"New Cinema Paradise" (Italy: Nuovo Cinema Paradiso) is an Italian movie released in 1988. The coach is Giuseppe Tornatore.

A story in which a middle-aged movie director recalls the events of a boyhood fascinated by the movie and his love for adolescence. It is a work depicting sentimentality, nostalgia, and love for the film. The theatrical release version, described later, was well received outside the country, making it a work that impresses the general revival of the Italian film that has been stagnating for a while. The music of Ennio Morricone is well known along with the content of the movie.

Movie version 

One night, Roman filmmaker Salvatore tells her mother from home on the phone that Alfredo has died. Salvatore was in the bed, thinking of the days spent with Alfredo.

Shortly after the end of World War II, a young Salvatore boy, who was called "Toto", lived with his mother and sister in a remote village in Sicily. My father went out and it is unknown. At that time, a small cinema combined with a church facing the village center square was the village's only entertainment facility.

For the villagers who were isolated from the outside world, the cinema was the only window that led to the outside of the village. When it comes to the weekend, when the projection machine turns around in the theater, it is before the villagers who are looking over the eyes, such as the richness beyond imagination in the American film, and the romantic gender relationship that can not be a conservative village. The outside world was projected on On the night of the new import movie being released, the villagers gathered in the cinema, cheered on the screen, and screamed booing where the innocent priest of the church had cut the love scene that it should be.

Toto who was fascinated by the movie had entered the projection room many times. Alfredo, who is a projection engineer, makes a sense of familiarity while scolding Toto each time, and Toto begins to remember the look and feel of the operation of the projector. One night, a film fire accident occurred during projection and the movie theater was completely burned down. Alfredo saved his life with Toto's frantic rescue but lost sight with burns. Eventually, his father's death was recognized, and Toto became a projection engineer while supporting children in the newly rebuilt cinema "Nuovo Cinema Paradiso" and supported the family budget.

As the years go by, Toto, who became a youth, gets a movie camera and shoots a movie by himself. After Toto was recruited after her first love with the beautiful girl Elena that I saw at the station, another man sat in the projection room when I returned to the village after I was discharged, and Elena was out of communication. Alfredo falls to Toto down, saying, "Because I am young, I can go out and find a way, not be in the village, and not come back". "Life is more difficult than the films you saw, more difficult!" Toto, as the word says, left by train for Rome.

30 years from then. A successful middle-aged Toto-Salvatore in Rome, he returned to his hometown village where his old mother awaits to attend Alfredo's funeral. So he knows that the "New Paradise" has already been closed and the dismantling of the building is near. Salvatore is given the look that Alfredo has left him. It was a film where the love scenes of several movies were edited by omnibus, and a little Toto joined the kiss scenes that were once deleted by the priest.

Complete edition 

Elder Salvatore, who returned to his hometown, is upset by seeing a girl in Elena at the cafe. Afterward, it is learned that Salvatore's childhood friend Boccea married Elena and had a daughter born. When Salvatore reunites with Elena and accuses why he did not come to the meeting place of the run-off, Elena asked Alfredo to tell, but he was refused, so he moved the address and message to the back of the screening note. I write it and explain that I left it on the wall of the projection room. Alfredo was persuading Elena to break up with Salvatore to get Salvatore to leave the village and follow his path. Salvatore, who knows the story, feel angry with Alfredo, but Elena says, "If I was married to me, I could not have made a great movie." Salvatore and Elena kiss in the car and make sure of love in a bunch. Salvatore examines a bunch of innumerable screening notes in a dusty projection room and finally reads the message from Elena. When Salvatore called Elena again before leaving the village, Elena said, "Let's forget that dream of the night." Salvatore returns to Rome and sees a look-ahead film from Alfredo in the projection room.

The Black List of Hollywood was an informal catalog that was released to Hollywood cinemas during the early Cold War, illustrating artists who were considered members or influences of the Communist Party. Those included in the list were excluded from all work in the cinema and several US theaters, leading to professional and personal extermination.

This practice was part of the general climate of marauding of the days and was encouraged (indirectly but clearly) by the Commission of Anti-American Activities, a congressional body that had undertaken to curb the alleged Communist penetration of public life. It only stopped in the early 1960s, having led a large number of artists to destruction or self- extinction in Europe and Mexico.

Background 

The sense that the world of spectacle has been "pushed" by communists and liberals (unlike Europe, in the US the term liberal refers to the Left ) has been diffused since the middle of the 1930s. The truth is that the Soviet Union had captured a significant part of the American artistic world, proclaiming a world without exploitation, and later with the heroic resistance to the Eastern Front. Several have gone through the Communist Party, albeit usually for a short time. But it was an exaggeration that the Communists ruled in cinema, much less that they would use this dominant position to make systematic red propaganda.

During the Second World War, the US government itself had funded writing scripts and filming films with philosophical content. When the war was over and the Soviets again became competitors, the emotions changed. The Cold War brought Red Tremors, the politically cultivated psychosis of the American medium, that sooner or later the Soviet nuclear missiles would be fired for its own country. The public anticommunist feeling was expressed by the notorious Commission, which was investigating the "erosion" of American cultural production with questions such as "You are or have been former members of the Communist Party", "You know someone who is or was a member in the past" and the like - something that constituted a diversion, since KK. The US has never been illegal and participation in it was a legitimate right.

In this context, the feasibility of the conjuncture made socially acceptable even the most extreme violations of rights. Walt Disneys warned of the "serious threat" and denounced as Communists all the trade unionists of his companies. More auspicious, actress Antol Menchu told the Commission: "I'm a witch hunter if the Witches are Communists. I'm a red fisherman. I want to send them all to Russia".

The "Ten" 

The Black List began on November 25, 1947, with the release of the Ten. These are ten screenwriters and directors who had been accused of "contempt for Congress" beforehand because they refused to testify before the Commission on the grounds that they had no explanation for their personal political choices. The group included, initially and eleventhly, the author and poet Bertolt Brecht, who was presented to the Commission on 30 October and the following day he returned to Europe for the first time (a decision he had taken before he deposited).

One week after they stripped Ten, the representatives of all film companies issued a joint statement (Walldorf Declaration) according to which the legitimate rights of the Ten are not questioned, but their detriment was detrimental to their employers and made them useless for the film industry. They also pledged not to take them back, unless they swore that they were not communists, and no one would ever hire anyone like them. Earlier a few days earlier, the union of actors, headed by Western protagonist Ronald Reagan (the country 's later president), had forced the members of the union to give a similar oath.

Enlargement 

Until the late 1950s, the list was continuously enriched with the names of screenwriters, directors, actors, musicians, writers, and even technicians whose political views were considered dangerous or questionable. Some were indeed leftists, while others were in suspicion and rumors, for example, they were pre-war in a demonstration, had a love affair with a Communist student, donated orphan clothes to Eastern countries, to investigate the activity of their affiliates before signing a contract. Counterattack, a right-wing journal that had been contracted to publish public figures about the political action of filmmakers, had changed into fear and horror of the arts.

