than grateful for the unpaid advertising that drew public tention to their wares. When the authorities declined to be drawn, ater generations of exploitation filmmakers sent advance men into jommunities to stir up controversy where none existed. One avourite tactic was to hire pickets to march up and down in front of he theatres that ‘dared’ to show these ‘startling exposés’, a spectacle ways guaranteed (0 attract attention and stimulate ticket sales. Ine sense, it’s the dance between the censor and the filmmaker hat defines the exploitation film. Without the censor to set limits, the sxploitetion filmmaker has nothing to defy. Or rather, pretend to lofy, sinco fow if any exploitation filmmakers had a commitment to heir art that strotchod to going to jail. Plainly pornographic material, Which had also existed since the birth of cinema, was borr Underground and lived underground, shown in Parisian brothels o fraternity smokers. But exploitation thrives on the margins 0 legality, promising to show the unshowable but never, in reality quite crossing the line, In Ted Bonnitt’s enjoyable documentary on the exploitation business, Mau Meu Sex Sex (2001), the veteran exploitatior producer David Friedman defines the appeal of the genre in torms 0 audience expectations: ‘Well, we didn't see it thie week ~ but nex week, we'll soo it for curol’ Friedman, who worked in ever exploitation sub-genre from nudist camp movies (Nature’ Playmates, 1962) to Nazi porn (lIsa, She Wolf Of The SS, 1975), lef the business after pornography emerged into the (semi) mainstream in the late 70s. Once everything could be shown, there was no mor tease, no more creative dodging of the limits and, for Friedman, nc ‘more fun. Today, at the age of 81, Friedman operates a small carniva In the southern United States, a return to the quaint, one-on-one hhucksterism that drew him to the business in the first place, One of the earliest tactics filmmakers used to evade the censors was to play the latter's own game, by pretending to denounee various social evils ~ drug abuse, the white slave traffic ~ that they would then go on to depict in loving detail. George Loane Tucker's 1813 Traffic In Soule, among the first American feature-length films omployed searching for her sister, who has boon kidnapped by a white slave 19 (the head of the ring is revealed to be a millionaire Philanthropist, in a climax that must have particularly pleased the immigrant audience). Mrs Wallace Reid, the widow of the silent film star who died of alcohol and morphine addiction, produced and starred in Human Wreckage (1923), the story of a crusading attorney's battle with drug dealers (and launched her own career, as one of Hollywood's handful of female writers and directors, as a result). White slavery remained a central theme through the 30s and 40s, as illustrated by severel posters in this book. The 1337 Slaves In Bondage promised ‘uncensored socrets of the Nations (sic sinister vice scandals’, along with visions of ‘girls ensnared into lives of shamel’. The Vice Racket (1926, Souls), promised to ‘blast the truth before your eyee’, about ‘ecarlot Girls chained to the vultures of vice’. Main Street Girls (1936) offered ‘a thundering indictment of crooked prison parole boards’ while Secrets Of A Model promised to ‘bare the private lives of the ‘glamorous girls in glittering Hollywood! Following in Mrs Reid's footsteps, anti-drug films proliferated as well, Assassin OF Youth (1937), The Devil's Harvest (1942) and Tell Your Children (1838, better known under its many re-release titles, including The Burning Question and Reeler Madness| all unflinchingly investigated the curse of marijuana, with a particular ‘emphasi tendency to lead innocent young women to strip down to their lacy technique with its tole of a plucky young womer 10 known a8 Gambling With fon one of the drug's lesser known side-effects ~ itsJUV EM BOO ERDUENCY a” sa _ -* . WHAT HAPPENS 4 in TEEN-AGERS Y Prevented ty CONTINENTAL PICTURES 1: KENDIS - tiveced by ELMER CLIFTON YE TOT HEunderthinas. (One interesting footnote to this genre is the case of Big Jim Metsin, a John Wayne adventure in which he played a swashbuckling investigator for the anti-Communist House Un- American Activities Committee. Because audiences outside the US didn’t know or care about HUAC, new dialogue was written for the French and Italian dubbed versions that tuned Wayne's character into drug investigator, and the film was released in those tert Marijvans.) ‘The 20s brought a whole new raft of social evils for the crusading filmmakers to denounce, including abortion (Sinful Souls, 1959), venereal disease (Damaged Goode, 1937), and the seemingly wide spread menace of gorillas having sex with young whito women (Wild Women! Wild Beasts!” promised the 1934 Forbidden Adventure). But the 30s braught an even greater gift when Hollywood began vigorously enforcing the Production Code in 1934, effectively putting the studios (Paramount, in particular) out of the itlation business. ‘Whereas a film like Sign OF The Cross (1932) could briefly depict bere breasts, enthusiastic whipping, and intimations of homo- ;, those options were no longer available to the studios ance the Code came into effect. As a result, many of the subjects srohibited by the Code ~ they included adultery, ‘lustful’ kissing, seduction or rape! (apparently interchangeable notions), ‘sex perver- ion’, white slavery, miscegenation, sox hygiene end scenes of hildbirth ~ fell cirsetly into the laps of the exploitationors, who were tat signatorias to the Code. All an exploitation producer in search of | topic had to do was to read the list of ‘repellent eubjecte’ bannod Ny the Code ~ and there was his script Exhibitors who didn’t want to go to the trouble of producing thoi wi exploitation films for the US market could simply turn to surope, where filmmaking remained relatively unimpeded by jensorship, Made in 1933, Gustav Machaty’s Czech film Ecstasy did jot make it to the United States until 1940, by which time its leading ctress, billed as ‘Hedy Kiesler’, had become Hedy Lamarr, fellywood star. ‘Art-house’ theatres opened in major cities in the US nd UK to showcese continental imports, which offered ‘adult ubjects, such as flashes of nudity that could not be seen in the jomestic product. Subtitles served to remind patrons land censors) that what they ries yere seeing was a high-cultural product, uncontaminated by ba: xploitative motives. The alibi worked so well that even » hardened xploitation distributor like Kroger Babb [whose Mom And Dad, 2 hildbirth film. wes one of the genre's biggest hits) could buy an ngmar Bergman film, Summer With Monica, retitie it Monica, The tory OF A Bad Girl and drop it into art-house distribution, to the aiisfection of both cinephiles and