From the Arthouse to the Grindhouse Highbrow

While there are numerous books on art and exploitation cinema, few attempt to examine both. Covering the first one hundred years of cinematic transgressions, From the Arthouse to the Grindhouse is a collection of essays addressing the overlooked, forgotten, or underanalyzed elements of film history. From cult favorites like Arch Hall Jr. to revered but underdocumented marquee names such as Lon Chaney, filmmakers both major and minor are covered here.

John Cline is cochair for the transgressive/exploitation film area for the Southwestern Popular Culture Association. Robert G. Weiner is associate humanities librarian at Texas Tech University, where he is the librarian for film studies. He is the author of Marvel Graphic Novels: An Annotated Guide 1965-2005 and editor of Captain America and the Struggle of the Superhero: Critical Essays (2009).

Foreword	p. ix
Acknowledgments	p. xi
Introduction	p. xv
Early Transgressions
Erotica in the Service of Social Hygiene: Sexual Enlightenment Melodramas in Austro-Hungarian and Weimar German Cinema	p. 3
Kicking against the Pricks: The Perverseness of Erich von Stroheim	p. 10
Two Helens and a Host of Tricks: Tod Browning's The Thirteenth Chair	p. 23
The Prince of Exploitation: Dwain Esper	p. 41
Sexploitation
Fondling Your Eyeballs: Watching Doris Wishman	p. 57
Exploring Cinema's Sordid Side: The Films of Sonney and Friedman	p. 75
In Celebration of Going Too Far: Waterpower	p. 85
The Last Film, the Last Book: Pasolini and Sade	p. 95
Exhibition
Horror at the Crossroads: Class, Gender, and Taste at the Rialto	p. 109
Japanese Grindhouse: The Tobita Cinema in Osaka	p. 126
Grindhouse and Beyond	p. 129
Art and Grind in Seattle	p. 153
Transgressive Stars
The Humanist Transgressions of Lon Chaney	p. 173
The Perfect Threat: Arch Hall Jr., The Sadist, and the Ideal Teenager	p. 188
The History of a Sexual Revolutionary: Jamie Gillis	p. 202
Cultural Learnings from Borat: A Model for the New Standardized Cult Film	p. 208
Reality/Documentary Transgressions
The Transgressive Toke: Art and Misdemeanor in Deadhead Imagery	p. 223
The Real Faces of Death: Art Shock in Des Morts	p. 244
The Small World of Snuff Fetish Custom Video	p. 264
There Is Nothing More Objectionable Than Objectivity: The Films of Peter Watkins	p. 274
It's Only a Movie? Reality as Transgression in Exploitation Cinema	p. 297
Index	p. 317
About the Contributors	p. 335
Table of Contents provided by Ingram. All Rights Reserved.

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From the Arthouse to the Grindhouse Highbrow and Lowbrow Transgression in Cinema's First Century

Summary

Author Biography

Table of Contents

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