In order to break the blockade, some programmers used fantastic names or more commonly nicked persons, people - windows. Typical is the case of screenwriter Dalton Tramp, who won two Academy Awards with another name. The first time, in 1953 for the Holidays in Rome, he had used as a showcase a famous British colleague named Ian McLellan Hander, who also received the honorary statuette. In the second, in 1956 for the Brave, there was not even a scriptwriter to receive the prize, having used a pseudonym.

But if such solutions were feasible for screenwriters or musicians, they were impossible for directors and actors. There, the only way to "cleanse" one's name was to strive for the Commission's goals, ie practically to tort his colleagues. It is known the example of Elias Kazan who named Zyl Dasin, leaving the latter to leave the country.

In addition to not hiring the suspects, film companies have been making an effort to persuade them about their attachment to American values by releasing films such as:

• Red threat. An American becomes a Communist for the sake of his love. When he discovers the impasse of his ideology and tries to break out of the Party, he becomes the target of spies.

• Red planet Mars. A Soviet and a Nazi scientist deceive an honest and naive couple of American scientists and with them all humanity, pretending to be the voice of God speaking from Mars.

• I married a Communist. A moral shipping agent, in his youth a docker and a left, is threatened by Communist Vining that he will reveal his past unless he blows up the San Francisco shipyard.

• I became a Communist for the FBI. A young man has been intruding for a period of nine years in a communist group and reports to the FBI about her action (though a fiction film, the Cold War era was so intense that she was nominated for an Oscar Documentary in 1951 ).

• Big Jim McLane. John Wayne is Jim McLean, an agent who drives communists into the trade unions of Hawaii.

The end 

The first rupture of the Black List artists' exclusion came from the TV. In the autumn of 1957, Alfred Hitchcock hired actor Norman Lloyd as co-producer for the third cycle of the series"The Hitchcock Presents". Several other individual cases followed in television productions.

The change in cinema, which was the main litigation, began in 1960. Early in the year, Otto Premerger publicly announced that he would turn Exodus into a Tramp's scenario. A few months later, Kerk Douglas said the script of his long-awaited new film (Spartacus, Scott Stanley Kubrick ) was also Tramp. So, when Spartacus was premiered on October 6th, it was the first time since November 1947 that a scribe saw his name to the actors without making a statement of repentance or betraying his colleagues. This triggered a series of developments: Conservative citizens organized protests outside the country's halls asking for a ban on the film, while on the other hand dozens of artists began to speak openly against the list. The issue had divided the country to the moment when newly elected President John Kennedy made a high symbolic move: He appeared outside a cinema, surpassed the protesters and watched the film, demonstrating his intention to end with these practices.

The final end of the Black List came in 1962 on the occasion of a conviction by an investigative agency that fed the companies with data, as well as its principals. In his decision, the court classed them as legally guilty for the personal and financial harm suffered by their victims. Since then the practice has been abandoned, but many careers have already been destroyed. It is estimated that only a tenth was able to re-enter cinema production.

Valuation 

It is no exaggeration that the Black List period changed the character of Hollywood forever, altering it from a field of creativity and commerciality to a hard-working industry.

From the cinematographic point of view, the average quality of production was lowered. The list of the American film industry produced everything - from "art strips" to digesting mass consumption films. The expulsion of the most enlightened and intellectual minds from the studios led to the almost complete disappearance of the first class. Legends of the seventh art, such as Charlie Chaplin, Orson Wells, John Houston and dozens of others, have exiled to Europe to be able to make movies.

Even worse, things were for scriptwriters who were massively fired because their scenarios were highlighted and controversial. Even non-planners were afraid to include humanitarian and universal messages, under the Damocles' sword that one would call them communist propaganda and would remain unemployed. The themes of the films turned to patriots (such as spies and westerns) or neutral subjects (sentimental comets or blockbusters of the Ben Hur type). American cinema could boast of its technical excellence, but it had lost its soul - the new home of "art cinema" became Europe.

But the worst result was the rupture of the inner unity of the artistic world, the dominance of a climate of suspicion, and fear that everyone could be stamped red, except for those who demonstrate patriotism by betraying colleagues in the Commission of Anti-American Affairs. Friendships and collaborations have spoiled forever - when Elijah Kazan received an honorary Oscar in 1999 for his (unquestionable) contribution to cinema, many attendees left the ceremony reminding him of his role as a traitor 47 years earlier.

Cinema is the so-called seventh art, next to sculpture, painting, dance, architecture, music and literature. Initially, it appeared more as a new technique of recording its movement and visualization, as the term itself (cinema = motion + writing) states.

History  

Precursors of the Cinema  

It is generally difficult to become a unique inventor of cinema, as a moving picture technique. Moreover, it is a fact that for many years the man has experimented with the effort to visualize the movement. A catalytic role in the evolution of cinema technique was the discovery and spread of photography in the mid- 19th century. One of the first and most important analyzes of camera motion was made in 1878 when British photographer Inwood Maybridge, having succeeded in developing sequential photography, depicting the movement of a horse, proving then that during the galloping there are moments when his feet have no contact with the ground. At about the same time, the French physicist Etienne Marre managed to capture the shooting of a bird with the help of a camera with the ability to capture 12 snapshots per minute.

The most important achievements in the development of cinematographic technique were made in the late 1880s, most notably, the invention of the filmmaker by William Dickson, who was working in the workshops of Thomas Edison. The cinemascope was a projection engine capable of projecting the film in a box, which was only visible to a viewer through a hole. The device first appeared officially on May 20, 1891, along with the first movie. Edison considered the invention of the minor, and he was not interested in viewing the films for more viewers. Moreover, it did not pave the way for the invention internationally, with the result that it was legitimate to copy and evolve in Europe, where it soon appeared as an imported product.

The film's precursors were special lighting scenes and curtains with stunning shadows that set out on street markets in central Europe. In 1895 the first Bioscope film was screened in Vienna, Germany.

In France, the Oocyst and Louis Lumiere, based on the Dickson and Edison motion pictures, invented cinematography, the portable movie camera, film, film, and film projection. On December 28, 1895, they also made their first public appearance in Paris. This date is referred to by many as the official day when the cinema in its current well-known form appeared. That audience watched a total of 35 people for a fee, and ten films of a total duration of about fifteen minutes were shown. The first films were short-lived, usually static, a scene of everyday life.

Cinema as an Art  

One of the first filmmakers to make use of the technology available for the production of films under art terms was Georges Méliès, who is also considered to be the first film directors. His films dealt with topics from the field of fantasy, while his movie Le voyage dans la lune (1901) was probably the first to attempt to describe a journey into space. In addition, he introduced visual effects techniques, while for the first time he played colored films, painting the film manually.