passing voyeurs. Roger Vadim's - And God Created Woman (1956) proved to be the tipping point in this particular dodge. With its frank sexuality and copious nuclty 0 am the part of Vadim's young discovery, Brigitte Bardot, the film b an international hit, helping to create a distribution modol for for films that greatly benefited the French New Wave directors wher they emerged three years later. “Art films’ like ... And God Created Woman opened the way fo ‘American-made nudies, such as David Freidman’s francophilic Th ‘Adventures Of Lucky Pierre (1961) or Doris Wishman’s poeticalh bizarre Nude On The Moon (1962). These films, which included man of Russ Meyer's early efforts, were essentially animated versions 0 the pin-ups appearing in the men’s magazines of the paried Particularly Playboy, and were all about looking rather than touching = they contsined oven less sexual activity than the everage Hollywood film. This strange stato of affairs continued through the 60s, contributing to a massive cence of stimulation without release that led to the phenomenon of the ‘roughioe’ ~ filme like Wishman's Bad Girls Go To Hell (1965) or Lee Frost's The Defilors (1965), i which sexual frustration was channelled into physical abuse. ‘The beginning of the end for the exploitation industry came with Vilgot Sjoman’s Swedish film / Am Curious (Yellow), a 1967 import ‘that survived several court batties in the US to become a tremendous moneymaker for its distributor, Grove Press. Employing the ancient ‘redeeming social value" dodge, the film managed to smuggle a glimpse of oral sex into American theatres, and so opened the floodgetes thet admitted Gerard Damiano’s Deep Throat in 1872 and the wave of hardcore pornographic films that followed, Now that nothing wes forbidden, there was nothing to exploit - the audience's ‘expoctatione, once s0 artfully teased, could now be bluntly and banally fulfilled Today, the exploitation avsthetio eurvi mainly a8 camp ~ self conscious evocations of the old outrageousnese, sometimes clever {as in the early work of John Watars and the films of George Kuchar), sometimes meraly crude (as in the hundreds of direct-to-video films released each year, with titles like Sorority Babes In Tho Slimeball Bowl-O-Rama or Hollywood Chainsaw Hookers). ‘The old outrageousness, however, is still very much with us, the form of the astonishing advertising material issued by the exploitation distributors. Many of the posters lovingly reproduced in ‘this book seem to represent much more care and effort on the part of their creators then went into the films they promote. And that, perhaps, is how it should be in an industry whose motto has always boon shocking, ecandalous, frank, bold and daring pages that follovr. I! the sizzle, not the steak’. There is much to enjoy in the Dave Kehr April 2005MISSING FROM THE MAINSTREAM Films and their associated poster art always provide us with an intoro ‘exploitation genre - few things tell us as much about the lives of eailiar goneratione 26 their socrot fears and taboos. When we were Sifing through options for this book, we were struck by just how the ‘smoke of hell’ or teenagers as ‘headless youth speeding through life with the throttle wide open’ sounds ridiculously over the top to us today but these were words that obviously reflected real and widespread concems half a century ago. And sometimes the changes in social attitudes can teke place in a remerkably short time. The title of the Austin Powers movie, The Spy Who Shagaed Me, scarcely raised an eyebrow when it was released in 1989, but as recently as 1990 the original poster for Dick Tracy, a tame Disney flick, was banned for its overtly suggestive tagline, ‘Mind if | call you Dick?’ Yet, while some things change, others do not, and the exploitation of women has remeined a depressingly consistent feature of the genre from its inception right up to the present. However much times heve changed 19 window into the past and this is particularly true of the ‘much times have changed. Desoribing marijuar ‘other respects, ¢ox is stil used to sell as many films todey as it did in the 20s, OF all film genres, exploitation is possibly the one that lends itself best to the use of posters as a promotional medium. Sereaming taglines, provocative titles and scantily-clad women are all elements that can be used to best advantage in poster form. So much so that, 85 OUr research progressed, we came to see that the real criterion for including 2 poster in this book was not so much that it had been created 10 promote an exploitation film, but rather the exploitative nature of the poster itself. Thus the book is indeed devoted to exploitation poster art. Posters for titles lke Fiesh And The Deviland Tarzan And His Mate (both by noted ortist William Galbraith Crawford) feature artwork that exploits the sexy and alluring elements of the films, The films themselves aro not classic ‘exploitation’, though, like many pre-Hays Cade Hollywood films, they include surprisingly riequé scones (but he censors did remove a bold, naked underwater soquence that Tarzan And His Mate). The fact that those wore Movies produced by big mainline studios does nat make the posters any less exploitative. However, many of the titles featured in this DOCK did originate in the traditional, independent exploitation nidustry and In these cases itis only the posters that have endured. ims like The Acid Eaters and Youth Atlame were classic, low- 2udget exploitation affairs that have been forgotten as films, but are emembered for their fantestic exploitation poster art. Because of the nature of the Hollywood studio system and the number of ndependent filmmakers working in the exploitation genre, many of ho posters 8; however, his does not detract from their impact. The enonymous artwork for Way Out for example, is simple yet remaine hauntingly striking. This said, the book doos also festure work by a numbor of enowned artists and designers. McClelland Barclay ie most famous oF his depictions of beautiful women and his postar for Hotel For 0 red in this book are by uncredited a Women illustrates this aspect of his art perfectly. He was working I the 30s, at the same time as two other influential poster designers Alberto Verges and ‘Hap’ Hadley. Vargas was femous for hi ‘glamorous portraits of pin-up stars and paintings of the female nud ‘ond this skill is reflected in the artwork for The Sin Of Nora Mora fend Ladies They Talk About. Hadley Is recognized as one of the mos ‘adventurous and influential caricaturists of his era and his artwor for Cock Of The Air epitomises his quirky style, Two of tho most striking posters in Exploitation Poster Art ar those produced for Extaso and Médchon In Uniform by Carl Mariani, a Fronch artist working in the 30s whose work was heavil