Starting with the new possibilities that emerged, the cinema was transformed internationally into a popular art form, while many cinemas were created for the exclusive purpose of screening movies. It is estimated that in 1908, in the United States there were about 10,000 movies. The films of that time lasted ten to fifteen minutes, but gradually their duration increased. An important contributor to this was the American director DW Griffith, which includes some of the first historical epics of the movie. In 1912 (or 1911), the theorist used for the first time in his essay the seventh art term to describe the cinema.

Bubble, Speech and Color Cinema 

Until the late 1920s, the cinema remained silent ( silent cinema ), and often the film projections were accompanied by live music. The story of the recorded cinematic sound began in 1926 when Warner Brothers presented a device ( Vitaphone ) that enabled music playback through a disc synchronized with the movie projector. Based on this new technology, at the end of 1927, The Jazz Singer was released, although for the most part, it was silent, it was the first to contain dialogues.

At about the same time as the sound adaptation, systematic efforts were made to add color. Color films had already appeared since the beginning of the 20th century, through the filming of film cartoons by hand, a method gradually abandoned, combined with an increase in the length of the films. Among the first synthetic methods of adding color, there was the Technicolor, which was perfected in 1941 ( Monopack Technicolor ), although it remained expensive due to the complex stages of color separation and appearance. After the end of World War II, Eastman Kodak 's color negative film appeared, which did not require a color separation process. Although until the 1950s, color film production declined, in the 1960s, thanks to the development of technology, color cinema prevailed.

The history of science fiction film is largely the same as the history of cinematography. Already in 1895, a short science fiction film was made in France and until 1930 most films in this genre came from Europe. Since the 1960s, the science fiction film genre has been taken seriously as a fully-fledged film genre and since the 1970s, films in this genre are often also financially successful.

Early movies 

Science fiction films appeared early in film history. The first known science fiction film dates from 1895 and is called Charcuterie Méchanique. It is a short film by the Frenchman Louis Lumière, in which an automatic machine converts a pig into bacon and sausages. The 1-minute lost film Gugusse et l'automate from 1897 by Georges Méliès showed a mechanical man. The first use of the split screen dates from 1901; Ferdinand Zecca 's á la conquête de l'air shows a man flying over Paris on a flying machine. In 1902, Georges Méliès made Le voyage dans la lune (8 to 14 minutes, depending on the film speed), inspired by Jules Verne 's book From Earth to the Moon. In 1911, the Pathé brothers made the 13-minute film A Hundred Years Later, set in 2011. The world is ruled by women, who are literally wearing trousers, while men have no voting rights and are obliged to wear a dress. In 1912, Méliès made the more than half-hour adventure film with science fiction elements con la conquête du pôle.

Long feature films 

In 1916, the American 20,000 Leagues Under the Sea (105 min.) Appeared, also after a book by Verne ( Twenty thousand miles under the sea ). And in 1924 the Russian Aelita came out. A few years later, the Metropolis masterpiece was published in Germany ( Fritz Lang, 1927). The 1930s produced by far the best film adaptation (1931) of Mary Shelley's Frankenstein, and also one of the first "lost world" films: Lost Horizon by Frank Capra from 1936. In America, the so-called "serials" were popular at this time: a whole series of consecutive films of which a new volume was released every week. A well-known example of this is the Flash Gordon Serial. The 40s brought little news: lots of monster and horror movies but hardly real science fiction. The only significant film of this decade is Dr. Cyclops from 1940, an early color film.

Some well-known science fiction films were made in the 1950s, The Day the Earth Stood Still and When Worlds Collide in 1951, The Came from Outer Space and The War of the Worlds in 1953 and Forbidden Planet in 1956. In Japan, in 1954 the first part of the still-running film series Godzilla (Japanese: ラ ジ ラ Gojira) was made. Ray Harryhausen also started this time with his brilliant stop-motion effects in films such as The Beast from 20,000 Fathoms (1953), Earth vs.. the Flying Saucers (1956) and 20 Million Miles to Earth (1957).

The science fiction film is growing up 

After decades of playing the safe, Hollywood finally began to make intelligent, mature science-fiction films in the 1960s, of which the black-gold satirical Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb and 2001: A Space Odyssey is the most striking exponents. Other striking films from this period are the French neo-noir film Alphaville, Une étrange aventure de Lemmy Caution, the British Fahrenheit 451 and the exuberant, campy Barbarella with its psychedelic design. The British SF television series Doctor Who and the American series Star Trek also date from the 1960s.

the seventies brought George Lucas ' first film THX 1138 and the first major blockbusters in the SF genre: Star Wars and Close Encounters of the Third Kind. The Andromeda Strain (1971), A Clockwork Orange (1971), Solaris (1972), Westworld (1973), Dark Star (1974), Battlestar Galactica (1978), Alien (1979), Star Trek: The Motion Picture (1979) and Mad Max (1979).

The following years, many sequels of films from the 1970s were made, including 5 Star Wars films, 9 Star Trek films and 4 Alien films. A film from the Flash Gordon serial from the 1930s was also made: Flash Gordon. Two very successful SF films were released in 1982: the tech-noir film Blade Runner and the blockbuster ET the Extra-Terrestrial. That same year Tron was released: one of the very first films that made intensive use of computer-generated images. The light-hearted Back to the Future trilogy was a success, but David Lynch ' Dune and the sequel to 2001, 2010: The Year We Make Contact were costly misses. New, successful film series started with the RoboCop and The Terminator films.

In Japan, the science fiction animated films became increasingly successful: the films Akira and Ghost in the Shell became worldwide successes, as did the television series Dragonball and Mobile Suit Gundam. The Russian Kin-Dza-Dza! , the Australian The Quiet Earth, British Brazil, and the Spanish Acción Mutante were modest successes but were highly valued.

The 90s brought a flood of new science fiction films and series, large studio productions such as Paul Verhoeven's Total Recall (1990), Independence Day (1996), Starship Troopers (1997) and Armageddon(1998), but also surprising films such as Terry Gilliam's Twelve Monkeys ( 1995), the Canadian horror science fiction movie Cube (1997) and the flopped but well-appreciated Gattaca (1997). In 1999 the first part of the beautifully designed film series The Matrix was released. That same year George Lucas released the long-awaited first part of the second Star Wars trilogy Star Wars: Episode I: The Phantom Menace.

The 21st century brought many new science fiction films: Steven Spielberg directed the well-received films AI: Artificial Intelligence and Minority Report. A striking film was Eternal Sunshine of the Spotless Mind, a romantic science fiction film. In addition, a great many film versions of other media have been released in recent years, such as comics (X-Men, Hulk and Fantastic Four ), television series ( Æon Flux, The Hitchhiker's Guide to the Galaxy, Serenity and Transformers ) and computer games ( Wing Commander, Resident Evil )

A silent film (Flanders) is a film in which only the image signal occurs. Only in 1927 did it become possible with the introduction of the sound film to play sound and image synchronously.

To compensate for the lack of sound, texts were made in a silent film that clarified the situation on screen or reflected the dialogue that was conducted. Subtitling was also not yet possible, so the film images were alternated with screen-filling signs on which the text was written; the intermediate titles.

Sometimes an explicit person was used, someone who said what was said and who made accompanying sounds. Such a more explicit was an artist in itself. For example, if someone in the film started an engine, then the illustrator turned with a ratchet. If something happened, the illustrator would hit a slapstick on the table, the slapstick, which gave its name to this genre of film. A good clarifier knew the film precisely so that he had the tools to make sounds on time. Furthermore, the film was often accompanied by music by a pianist or a (small) orchestra that sat in an orchestra pit, so low that the audience did not see them, but they could still see the screen themselves or just next to the screen. A completely silent film has therefore in fact never really been the case.

Many greats of the silent film saw their film career come to an end after the introduction of the sound film; the acting style of the silent film was largely unsuitable for a sound film. Actors with a long career in silent films often had difficulty switching. People kept on sticking to the old acting style, emphasized by body language and facial expressions. In other cases, people compensated too much, which resulted in a 'stiff' result, or they had difficulty with the timing, which prevented conversations from going smoothly. Many veterans returned to the theate, And it was mainly the new acting talent that quickly felt at home in the sound film.

Sound films turned out to be less easy to sell to other countries due to the language barrier. With silent films, it was only a question of replacing the intermediate titles, with the sound film this was more problematic. Sometimes people chose to record a film in two or more languages at the same time, for example, Der Blaue Engel (1930), which was shot in German and English.

The exploitation cinema or film exploitation is a cinematographic category in which the films are grouped whose theme addresses topics or details of lascivious interest, typical of exploitation fiction, the genre of fiction that bases its appeal on morally unacceptable and socially scandalous issues such as human sexual behavior , eroticism, violence, crime or drug use. The term "exploitation" refers to the recurrence of a topic or current in a group of cinematographic productions, generally of low budget, that pretend to obtain commercial success and be placed within the popular cult with its scabrous themes, rather than with its aesthetic quality 

Features  

The exploitation cinema has the main characteristic of portraying themes related to exploitation fiction, which can include: eroticism , implicit sex, explicit sex, real sex, semi-nude, nude , homosexuality , transgender , masturbation , BDSM , death , murder , massacre , recreational use of drugs , consumption of alcoholic beverages , crime , juvenile delinquency , suicide , war , mutilation , cannibalism , interraciality , prostitution , sexual abuse , kidnapping , organized crime , disaster , traffic accidents , detonation of weapons, animal abuse , induced abortion and occultism . His film genres are varied, but they necessarily imply an emphasis on a lascivious detail or effect, rather than an emphasis on the main plot such as murder and massacre in thriller genre films or sex in genre films romantic. Some issues such as alcohol and tobacco consumption, occultism, interraciality, homosexuality and transgender have lost social uproar but were subjects of a great scandal in the development and boom of the exploitation cinema between the 1950s and the 1970s.

The films of the exploitation cinema are usually of low-production, the reason why its main objective is to obtain economic profits with plots and exaggerated publicity that attracts the public with its morbid thematic ones. Although, the films of the exploitation cinema are usually of poor production, limited distribution and low quality, there are examples that have attracted the attention of critics and have been placed within the popular cult for their aesthetic quality, such as the film Caligula ( 1979), film directed by Tinto Brass that was produced with a great economic investment and that is conserved within the popular cult for its risquéimages of real sex .

Camp aesthetics, kitsch aesthetics, naive character and black humor are often key attributes of this type of film, as they were generally made experimentally and under very limited distribution. One of the main characteristics of the exploitation films is that they are made as a current, that is, they are produced in a specific period of time (normally limited to a decade), taking advantage of the popular themes at that time and addressing to a very specific market (Example: The biker cinema appears in the postwar period as a current commercially dedicated to attracting young men with images of burly rebellious men and beautiful women who traveled in lawless highway scenes, taking advantage of the nascent subcultures of the rock culture and the culture of the road like rocker , greaser , rockabilly and leather , subcultures that prevailed in the popular image of the 1950s to the 1970s).

Many streams of exploitation cinema correspond to the projection of international cinema since some currents are not originally from the United States (Italy, Australia, England, China, Japan, Brazil, Mexico and Germany). These films achieve an international projection due to their aesthetic quality or their introduction to the popular cults, such as the films of the genre Spaghetti Western of Italy and the cinema of martial arts of Hong Kong, which achieved an international projection because they were televised in different countries in the weekend schedules.  

The classification of these films is usually subjective and varies according to criticism and personal positions, such as the film The Passion of the Christ (2004) which is widely considered a gore movie, because it emphasizes the suffering, torture and death of the main character , but which is acclaimed by an audience that is not aware of the exploitation trends. In the modern examples of cinema and exploitation are films that are cataloged as "tributes" or " revivals ", since they are films after the boom period of the exploitation cinema that retake these themes, details or aesthetics (Example: the movie Jackie Brown (1997) which is considered a revival of the blaxploitation cinema of the 70s).

History  

Between the oldest antecedents of the exploitation cinema they appear experimental short films of the silent cinema like Le Coucher de la Mariée (1896), a film considered like the first pornographic film that stars Louise Willy, a cabaret actress, doing a striptease and having sexual intercourse with a man.  Another primitive example of film exploitation is the short film Electrocuting an Elephant (1903), a video documenting the electrocution of Topsy, an Asian elephant sentenced to sacrifice by the owners of a circus after causing the death of her trainer. The Great Train Robbery (1903), besides being considered as a cornerstone in the development of cinematographic techniques, bases its plot on a real story, adorned with special effects such as the detonation of weapons, police pursuit sequences and complementary themes such as the assault and banditry. 

The movie Traffic in Souls (1913) is considered as the first film with thematic of exploitation, because it portrayed the controversial issue of human trafficking in the United States during the period in which the American society faced social panic over the issue of Prostitution The film caused a great social commotion, because, in spite of being condemned by the popular critic as an obscene and immoral work, it generated great economic gains. 6 This movie followed Where Are My Children?(1916), a controversial film whose plot portrays the trials of a doctor accused of performing abortions on women of high socio-economic classes, among whom is the wife of the investigator who took him to trial.  