influanced by the Art Deco movement. It was another French artis Roger Rojac, working mainly in the 40s and 50s, who wa responsible for the poster for La Putain Respectueuse ‘The posters featured in this book cover a vast range, from th cheap, sensationalist products of the exploitation roadshow men t the slick, professional output of Hollywood publicists. Their style ‘also vary enormously both from film to flim, and from country t country. Similarly, the artists whose work Is feetured ate from diverse backgrounds: they include regular studio enists, femout grephic designers, glemour photographers and comic-boo! illustrators. The last category includes Robert Crumb, one of the most renowned and influential comic-book artists of the twentiet century, whose poster art for Fritz The Cat depicts one of his mos famous creations. In the 60s and 70s, in 2 change that roflocted the more libera attitudes of the period. established and respected artiste becams involved in the campaigns for films that an earl have considered beyond the pale. The renowned designer Steve Frankfurt, for example, was hired to work on the American poste campaign for the sott-porn masterpiece Emmanuelle and his willing ness to become involved is a testament to the credibility that the new ‘porno chic’ movement had achieved at that point. Similarly, Alar Aldridge, a famous and important graphic designer of the 60s, was responsible for the poster for Andy Warhol's avant-garde Chelsee Girls, which remains one of his most famous works The majority of the posters featured in this book will be entirely new to its readers. This is partly due to the fact that exploitation has never received the samo attontion as moro traditional genres like generation woul science fiction or film noir. Another factor is that independent, exploitation filmmakers worked with extremely low budgets and many of the posters for their films were printed on cheap stock with ‘small print-runs, with the result that fewer have actually survived. In making our selection for this book, we have tried to provide a flavour of all the many facets of this fascinating genre and we now invite you 10 relax and feel your ‘senses drovrned in forbidden pleasures!” One word of caution, though: ‘Beware the cost of a Itt fun!" Tony Nourmand and Graham Marsh May 2005,pook wait? gRAs® See How They Live Bayou (Poor White Trash) (1957)Sik PARES oOo SCaNES Cocintavienis) Traffic In Soule (1973) US 41 «27 in, (108 x 69.¢m) In 1913 the Rockefeller Commission released a report claiming that police corruption was to blame for the proliferation of prostitution and the white slave trade. Among the victims were female immigrants to the US, many travelling alone, whose vulnerability was only increased when the people who were supposed to offer protection sought to profit from their plight. While the press enjoyed a field day, tu ing the report into the year’s biggest story, Universal Studios also capitalized on tho situation by releasing Traffic In Souls. At the time, the film was one of the most oxponsive and sophisticated features over made. It cost $25,000 to produce and @ separate unit was established to handle an advertising campaign with 2 budget of $1000 a week. Approved by the New York censors, Traffic In ‘Souls was a massive success, playing to audiences totalling over 30,000 during its opening week on Broadway. Within a few months, a second film, The Inside OF The White Slave Traffic, took up the same theme, Its producers pioneered many of the publicity techniques that would leter bo adopted by the exploitetion industry in the 208 and 30s. The film was promoted as being based on fact and the postors made much of the point that ite writer and director, ‘Samuel H. London, was the former head of staff of the Rockefeller Commission. In an attempt to ‘emphasize the redeeming moral qualities of his picture, London named his production company “The Moral Feature Flim Company’ Despite this, the censors were not convinced of the purity of the producers’ motives and judged that the film would have a corrupting influence on young men. The trade paper Variety warned that it lowered tho tone of the whole industry. Despite, or perhaps because of this, itwas @ hit with audiences.5. a H. Lonoor's (FoRMeER U. RNMENT INVESTIGATOR OWN Sii PICTURES THE INSIDE OFTHE WHITE $ SLAVE ap TRAFFI FICVINA DELMA j fom Ving Delmar Irovelan lor End brah Nerboure FRANK BORZAGE PRODUCTION US 41. 27 in, (104.69 em) (sty 8) “ R'S NOVEL 9 NEW YORK LIFE In pre-20s Hollywood, little effort wes ‘made to impose restrictions upon eithe the content of films or the weys in whic they wore advertised. Although censors onistod, it had vory litle influonce wher set against the power of the major stud Later, during the 20e and early 208, the industry came undor increasing prossur from both the churches and political leaders who were eager to rein in a Hollywood which they considered to be setting the country an appalling examp with its debauchery and moral bankrup Their arguments gained both strength and publicity as 2 result of a number of notorious Hollywood scandals. Two of most shocking concerned the death of Wallace Reid from influenee, brought o by drug-abuso, and Fatty Arbucko's arr for the alleged rape and murder of a young actress who had beon a particips in an all-night alcohol- and drug-fuolled ‘orgy’ he was hosting (he was later cleared of all charges). The critics wor further provoked by Hollywood's continuing preference for giving its films titles like Bad Girl and The Brat, and its use of equally suggestive poster to promote them, (© 1896. The Irwin Rice Kiss's the first fi criticized for its content, which included close-up of @ protonged kiss. ‘# 1906. The mayor of New York closes cinemas on the grounds of ‘safety’ and refuses to show any films of dubious moral value. © 1907. The first motion picture censorship law is passed in Chicago, where a police permit ie required before any film can be shown to the pul #¢ 1911. Pennsylvania is the first state to establish a censorship hosed, #1921. The ‘Thirteen Points! are introduced in Hollywood in an attempt 10 provide a moral framework for the film industry. ‘¢ 1827. The ‘Don'ts And Be Carefuls’ se of moral guidelines are introduced in Hollywood as a precursor to the Hays Code. ‘¢ 1929. Over 2500 cities have adopted ‘some form of censorship law. '# 1930. Tho Hays Code is introduced. ‘© 1934, Tho Hays Code is strictly onforeepee Ey JOHN FORD Py 4 CoitThe Hollywood establisnment made its first attempt at selt-restraint at the beginning of the 20s, when Wiliam H. Hays (1879-1958) was hired as president of the Motion Picture Producers and Distributors of America. He introduced, successively, Thirteen Points Of Standard! (1821), The ‘Don'ts And Be Carofuls’ (1927) land the ‘Production Code’ (1930) Although those rulos did have come limited effect, they were largoly ignored or bypassed by the studios. Moreover, since the promotional activities of the industry were not subject to any form of code or serutiny, it was always possible to make up for any lack of explicit content in the films themselves by using poster imagery that was often extremely suggestive: similarly, film titles and taglines loaded with sexual innuendo were regularly used to attract audiences to movies that often promised a good deal more than they actually delivered. Ultimately, it was the placing of a Particularly provocative billboard wir poster outside @ church that brought FRANK matters to a head. The complaints of the priest concerned encouraged the i Catholie Legion of Decency, which fi boycotted the industry until it cleaned ey ys Y — up its act. Belatedly recognizing that i the pressure for censorship was becoming irresistible, Hollywood bowed to the inavitabla and agreed to Bes, (rs00; abide by the rules of the new Hays US22 < 14:n, (56 «36 om) Code, which became mandatory rather than simply advisory and was applied not only to the content of films but also to the advertising material used to promote them, Joseph L. Breen was hired as director of the Production Code Administration which had to give every film a seal of approval before it could be released, Almost overnight, Hollywood abandoned its carefree, anything-goes attitude and was forced to accopt a system in which its products were subjected to consorship of the most rigorous and rit-picking kindO ra MORGAN os i reere hd ah ad Nad Oa NGEST OF ALL LOVE POTIONS Doha) lh Uncivitzed (1936) US 22 14in, (56 x26 0m) Courtesy of the Tony Nourmand Collection The Hays Code was long and detailed and it covered every aspect of filmmaking, from camera angles to plot lings. Amongst much else, it stipulated that: © ‘No picture shall be produced which will lower the moral standards of those who see it’ © The illegal drug traffic must not be portrayed ... nor shall such scenes be approved which show the use of illegal drugs, or their effects, in detail” © “The use of liquor in American life will not be shown” © ‘Adultery and illicit sex ... must nat be explicitly treated or justified, or presented attractively. © “Excessive and lustful kissing, lustful embraces, suggestive postures and gestures are not to be shown,” © ‘Sex perversion or any inference to itis forbidden.’ © ‘White slavery shall not be treated.’ ‘© Sex relationships botwoen the white and black races are forbidden. © ‘Sex hygiene and venareal disease are not proper subjects for theatrical motion pictures.” © ‘Scones of actual childbirth ... are never to be presented.” ‘© ‘Abortion shall never be shown explicitly or by inference, and ...{thel word ‘abortion’ shall never be used. © ‘Complete nudity is never permitted. ‘¢ ‘Undressing scenes should be avoided ... and indecent or undue ‘exposure is forbidden. ‘Dances which omphasize indecent movements are to be regarded as obscene. Salacious, indecent, or obscene titles shall not be usedt” The burgeoning exploitation industry took these guidolinos and used them 2 a blueprint to epocify exactly what its audiences wanted, Over the 34 years that the Hays Code remained in place, the exploitation filmmakers would take these rules and bresk each and every one of them.Lest For Eve 7 in. (104‘The Seventh Commandment (1939) US 41 5 27 in, (104 x 68 cm) (Courtesy ofthe Tony Nourmand Collection ‘The exploitation industry had existed from the early 20s, but it flourished under the Hays Cade. Before 5¢ “B’ movies, 60s sexploitation and 70s blaxploitation, exploitation wes a very different, and much cruder affeit. Indeed, the ‘industry’ was little more than a small group of savvy businessmen who became independent filmmakers and travelled the country pedalling their products. They became known as the ‘Forty Thieves’ and had more in common with the carnival and circus tradition than with the mainline movie business. Their films woro cheaply made, badly acted and of a gonerally poor etandard, yot the offered audiences something Hollywood couldn't: titillation. They tock avery subject that was forbid or considered taboo and exploited its earning capacity to the limit. ‘The roadshow men did everything themselves, from writing and directing their films to distributing ‘and promoting them. They would sometimes try to. get approval from the Breen Office by screening a heavily censored print of their product, but more often then not they would take the uncensored version on the road with them, travelling from state’ to state. They would then either come to an arrangement by which the local theatre owner agree to screen the film, oF, if this didn’t work, they would set up a tent on the edge of town, with a sheet for a screen and wooden benches as seats, They would then start the task of drumming up an audience and this is how the industry acquired its ttle of ‘exploitation’. Their poster art was not distinguished for its subtlety. Posters headed with provocative titles promised ‘Startling Revelations!’ and ‘Shocking Truths!” against a backdrop of female flesh. But they. id not limit their promotional activities to bill-postin ‘and much of it was aimed at reassuring their ‘sudiences that, rather than simply watching a ‘dirty ipating in @ worthy social cause ‘Thus, ‘educational’ pamphi film’, they were parti 1nd books were sold t audiences watching films on venoreal disease, vice films featured a voice-over proclaiming the moral necessity of teaching the young the facts of life and, for one drug film, the corpse of a victim of drug. ‘abuse was rigged up in a cage outside the theatre. Any and every gimmick that could boister sales and profits was used. Dwain Esper is perhaps the most famous of the Forty Thieves and The Seventh Commandment was: his earliest film. Its piot lines featured prostitution, premarital sex, venereal disease, caesarean bitth, and 2 gruesome face-lift operation. Joseph Breen condemned it as the most disgusting film he had eve ss0en and not only rofused it a seal, but tried to have: Esper imprisoned for making it.