During the First World War, outbreaks of syphilis declined in the United States military, so the distribution of materials for sex education began to be distributed to members of the military, university students and women of childbearing age. In this current appear films like Fit to Fight (1918), Fit to Win (1919), Damaged Goods (1919) and The End of the Road (1919), films distributed by various hygiene committees in the United States, which prevented on the fatal consequences of syphilis and recommended abstinence, giving rise to the film of exploitation Cautionary .  These films opened the door for more films to be produced with daring themes, since they were of little investment and great profits, initiating a current that would stop until the stipulation of censorship parameters in the audiovisual media in the middle of the 1930s

To the period in which the audiovisual media and printed publications were not under any content restriction is known as Pre-code Hollywood; In this period, sexual and criminal issues address the screens and intensify the production of lascivious cinema. The exploitation films of this period were provocative and regularly addressed issues such as crime, prostitution, drugs, alcoholism, premarital sex, the American cabaret scene and the gangster lifestyle. These themes were clearly influenced by the stories published in popular distribution pulps, stories of romance, science fiction or adventures that were characterized by their particular narrative tone and their aggressive, heroic or adventurous characters. In the Pre-code period appear provocative titles in the cinema, such as Madam Satan (1930), Laughing Sinners (1931), Safe in Hell(1931), The Devil is Driving (1932), Merrily We Go to Hell (1932), Red-Headed Woman (1932), Laughter in Hell (1933), The Story of Temple Drake (1933), Female (1933) and The Road to Ruin (1934), films with titles that referred to vice and sin and that they corresponded to the period of economic recovery of the United States after the Crisis of 1929 .

Derived from the intensive production of films with themes considered immoral, the Hays Code is stipulated in the year of 1934 as a measure to regulate the content of audiovisual media and printed media, so that the films become intensely watched by government officials that prohibited scenes considered obscene. 9Between 1934 and 1962, the film directors intervened the scenes to circumvent the parameters of the Hays Code (example: the homoerotic choreography of Gentlemen Prefer Blondes (1953) choreographed by Jack Cole for the segment Is not There Anyone Here for Love, segment showing a group of burly men exercising around Jane Russell, but who managed to evade the anti-homosexuality parameters of the Hays Code by locating around a heterocentric icon like Russell). The code began to weaken after the 1960s, allowing the partial circulation of controversial films such as Lolita (1962), a film that had a segmented segment to be distributed and that left to the imagination the plot proposed by Vladimir Nabokov. 

From the 1960s a series of social changes on human sexuality and gender condition, known collectively as the Sexual Revolution, intensified. Derived from this, appears the boom of more explicit exploitation cinema that was no longer regulated by any law of censorship and was consecrated as an expression of the First Amendment. This cinematographic boom is favored by the prevalence of criminal and police genre in popular taste, the growing emergence of youth countercultures, the explicit introduction of LGBT thematic in cinema, the Blockbuster era of cinema and the intensive production of pornography ( Porno chic ) . The legal parameters on the prohibition of pornography in the United States are weakened in 1957 with the ruling that equated the pornographic female nude with art ( Roth v United States ), which softened American morals and allowed the creation of sexploitation films and sex comedy movies from 1966, when the Hays Code is officially removed from the jurisdiction, forcing films to be classified as "adult films" ( X-rated ) when they contained allusions to sex, drug use or the strong violence.  

Subgenres 

The subgenres of the exploitation cinema present a regular emphasis in details or elements of the film creating a cinematographic current marked by the inclusion of said element (Example: the martial arts cinema emphasizes the recurring scenes that include the fight and martial arts ).  

Biker 

The biker is a subgenre of exploitation cinema that is characterized by presenting in its plot, characters that belong to a rebel group of bikers. In its theme includes topics such as vandalism, juvenile delinquency, alcohol consumption, smoking, physical violence, sexual abuse and road accidents. This genre arises with the premiere of the movie The Wild One (1954), starring Marlon Brando, directed by László Benedek and produced by Stanley Kramer. The biker cinema has a hypermasculine approach that exalts the rebellion or strong character of the main character. This approach to exploitation cinema is located between the 1950s and the 1970s.

Some titles of this genre include films are: Motorpsycho (1965), Hells Angels on Wheels (1967), Satan's Sadists (1969) and CC and Company (1970).

Blaxploitation  

Blaxploitation (English contraction of the alteration of black, which means black, and the word exploitation ) is a subgenre of exploitation cinema that is characterized by the emphasis on the intervention of African-American characters and their culture. Blaxploitation is mainly dedicated to making reference to the Black Pride culture, a semi- chauvinist sense of racial pride that sought the integration of African-Americans into the predominantly white American society. Between its thematic one includes the physical violence, the comic violence, the use of arms, the traffic and consumption of drugs, the murder, the eroticism and the half-naked. Blaxploitation was popular in the late 1960s and 1970s, contributing to the popularity of African-American culture. This genre resulted in the popularity of musical genres such as soul, funk and disco, and the popularity of vulgar African-American fashion as the use of afro hairstyles. Blaxploitation usually exalts a pride or superiority of African-American people, although it is also often a parody or "own racial version" of works produced by other races, such as the film Black Samurai (1977), which makes a parody or figuration of how it would be an African-American samurai.  

It is considered to the film The Slender Thread (1965), carried out by Sidney Poitier like a precursory film of blaxploitation. Some films belonging to this subgenre are: The Red Nights of Harlem (1971), Blacula (1972), The Thing with Two Heads (1972), Super Fly (1972), Sugar Hill (1974), Foxy Brown (1974), Black Samurai(1977), Jackie Brown (1997) and Black Dynamite (2009).

Britsploitation

Britsploitation (contraction of British, which means British, and exploitation ) is a subgenre of exploitation cinema that includes elements of horror fiction, which is characterized by the presentation of arguments and contexts related to British territory . This cinematographic genre is characterized by the presentation of explicit violence and gore. This approach to exploitation cinema bases its arguments on the film and television arguments produced by Hammer Film Productions between the 1960s and the 1970s, these productions included elements of classic horror fiction based on horror literature and popular beliefs about the supernaturality of death and monsters. Hammer Film Productions was characterized by creating terror plots located in the British territory, and as a tribute, the Britsploitation is based on their arguments regularly.

Some titles of this subgenre include Let Sleeping Corpses Lie (1974) and An American Werewolf in London(1981).

Bruceploitation  

Bruceploitation ( Bruce's contraction, in reference to Bruce Lee, and exploitation ) is a cultural current of exploitation cinema that emerged in the 1970s, specifically dedicated to portraying the biographical events of Bruce Lee's life. This genre uses completely the use of look-alike imitators that share several similarities with the original character; diverse producers of audio-visual media in mainland China , Hong Kong and Taiwan (countries where Bruce Lee and his legacy remained in force and were highly popular), engaged in hiring martial artists with similarities to Bruce Lee, launching them with similar artistic names. as the actors: Bruce Lee, Bruce Lee, Bruce Light, Bruce Lai, Bruce Liang and Dragon Lee. This genre appears after the death of Bruce Lee in 1973, beginning with sensational films dedicated to portraying the biographical events of Bruce Lee's life as in Bruce Lee's Secret (1979) and Bruce's Fist of Vengeance (1984). In later years, Bruceploitation only exploited the image of Bruce Lee in arguments that are not related at all to the life of the character as in The Dragon Lives Again (1977) and The Clones of Bruce Lee (1981).  

Cannibal 

Cannibal ( Cannibal ) is a subgenre of exploitation film that is characterized by graphic scenes of violence, which arise from an argument related to human cannibalism between different ethnic cultures of the jungles of Asia, America and Africa. The cannibal cinema argument appears as an apparently realistic documentary that is produced by explorers who travel into remote regions of the unexplored jungles of South America, Asia and central Africa to study the traditional behaviors of the endemic cultures of the area. The argument discovers that among its traditional practices is human cannibalism. Cannibal cinema is considered a cult cinema that includes graphic scenes of explicit gore violence towards animals or humans. This cinematic approach was popular in Italian cinema in the 1970s and 1980s.  

The most known films of this subgenre are: Ultimo Mondo Cannibale (1977), The Mountain of the Cannibal God (1978) Cannibal Holocaust (1980) and Eaten Alive! (1980).

Cautionary 

Cautionary or Precautionary was one of the first approaches to the cinema of exploitation between the years 1930 and 1940, during the years of lack of censorship in the cinematography or period of the Pre-Code of Hollywood. The cautionary cinema is influenced by the theme of the fiction of habitual exploitation in the publication of pulp format magazines, which normally involved lascivious elements in its theme, such as explicit sex, violence and drug consumption.

The precautionary films appear as movies with morals that addressed the supposed dangers related to topics considered taboo for the time, such as sex, drug use, abortion, miscegenation, interracial relationships, premarital relationships, crime, consumption of alcohol, prostitution, infidelity, violence and homosexuality. Its dissemination was allowed because there were no censorship parameters in audiovisual production until the 1940s, with the stipulation of the Hays Code that regulated what was allowed in audiovisual broadcasting. Another reason that allowed its dissemination was that they claimed to be educational, hoping to be taken as a reference to what was not allowed to be done within society. This genre magnified the morally unacceptable problems that presented themselves in society, presenting them in a lascivious way that the audience liked because of its "forbidden" character, which resulted in great financial success.

The best-known films of this genre are: Reefer Madness (1936), Marihuana (1936) and Mom and Dad(1947).  

Carsploitation 

Carsploitation (a contraction of the English word car, which means automobile, and exploitation, which means exploitation) is a subgenre of exploitation cinema that is characterized by presenting an argument entirely based on car driving, an argument that often includes clandestine careers. automobiles, car theft, car accidents, the escape of justice, physical violence and crime. In his first approaches between the 1970s and the 1980s he shows muscle car drivers who used to exceed speed limits; in contemporary approaches to carsploitation shows cars modified especially to reach high speeds. Other additional elements of the carsploitation usually include modification of cars, tune-up and drifting.

Some films of this genre are: Vanishing Point (1971), Mad Max (1979), The Blues Brothers (1980), Dead End Drive-In (1986), The Hitcher (1986), Death Proof (2007)

Cinema of catastrophe  

The cinema of catastrophe is a cinematographic genre that presents/displays any type of disaster or tragedy in the climax of the film. This genre is varied since it can be spoken of any type of catastrophe, like a natural disaster, the failure in the machinery of a transport or even the end of the world (probably unleashing the death of some or all the characters of the film). It had its peak in the 1970s, 1990s and 2000s.

Some variants of this genre are the apocalyptic cinema, the post-apocalyptic and the dystopian.

Apocalyptic cinema 

The apocalyptic cinema is a cinematographic genre, a variant of horror fiction and catastrophe films, characterized by presenting an argument that takes place in a context in which some kind of apocalypse occurs, in which the destruction of the world or humanity is imminent. It can include various arguments about the conception of the end of time that can include a hypothesis of a theological nature, such as the religious perception of the final judgment or the rapture. Some frequent elements of apocalyptic cinema are: extinction due to natural events (collision of an asteroid with the Earth, pandemics or climatic effects due to global warming and climate change ) extinction due to human-made events ( rebellion of machines , Third World War and nuclear war ) and other causes related to mythology ( extraterrestrial invasion, zombie apocalypse, etc.).

Post-apocalyptic cinema 

Post-apocalyptic cinema is a variant of apocalyptic cinema that presents an argument located in a futuristic context within a devastated society in which only a few human specimens remain. The reduction in the population is usually determined by human or biological factors such as the domination of machines, pollution or the zombie apocalypse. The post-apocalyptic cinema usually includes elements of gore cinema and the use of weapons between the characters for the protection of them against unknown dangers for the spectator.

Dystopic cinema 

The dystopian cinema is a variant of apocalyptic cinema that is characterized by presenting a dystopian character in which there is an advanced society of totalitarian or anarchic political organization in a context in which political organization, social structure, knowledge or scientific development It has changed in a sudden way, unleashing a negative development of the society of the future. The dystopian film usually refers to explicit violence and the use of weapons.

Martial arts cinema  

The cinema of martial arts is a cinematographic genre that is characterized to present scenes that contain movements and acrobatics own of the martial arts(normally the karate and the kung-fu ), frequently showing such movements of an unreal or magnified way that surpasses the capacities physical of a person from the real world. This type of film approach usually includes physical violence, murder and the mafia as secondary elements of the plot of the film. In addition to including elements of exploitation, usually has a teaching argument that reflects the superiority of the mind, the capacity of the body, concentration and harmony of the body and mind. The genre of martial arts in international cinema was popular between the 60s and the 80s with artists like Bruce Lee and Jackie Chan.

Some films of this genre are Shaolin Temple (1982), The Karate Kid (1984), Bloodsport (1988) and Mortal Kombat (1995).

Film of ficheras  

Ficheras Cinema is a cinematographic genre that flourished in Mexican cinema during what is known as the Golden Age of Mexican cinema in the 1940s and 1950s. The genre is a curious hybrid that shows elements of the film noir, the social cinema and the cinema musical Hollywood of the 1930s. It is known as that because its main exponents were the rumberas, dancers of rumba, mambo and other Afro-Antillean musical genres. The films of this genre showed the lives of women of the night (cabareteras and prostitutes), generally in stories where an innocent woman was tainted by perversion, and therefore, dragged to perdition, but who found redemption through his exotic dances. Between 1938 and 1965 several dozens of films of this genre were made in Mexican cinema, reaching enormous popularity and box office success. Its main exponents were the Cuban rumba Rosa Carmina, Ninón Sevilla, Amalia Aguilar and María Antonieta Pons, as well as the Mexican Meche Barba. One of its main promoters was the Spanish filmmaker Juan Orol, also famous for the making of gangster films considered cult in Latin America.