‘Stet Dishonorable (1931) US 41 27;n. (10469 em) Art by Alred G. Skronda Before the introduction of the photographic film poster, Illustrations of the cast, particularl the female stars, played a crucial part in attracting audiences. The design that Alfred G. Skrenda 1897-1978) created for Strictly Dishonorable and the arwork for The Sin Of Nore Moran (attributed 10 Alberto Vargas (1895-1982)) demonstrate this beautifully; both simmer with seneuality.TL ZITA JOHANNeJOHN MILJANeALAN DINEHART (ol NET -or 101 ea eer ZU Cia Bye eer eaeGi Without A Room (1933) Hotel For Women (1939) US 41 «27 in, (104 69 em) US 41.027 in (104 «69 em) (Syie A) ‘Art by McClelland Barclay ‘Art cirction by Vinoant Trata and Maurice Kalis Courtesy of tho Tony Nourmand Collection Courtesy ofthe Grag Ferland Collection Continuing the fashion of using postors to display ite leading ladies to the best possible advantage, Twentieth Century Fox hired four emin illustrators to design four different posters for its Hotel For Wom campaign. The artists selected wore Alberto Varges, John LaGatta, Bradsh Crandell and McClelland Barclay and each signed his work: a raro exception to the studios’ usuel prectice of insisting that artists w anonymously and without proper credits. McClelland Barclay (1891-1943) was an accomplished artist, proficient in his depictions of beautiful women for the General Motors Body By Fisher advertising poster serias in the 20s and 30s, he aleo ilustrated save magazine covers, for Cosmopolitan and The Saturday Evening Post amongst others. During the Second World War, he sarved in the Navy 4 designed a number of military poster campaigns and illustrations. Killed in action in 1943, Barclay was awarded the Art Ditectors Club Me posthumously in 1984, Barclays artwork for Hotel For Women is striking and suggestive, yet his imagery is somehow less provor Ipturo, painting, jewellery design and illustration. Most famous tive than that of the pre-Hays ¢ Without A Room poster, featuring Marguerite Churchill, cleerly naked, but tantalisingly concealing @ minimal amount of flesh with her pillow. 1 equelly suggestive tagline was @ forerunner of the screaming sensationalism of the exploitation industry posters of the later 30s. Renowned for his glamorous portraits of pin-up girls and paintings of the female nude, Vargas was an obvious choice as artist for Ladies TI Talk About. Ho had loart his eraft working as the exclusive artist for the Ziegfeld Follies in the 20s, EnBROS. & VITAPHONE PICTURE Pia LADIES THEY buteitt Without A Room (1833) Hotel For Women (1939), IS AT « 27 in (104% 69 cm) US 4127 in. (104 x 69 cm) Style A) Ari by McClelland Barclay Fi ciration by Vincent Trotta and Maurice Kallis Courtesy of the Tony Nourmand Collection ourtony of tho Grog Fo Hand Collection fontinuing the fashion of using posters to display its leading ladios to the best possible advantage, Twentieth Century Fox hired four eminent lustrators to design four differant posters for ite Hotel For Women campaign. The ertists selected were Al 10 Vargas, John LaGatta, Bradshaw fandell and MeClelland Barclay and each signed his work; a rare exception to the studios’ usual practice of insisting that artists work nonymously and without proper credits. McClelland Barclay (1891-1943) was an accomplished artist, proficient in seulptura, painting, jewellery design and illustration. Most famous for is depictions of beautiful women for the General Motors Body By Fisher advertising poster se negazine covers, for Cosmopotitan and The Saturday Eveni signed @ number of military poster campaigns end illustrations. Killed in action in 1943, Barclay was awarded the Art Directors Club Medal sthumously in 1964, in the 20 1d 30s, he also illustrated coveral 19 Post amongst others. During the Second World War, he served in the Navy and Borcley’s artwork for Hotel For Women is striking and suggestive, yet his imagery is somehow less provocative than that of the pre-Hays Gid Vithout A Room poster, feeturing Marguerite Churchill, clearly naked, but tantalisingly concealing @ minimal amount of flesh with her pillow. The qually suggestive tagline was a forerunner of the screaming sensationalism of the exploitation industry posters of the later 30s. Renowned for his glamorous portraits of pin-up girls and paintings of the female nude, Vargas was an obvious choice as artist for Ladies They alk About. He had learnt hie craft working as tho exclusive arrtiat for the Ziegfeld Follies in the 20s,they found ar a ib Stamioych a BITTER TEA OF GENERAL YEN” A FRANK CAPRA paopuctionTarzan And His Mate (1924 US 415.27 in (104 » €9 em) Isyec) An by Wiliam Galbraith Crawford Courtesy ofthe Teny Nourmand Collection 20 Tarzan made his first appearance in All-Story magazine in 1912 and was the brainchild of Edgar Rice Burroughs (1875-1950). A poor and frustrated salesman, Burroughs turned to writin Pulp novels in order to support his family. It proved to be a hugely successful decision, but although Burroughs created a number of other heroes, It isto the vine-swinging ‘Man of the Jungle’ that he owed his subsequent feme and fortune. Tarzen first appeared on screen in 1918 butit was Johnny Weissmuller who made the role is own in the classic 1832 hit, Tarzan The Ape Mar An Olympic ewimming champion, Weieemuller was still relatively unknown as an actor at the ti and the poster made no attampt to capture his t ~ instead Tarzan’s appearance is model on the character from the original books. By the time Tarzan And His Mate was released two yea later, the actor was so well-known that it was necessary to produce a more accurate portrait, Tarzan And bis Mate, which is considered the best in the Tarzan series, was also the most controversial. The complete, uncensored versior the film featured full-frontal female nudity in @ scone where Tarzan and Jane swim underweter {the film's fomale star, Maureen O'Sulliven, wes replaced by an Olympic swimmer body double). Although the film had been made before the Ha Code was rigorously enforced, the film did etl have to pass the industry censorship board and underwater scene was deemed improper. The fi therefore has the dubious honour of being the fi 10 lose an appeal ageinst Breen and the Product Code Administration office. It was an ominous foretaste of the rigid censorship which would be imposed on Hollywood for the next third of a century, Despite the ruling, MGM stil circulated few unedited prints of the film and a number of trailors still contained the nude scene, Flesh And The Devil was another risqué MGM. venture and featured erotic and eeneual love scenes between Greta Garbo and John Gilbert. twas one of Garbo's earliest filme and the fist time she had been paired with Gilbert. The coup were having an affair in real life and this only ‘added to their on-screen chemistry. Flesh And Ti Devil broke box office records on its release. William Galbraith Crawford (1894-1978) had 2 prolific career in illustration. He designed book jackets and illustrated several covers for The Nev Yorker. He also worked on numerous posters for MGM throughout the 20s and 30s end his work remains some of the most collectable of the ere.PICTAREN GENERCock OF The Air (1932) US #127 in. (104 > 69 em) Art attributed to Alvan Cordell ‘Hsp’ Hadloy Courtesy of the Tony Nourmand Collection Alvan Cordell ‘Hap’ Hadley (1895-1976) is recognized as one of the most adventurous and influential poster artists of his era. As was the case with many of his contemporaries, Hadley began his career during the First World Wer when he was one of the Marine Corps’ ficial artists. He later owned his own advertising studio in Manhattan where he produced work for all the major film studios over a period of more than thirty years. Primarily renowned for designing Charlie Chaplin and Buster Keaton film posters, Hadley's art also adorns the posters for many Howard Hughes productions. 