Some examples of this genre are Adventurer (1949), The Queen of the Mambo (1950), Victims of Sin (1950) or Sandra, the Woman of Fire (1954).

Cinema Samurai  

The samurai or chambara cinema (チ ャ ン バ ラ) is a type of traditional Japanese filmmaking that is characterized by including samurai characters in the plot of the film, usually in a historical context that goes from the origin of the samurai in the tenth century to the seventeenth century. The elements of the samurai cinema include simple arguments accompanied by recurrent scenes of exaggerated physical violence. The samurai movies also include other elements such as murder, the use of weapons, eroticism, explicit sex, mafia and crime. The popularity of this genre was between the 50s and the 70s, a boom in film production in Japan. 19

Some examples of this genre are: Seven Samurai (七 人 の 侍) (1954), Throne of Blood (蜘蛛 巣 城) (1957), Ran (乱) (1985), The Twilight Samurai (た そ が れ 清 兵衛) (2002) , The Last Samurai (2003) and " 47 rōnin" 2013

Eco-terror 

Eco-terror ( Ecological Terror ) is a subgenre of exploitation film and horror fiction that is characterized by presenting an individual or group of individuals of a certain animal species in an aggressive way against humans, contrary to the behavior that the species presents In nature. This cinematographic approach usually contains elements of gore cinema, use of weapons and representation of death and animal mistreatment. The argument of this film genre of horror film rests on a fictional argument in which the animal species spoken of has evolved, been genetically manipulated, displayed anger against the human or simply wished to attack. This genre usually emphasizes the monstrosity or improbable supernormality of a species, exaggerating its natural behavior and physical characteristics to turn it into a " monster". This genre frequently resorts to carnivorous animals, increasing the terror in the spectator by introducing the possibility of being devoured by one of those carnivorous species. The genre of eco-terror emerged in the 30s with the premiere of the movie King Kong in the year of 1933.

Some titles belonging to this genre are: King Kong (1933), The Birds (1963), Jaws (1975), Orca (1977), Alligator (1980), Cujo (1983), Monster Shark (1984) and Piranha (1978). 

Gaysploitation 

Gaysploitation (a contraction of the word gay and exploitation ) is a subgenre of exploitation cinema that is characterized by the representation of male homoeroticism in purely sexual settings, related to a dramatic argument. Unlike conventional romantic cinema that deals with homosexuality on a plane related to feelings and emotions, gaysploitation focuses mainly on portraying the sexual life of the characters. This type of cinema emerges as part of the new queer cinema and includes themes such as nude, explicit sex, sexual abuse, male prostitution, cruising, AIDS, BDSM, MSM, hypermasculinity, underground bars and various gay identities such as leather, bear and twink.  

Some films of this genre include The Meatrack (1970), Song of the Loon (1970), Cruising (1980), My Own Private Idaho (1991), Hustler White (1996) and The Fluffer (2001).

Giallo 

The Giallo (translated from the Italian language as 'yellow', the color of the cover of a famous collection of political novels) is a subgenre of the thriller cinema of the police fiction that arises like an Italian variant that combined the essence of the English noir and the hard-boiled American. The film Giallo surrounds the criminal fiction of police and detectives, basing its argument on the use of weapons, crime, mafia, murder, gratuitous female nudity and physical violence. Supernatural elements can also appear. The Giallo emerges as a theme in Italian pulp literature, but it evolves in the 1970s as a cinematographic genre.  

Some titles of this genre are: L'uccello dalle Piume di Cristallo (1970), Il Gatto a Nove Code (1971), 4 Mosche di Velluto Grigio (1971), Do not Look Now (1973), Suspiria (1977) and Giallo (2009).

Gore 

Gore is a cinematic subgenre of horror fiction that focuses mainly on the exhibition of sadistic scenes in which it is possible to appreciate the explicit violence, murder and dismemberment of some individual. The gore depends entirely on the manipulation of makeup and special effects to produce a sense of horror and credibility in the audience, often complement other film genres in which death and murder is included. The characteristic of the gore is that it presents recurrent graphic scenes that are indispensable for the construction of the plot of the film. The genre has origins before the Hays Code period, but its popularity is traced between the 1970s to the 1980s, having a second period of popularity between the 1990s and today. The theme of gore cinema is varied, it can include massacre, multiple murder, decapitation, cannibalism, torture and murder with weapons. It is included like a film element in other subgenres of the exploitation cinema such as Cannibal, Mondo, Giallo and Slasher.  

Jewsploitation 

Jewsploitation (a contraction of jew, English for Jew, and exploitation ) is a subgenre of exploitation fiction characterized by presenting characters of Jewish religion and the culture that implies belonging to that religion. The Jewsploitation is a cinematic form comparable to the Blaxploitation. Some films of the Jewsploitation have a serious theme that refers to the Nazi Holocaust during World War II, but usually, have an irreverent and comical character that exalts or mocks the Jewish culture. It usually includes physical violence, physical comedy, the use of weapons, eroticism and murder.

Some examples are The Believer (2001), The Hebrew Hammer (2003), You Do not Mess with the Zohan(2008) and Inglourious Basterds (2009).

Mexploitation 

Mexploitation (a contraction of Mexico and exploitation ) is a subgenre of exploitation cinema that is characterized by presenting arguments related to Mexican culture. The cinema mexploitation usually has a lascivious character related to the current problems of the war against drug trafficking in Mexico. The Mexploitation also includes in its argument different topics such as drug trafficking, the use of weapons, theft of money, eroticism, alcohol consumption, explicit sex and border conflicts with the United States. Mexploitation often exaggerates the stereotype of a Mexican, exalting his violent responses, his frequency of alcohol consumption or his masculinity.

Some titles of this genre are El Mariachi (1992), Once Upon a Time in Mexico (2003), Bandidas (2006), Planet Terror (2007), El Infierno (2010), Miss Bala (2011), Get the Gringo ( 2012) and Savages (2012)

Mondo 

Mondo, Mundo or Shockumentary is a subgenre of exploitation cinema and documentary filmmaking that is characterized by sensationalist themes about ethnic customs in different exotic places. The shockumentary is a false documentary, similar to the cannibal, which presents the investigation of explorers who get into the traditional customs of ethnic cultures far from urbanity. They usually present a theme that involves slaughter, human sacrifice and cannibalism. It usually contains characteristics of the gore and presents explicit graphic material of violence and murder.

Some titles belonging to this genre are Mondo cane (1962), Shocking Asia (1974) and Faces of Death(1978). 

Nazi exploitation 

Nazi exploitation is a type of film genre that presents characters related to Nazism who commit crimes of a sexual nature within a context of World War II, usually involving officers or military members belonging to the formation of German troops of the National Socialist Party. This genre presents different erotic elements such as explicit sex, the practice of sexual fetishism, BDSM, physical violence, the use of weapons and murder.