2 Howard Hughes (1905-1976) was a man of ‘many faces; a shrewd businessman, aviator womanizer and movie mogul, he was a flamboyant figure in the Hollywood of the 30s and early 408. Later in life, however, he suffered from mental instability end becam: a notorious recluse, Hughes, who had inherited a vast fortune formed his own aircraft company in 1932 ‘and was a pioneer in designing and bullding his own planes. By 1938, he had broken most of the world’s aviation records ‘and would go on to build the world’s largest airplane, the famous ‘Spruce Goose’. His production of Hel’s Angols: (1930) allowed him to combine his, enthusiasm for aviation with movie-making twas the most expensive movie of its time and featured large numbers of WW1 ‘warplanes in dramatic flying sequences. Although not quite on the same scale, aviation wes also the theme of Cock OF The Air, as shown on ‘Hap’ Hadley's caricature illustration for the film’s poster. Hughes brought the same enthusiasm to the pursuit of beautiful women as he di to building planes and making films. He is reputed to have had affairs with most of the leading ladios in contemporary Hollywood, including Katherine Hepburn, Jean Harlow, Bette Davis and Ava Gardner. For The Outlaw he used his engineering expertise {0 oreate a prototype of the push-up bra in (surely unnecessary) attempt to accentuate Jane Russell's bust. Russell's cleavage, liberally displayed, was « major motif in the film, and even more so in the advertising campaign, and brought Hughes into serious conflict with the censors. The director anticipated trouble from the Production Code Administration in advance, and thus attempted to release the film under his own steam. He premiered the film in San Francisco with an accompanying poster declaring ‘The picture that couldn't be stoppedl’ Joseph Breen had other ideas, however, and withdrew the picture from circulation. it did not receive an official seal until 1950, More than sixty years on, the film still manages to create a stir. When the Premiere poster |from Hughes original release in 1943 in San Francisco) surfaced in an auction at Christie's London in March 2008, it broke all previous European movie Poster records, selling for £52,875 ($25,000), and the sale made front-page headlines in newspapers across the UK.Wan 43'S MOST —sCUNNEW SCREEN STARWho Framed Roger Rabbit? (1988) US 4127 in. (108 x 69 em) (Stylo €) Licensed Limited Eeiton by Kilian Enterprises Design by Dayna Stodry Mlustration by 22/63 Graphics Courtesy ofthe Martin Sridgewater Collection Although both fairly tame Disney films, Dick Tracy and Who Framed Roger Rabbit? were marketed with a stress on ‘the wellestablished exploitation themes of sex and innuendo. The reat aftair between Madonna and Warren Beatty, the stars of Dick Tracy, gave @ fillip to the campaign. It also imbued the Advance (Madonna) pester with sexual undertones thet were deliberately ighlightod by an audacious tagline. Ultimately, the postor was judgod just a litte too risqué for the family-oriented studio and was withdrawn from circulation. For Who Framed Roger Rabbit?, Disney produced two limited-edition mylar posters featuring Jessica Rabbit i glamour photo poses.“mind If | Call You Dick?”ROBERT KANE ee ALLAN DWAN'S Ghe PRODUCTION Le MAN ESTELLE TAYLOR ANTONIO MORENO LOWELL SHERMAN Story by FORREST HAISEYandELAND HAYWARD mgt» JOSEPH C- BOYLE Allon Jones (b. 1937) is a renowned painter, printmaker and sculptor. He hae won numerous awards for his work, which has been exhibited worldwide. Jones was @ key figure in an influential movement that helped redefine British art by embracing unconventional and irreverent ideas and looking to populer culture for its inspiration. Jones is famous for his portrayal of beautiful women end the poster for Maitresse ilustrates this aspect of his work. His style is cheracterized by a striking and A FIRST NATIONAL PICTURE fevescncnsiae | unique painting technique. he Whip ‘Woman (1928) 18 41 «27 in, (104 x 69 cm) ourtesy of the Haldane CollectionBULLE GERARD OGIER DEPARDIEU ALOVE STORY ABOUT, THE MYSTERIES OF LOVE Maitresse (1873) US 41 27 in (108 x69 em) ‘Art by Allon Jenos (Courtesy of te Tony Nourmand CollectionDon't Look Back (1957) Stish 3 «20 in. 76% 51 em) Art by Alan Aldridge and erry Willock jurtesy ofthe Tony Nourmand Collection ‘The award-winning Alan Aldridge (b. 1937) was one of the most famous and important graphic designers of the 60s. A olf taught artist who left school at fifteen, he developed a distinctive, rich style that quickly found favour with the London sat. His work, reflecting the psychedelic and experimental spirit of the age, was admired and embraced by bands like The Beatles, The Rolling Stones, The Who and Pink Floyd, for whom he designed various album covers. His artwork for Don’t Look Back perfecily illustrates his unique and highly effective style. In 1963 he was hired by Penguin Books as the Ar Director of their fiction list. In this role Aidridge was instrumental in re-vamping the publisher's image by abandoning is traditional typographical cover designs in favour of bold and bright graphics. With such talent, and as a friend of Andy Warhol, Aldridge was an obvious choice as designer for the British poster for Warhol's film Chelsea Girls, and this remains one of his most famous works Although the image won a Silver Award from The Design and Art Director's Club, the censors remained unimpressed and fly-posting of the post London led to Aldridge’s prosecution. Cholsea Girls wae one of the first ‘underground’ films to brosk into mainstream cinema and although banned in Bostan and Chicago,.it was a critical success in London, New York and San Francisco,ame) 212 SCOTESE ‘Acid ~ Delrio Dei Sensi (1996) Malian 39% 108 in, (98 » 274 em) Courtesy ofthe Philip Shalam Collction In the 60s, thet, given the free-spirited mood of the time rewd producers quickly realized there was o big demend for films featuring th wonders of recreational drugs. They churned countless low-budget, poor quality movies th targeted a young and apparently insatiable audience. Acid - Delirio Dei Sensi wes one su Offering from Italy and although the film itself was less than brilliant, its promotional art wat phenomenal. The banner poster dazzling example of Italian de Crafted, sensual illustration of a naked woman painted tattoo-like from head to toe, surmoun by typography evocative of the drug’s effect This image has become almost iconic, althoug 2 particula a riliantl the film itself has been long forgotten. 0Polish 33 x 23 in. (84 x 88 em) Art by Andrej Krav Courtesy ofthe Tomoaki ‘igo’ Nagao Collection 2 Based on the play The Addicts, Way Oi is the story of a group of youngsters who find their way out of drug addiction through turning to Christ. Directed by a Congregational Minister, Irvin S. Yeaworth Jr, the film carries a strong, Christian message and was made primarily for use as an evengelistic tool Yeaworth is better known for his scienc fiction films, especially the cult classic, The Blob (1958). The graphic simplicity of the poster for Way Out powerfully evokes the painful dilemma of the addict Andrzej Krajewski (b. 1933) is famous for his work in the 60s and 70s that ‘embodied the counter-culture movemen of the period. His artwork for Heroinis a perfect example of his colourful, bold style. Krajewski has won numerous awards worldwide for nis art.A PREMIERE PRESENTATION IN WIDE SCREEN COLOR Way OUT THE WILD WORLD OF THE DRUG ADDICT SS more than a movie...an experience real life addicts portray today’s youth going WAY OUT for kicks. sereonplay by Jean eaworth and udy & Shirley Nelson, base¢ upon “The Addicts” by John Gimenez music by Kurt Kaiser, produced and directed by Irvin S. Yeaworth, Jr. a Valley Forge film Way Out (1967 yurmand Collection 83 | Sea ease ‘The Weird World OF LSD (1967) US 36 x 25 in. 191 x64 crm) (Style A) Courtesy of the Tory Nourmand Catiection ‘The Welrd World of LsD (1867), US 38 x28 in, 191 « [Link]) (Style B) Courtesy of the Tony Nourmand Collection ‘# 1943, LSD is synthesized for the first time by Swiss scientist Albert Hoffman, LSD was the drug de jour in the 60 and played e major role in the counter cculture movement of the decade. Very little was known about the drug at first, 2 point that the exploitation industry ‘was quick to seize upon, capitalizing on the widespread ignorance to soll films like Hallucination Generation and The Weird World Of LSD. The latter was strikingly reminiscent of the 30s drug ‘menace films, the main difference being the substitution of LSD for marijuana,TONIGHT YOU ARE INVITED TO A ‘PILL PARTY’ You will experience every jolt...every jar of a Psychedelic Circus...The Beatniks...Sickniks... and Acid-Heads...and you will witness their ecstasies, their agonies and their bizarre sensualities...You will be hurled into their debauched dreams and frenzied fantasies! FOR THE ADULT MINDED... the revealing story of today’s.. LVCINatiON Le cove MONTGOMERY: STONE Ses Hallucination Generation (1986) US 41.27 in. (108 « 69 em] Courtesy of the Tony Nourmand CollectionTOE PORT Dew «PSYCHEDELIC foto) ale aad O DAY susan STRASBERG 1S HOPPER aie DERN is SACHSE scx icon Soin The Trip (1968) US 4127 in, (108 x69 em) Courtesy of the Tony Nourmand Collection LOVERS! They'll ask for a dime with hungry eyes... but they'll give you love for NOTHING! Paychy Out (1968) US 4127 in. (108 x 69 em) Courtesy of the Tory Nourmand Collection Released in 1963, Tho Trip provides a stark contrast to the ecars-mongering senastionslism of The Weird World Of LSD. Written by Jack Nicholson, iti, in ffoct, an 85-minute LSD trip. Director Roger Corman reportedly took acid in order to research the subject. The film was instantly condemned far trying to exploit the LSD phenomanen and for what was, some claimed, its pro-drug stance. A year after The Trip was released, the Production Code ceased to exist. Psych-Out and The Acid Eaters are two more examples of the increasingly glamorous way in which drugs were presented in 60s cinemaLOGIN RCT ae MOVIE aa EATS TS CRs aL eS 5 ed Cae ca Sioa Lee Paley MAYHEM, NUDE BEACH Poetry tac oe NTN a Bat iaThos are the ones who play it tool, and find out about life and love This is the picture that explodes ike 9 time bomb Inthe fave ofa city! ‘The Coo! Worts (1966) US 4127 in, (104 69 em) Courtesy ofthe Tony Noutmand Collection These are words that mean big trouble before they're in high school! = 0 orld DVREGTED BY SHIRLEY CLARKE - PRODUCED BY FREDERIK SEMAN ‘MUSE BY MAL WALOROA FEATURING DIZY BLLESPIE Sewn Shirley Ciarke (1919-1997) was a key player in the campaign to develop en alternative, avant-gar ‘approach to filmmaking in the 50 and 60s, Starting out as a dancer ‘and choreographer, Clerke begen her directing career in 1953 and became the only female member group established to advance th ‘cause of independent films. This group rejected the commercial cinema of the day, believing itto | corrupt, morally questionable and artistically weak. When she releas The Connection in 1962, it won & ‘special award at the Cannes Film Festival. It was also banned by th Now York State Censorship Board and became a test case for the freedom of expression. The Cool World was also a tour: de-force, and was an unflinching and gritty record of life in Harlem: It was the first independont film to play at the Venice Film Festival and helped pioneer the docu- drama genre, ‘More was another 60s film that took an alternative approach Directed by Barbet Schroeder (b. 1941) it detailed a man’s descen into heroin addiction. Schroeder was @ disciple of the Nouvelle Vague movement in France arid had worked with directors like Jeen Luc-Goddard. More ie infused with the same spirit as tho filme of the French ‘New Wave’ and wee a hit in Europe. Played to a soundtrack by Pink Floyd, the film has become a cult classic,FLESH .............. of lovemaking's most provocative acts! ‘A Tasto Of Hor Fash (A Taste OF Flesh) (1967) Us 41 «27 in. (108 x09 cm) Courtesy of The X-rated Collection 50 Although aleo s female filmmaker in the 60s, the work of Doris Wichman (1912-2002) was worlds away, in tem of both content and style, from that of Shirley Clarke. Wishman, who made over thirty exploitation films over the course of her career, helped pioneer t roughie’ genre. The plots were crazy and far-fetched, the budgets non- existent and the acting minimel; but Wishman’s films were a hit in an industry whore none of these things matterad, so long as nudity, sex and violonce wore evor-prosont. This eaid Wishman did have cortsin talents She was the only woman in a male dominated industry and was a sound, honest businesswoman. She wrote, directed and edited the films herselfa the filmmaking techniques and camer angles she used were often surprising experimental and artistic. The extra depth and originality of her work prov to be inspiring both within and beyom he exploitation industry. Wishman's files influenced the work of directors like John Wators, Roger Corman and. John Carpontor,ALE] PICTURES RELEASEsteris EXPLODING FROM ALLEYWAYS ‘AND IVORY TOWERS... LIVING BY THEIR CODE OF REBELLION and MUTINY! TONY TRAVIS KAREN KADLER PETER BRECK and JOYCE TERRY Witter nd Dincted by PAIL FREES ‘The Beatnks (1989) US 41» 27 in, (10x 69m) ‘Gourtey ofthe Tory Nourmand Collection 8 ery by JOYCE TERRY and KEN HERTS America in the 50s was a nation plagued by contradictions. Enjoying unprecedented affluence, the white middle-ciasses had the freedom to spend and consume as never before, but this privilege was not shared by most minority groups, particularly African-Americans, who were left to iggle against projudice and poverty. Even among continue their those who were free to enjoy the steady rise in prosperity there wore 4 few who felt that the price to be paid in terms of the increasing blandness and conformity of ‘American society, was too heavy. For many creative artists, including ‘nuns filmmakers, the political wite instigated by Senator Joseph McCarthy also cast a heavy shiadow over the decade. Anumber of writers and artists, including Edward Hopper, Arthur Millor and Tennessee Williams began to speak out against what they saw a8 a repressive and hypocritical society. Their words gave inspiration and encouragement to an even more rebellious group of ‘angry young men’ who became known as the Beatniks - men like Jack Kerouac, Allen Ginsberg and William Burroughs lived by their own rules and embraced a freedom that the prevailing culture could neither offer ror tolerate. The socio-cultural impact of the Beatniks was immense ‘and enduring: the spirit that they ‘embodied would become the defining ethos of the 60s. AAs outsiders, the Beats experienced all the usual stereotyping and prejudice from those around them. Never siow to spot an opportunity, the exploitation film industry was ‘quick to take advantage of the public's ignorance and disapproval Cf what Time magazine called 'a pack of oddballs who celebrate dope, sex ‘and despair’ Films like The Beatniks presented the Beat Generation as nothing moro than a lawiose bunch of troublemakers.KLESS aay ata Pee Rie co re KEARNEY ROBERT ARTHUR KEN LYNCH + EMLEN DAVIES COON ag Adee ALL ag Young And Wild (1958) US 6141 in, (206 » 104 om) Courtesy ofthe Tony Nourmand Collection 54 The makers of 50s exploitation and ‘8 movies conveniently simplified the Beat Phenomenon and grouped its supporters, along with juvenila delinquents, under the general heading of rebellious teenagers. Teenage rebels, especially if they were male, were depicted on-screen as a threat to everything middle Americe held dear especially its daughtore. Otten the focus of euch filme was the age-old 'good gid! gone bad’ plot that saw sweet, promising young women tum into ‘wild gals’ under the influence of the rock ‘n’ roll, Beat Generation.tal SG TODAY'S “BEAT” 3 v7 ‘i GENERATION! MARY MURPHY - NORMA EBERHARDT SHERIDAN COMERATE - MICHAEL CONNORS | Directed by PAUL HENRE| reenplay by ALLEN RIVKIN and |B MELCHIOR Produced by HARRY RYBNICK and RICHARD KAY Associate Proiucer EDWARD B. BARISON A UNIVERSALINTERNATIONAL RELEASE Live Fast, Die ¥ usMURDER... AT 120 MILES PER HOUR!! rina FY fi conme nT Cate aU SLO] Dy Proce by Directed by py by Siory by (0, DALE IRELAND - DAVID BRADLEY - GEORGE HODGINS - 0. DALE IRELAND & GEORGE HODGINS Preseneé by TRANS WORLD PRODUCTIONS + Released by AMERICAN INTERNATIONAL PICTURES Dragstrip Riot (1958) US 41.27 in, (104 «69 em) Courtesy of the Haldane Collection Hot cars, hot girls, hot music ané glowering, independent teens were key ingredients of the sub-genre of Rod! filme that emerged during the By the middle of the decade, Hot Rod movies were being made at 3 rata of about one a weak and they played to drive-in audiences,AGOLDEN STATE PRODUCTION Produced by ALEX GORDON Executive Producer: SAMUEL Z. ARKOFF ‘Screenplay by LOU RUSOFF Directed by EDWARD L. CAHN ‘AN AMERICAN-INTERNATIONAL PICTURETAM (hye 0 (ee | OE hae 7 "7 DNA ri aT Lie ETAT eC cae eNe PUA I a Ua Mee Ce eC MScIMARTINSON + Wiition by MEYER DOLINSKYapa ame | 15 Ce) THE HEART DIARY OF BT Bis late Made in 1944, Teon Age is one of earliest oxamplos of the uso of th terme ‘teen-age’ or ‘teenager ot specialist litarature. Although it first been coined by a sociologist the 20s it did not enter common usage until the mid 40s. In the Af 11945 issue of American Speech it listed in the ‘new words’ section, while in 1947 Encyclopaedia Britannica stil identified ‘teenager Pea ANNO Ty Raat ae WITHTHE THROTTLE Matyas can be traced back to # century, whon it meant grief, 90 or misery! High School Gir (1934) US 4127 in, (104 » 69 om) Courtesy ofthe Tony Nourmand CollectionWHAT IS WRONG WITH MODERN YOUTH? JUVENILE DELINQUENCY Has Passed The HUSH-HUSH Stage! lets Face It... FRANKLY! DARINGLY! BOLDLY!LOS ANGELES! DAILY GIANT DOPE RAID TRAP 174 > MANY TEEN-AGE ADDICTS TRUE UNVARNISHED CONFESSION OF A JUVENILE DELINQUENT be td | ARC ty (Courtesy ofthe Tony Nourmand Collection SUSAN CABOT - DICK MILLER - BARBOURA O'NEI * JUNE KENNY « BARBARA CRANE - FAY BAKER Screenplay by LEO LIEBERMAN - Produced and Directed by ROGER CORE AN ANERICAN INTERNATIONAL PICTURE Sorority Girl (1957) US 41 «27 in, (104 x €9 em) Courtesy of the Tony Nourmand Collection Juvenile delinquency was not an exclusively male phenomenon and the 60s saw a wave of films that featured ‘bad iris’. These depicted the usual mix of teen rebellion, lawlessness and sex, but with reckless females as the protagonists. From the ‘shock by shock’ confessions of the Soronty Girl to the ‘jllbait’ Runaway Daughters, the exploitation industry ‘emphasized the perils of letting bad girls ‘out on the loose.at] rit} as “JAILBAIT"!Ea eee et say Ce aed TIMES AGN SEL AN Pk = ns fe High School Hetlats (1958) US 41 x Z7 in. (104 58 om) Courtoey of tho Tony Nourmand Collection 6 Hugo Haas (1901-1988) was the acknowledged master of bad “bed gir! flicks. Born in Czechoslovakia, Haas had been a respected character actor in his homeland before being forced to flee in the face of the Nazi invasion, He made his way to America where he began working a8 an announcer on US broadeaste to occupied Eastern Europe. After the ‘war, he tried to resurrect his acting career but found himself all too frequently typecast as a greasy, foreign villain, Nonetheless, acting did enable Haas to finance his first love: filmmaking, In the 60s, he began churning out his own independent films, which he both starred in and directed, His sensationalist bad girl flicks followed the typical ‘B! movie model. All his plots unfolded with the same general storyline: lonely, middle-aged man (played by Haas) is seduced by a coxy blondo with a bad reputation. Pickup was just fone in a long line of similar films, Dus to a fatally provocative tagline — They gave her a bad name and she lived up to it!’ the ‘American poster for Pickup was withdrawn from Circulation. It was replaced by another with the same Image, but this time the slogan read: Easy to pick-up