The first film of this genre was Love Camp 7 (1969), followed by other titles such as Ilsa, She Wolf of the SS (1975), Salon Kitty (1976) and SS Experiment Camp (1976).

Nunsploitation 

The Nunsploitation (a contraction of the English word nun, which means "nun" and exploitation ) is a subgenre of exploitation cinema, focused on sexploitation, which is characterized by presenting nuns involved in sexual or violent situations. It usually includes the use of weapons, BDSM, sexual abuse, arms trafficking, drug trafficking, murder, crime and explicit sex. It is of great social response to present religious members in unreal situations related to sex and violence, contrary to the religious vows and the life of modesty that they must carry in the practice of their faith.

Some titles of this genre are The Devils (1971), Killer Nun (Suor Omicidi) (1978), School of the Holy Beast (聖 獣 学園) (1974) and Nude Nuns with Big Guns (2010).

Pinku eiga 

Pink eiga ( Pink Violence ) or Pink Film is a Japanese film genre that is characterized by presenting arguments that include erotic or violent scenarios involving elements such as murder, explicit sex, sexual abuse, kidnapping and BDSM. They present erotic arguments that contain recurrent appearances of explicit sex, in which characters of rebellious or promiscuous character participate. The Pinku Eiga genre becomes popular in the 70s.

Some titles belonging to this genre are: Daydream (白日 夢) (1964), Go, Go, Second Time Virgin.

Rape / Revenge 

The Rape/Revenge or Rape / Revenge is a subgenre of exploitation and suspense fiction that presents a common argument between his films, starting with a woman who is sexually abused, rehabilitates and ends up murdering the person who abused her. This approach to exploitative cinema uses explicit sex, eroticism, sexual abuse, physical violence, the use of weapons, gore and murder for the construction of its main argument.

Some titles of this genre are: Thriller: A Cruel Picture (1974), Lipstick (1976), I spit on your grave (1978) and The Accused (1988).

Sexploitation 

Sexploitation (a contraction of the English word sex, which means "sex" and exploitation ) is a subgenre of the exploitation cinema and the nudist cinema that is characterized by including an erotic context defined by simple scenes that involve the nude, the semi-naked or explicit sex in the construction of his argument. Sexploitation presents simple or absurd arguments that are overshadowed by the presence of erotic scenes of softcore pornography, in which female characters normally participate. 25

Some titles of this genre are: Faster, Pussycat! Kill! Kill! (1965), Supervixens(1975), Caligula (1979), Showgirls (1995) and the work of the Armando Bó - Isabel Sarli duo.

There are several variants of sexploitation adapted to the national market of different countries. Normally they are low production films that show erotic scenes in which it is possible to appreciate the total or partial nude of the characters. Sex is rarely explicit. The variants of this genre are the nudist cinema, the Pinku eiga, the Rape/Revenge, the Brazilian Pornochanchada, the homoerotic cinema and the Mexican ficheras cinema.

Slapstick 

The slapstick cinema is a subgenre of the comedy that emerged with the first approaches to film, which flourishes in the 1920s. The slapstick presents comic routines in which the protagonist suffers accidents that would naturally produce pain, but on the screen present real consequences. They also have other elements such as a blurring of reality and impossible situations. The slapstick usually includes unreal violence that in fiction does not produce deadly effects, but if it reproduces in the real world, it could cause deadly effects. The slapstick is also contained in the cartoons that appeared between the years 1910 to 1940. The slapstick is a fundamental element in the formation of American humor.

Some contemporary slapstick titles are George of the Jungle (1997), Flubber (1997) and Norbit (2007).

Slasher 

The Slasher (translated from English as a slasher or chopper ) is a subgenre of exploitation film and thriller film that is characterized by showing a common plot in the plot of the film in which a psychopath who brutally murders a group of teenagers. As a complementary detail, it includes premature sex and drug use among the characters. The slasher obtains great popularity from the decade of the 70s. It usually includes elements of gore cinema and horror fiction.

Some titles of this genre are Halloween (1978), Friday the 13th (1980), Prom Night (1980), My Bloody Valentine (1981), A Nightmare on Elm Street (1984) and Child's Play (1988).  

Spaghetti Western 

Spaghetti Western (translated as the history of the West of spaghetti, used in a sense originally derogative towards the Italian directors who directed American histories) is a current of the exploitation cinema based on the cinematography of the American western. The spaghetti western is a European adaptation, specifically Italian, of the western films of the 40s and 50s that were produced in America, a trend that appeared in the 1960s with the emergence of the cinematography and distinctive style of Sergio Leone. This style is fueled by the style created by Sergio Leone and Ennio Morricone in The Dollar Trilogy, a series of films that included A Fistful of Dollars (1964), For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966). 

Some titles of this genre include Once Upon a Time in the West (1968) and Django (1966). Another style of this genre included Zapata Western, which portrayed a context related to the Mexican Revolution as Duck, You Sucker! (1971).  

They emphasize in this sort actors like Clint Eastwood (jumping to the fame after the Trilogy of the Dollar), Franco Nero and Lee van Cleef.

Stoner 

Stoner or Stonersploitation (from the English stoner, "porrero") is a subgenre of the exploitation film and the film comedy that revolves around the consumption of cannabis. A great exponent of the subgenre are the films of the duo Cheech and Chong.

Teensploitation 

Teensploitation (a contraction of the English teen, which means " adolescent ", and exploitation ) is a subgenre of exploitation cinema that is characterized by showing adolescent characters or young adults in erotic or violent situations. Teensploitation usually includes various topics that determine the construction of your arguments such as drug use, eroticism, homoeroticism, erotic love, explicit sex, sexual abuse, juvenile delinquency and murder.

Some titles belonging to this genre are Carrie (1976), Kids (1995), Bully (2001), Ken Park (2002) and River's Edge (2004).

Turksploitation 

Turksploitation (Turkish, Turkish, and exploitation contraction ) is a semi-humoristic term sometimes used to designate a large number of unauthorized remakes of Hollywood films (or mockbusters ) that were produced in Turkey during the 1970s and 1980s. they characterize by their low budget, their little fidelity to the original argument and by reusing scenes and soundtracks of other films.

Some popular titles are: Ayşecik ve Sihirli Cüceler Rüyalar Ülkesinde or The Turkish Wizard of Oz (1971); 3 Dev Adam or Captain America and The Saint vs. Spider-Man (1973) - action film in which El Santo and Captain America are two American agents contacted by the Turkish police to arrest a criminal gang led by Spider-Man; Dünyayi Kurtaran Adam or Turkish Star Wars (1982) - "free adaptation" of Star Wars: Episode IV - A new hope that uses the music of Star Wars , Indiana Jones , Battlestar Galactica , Planet of the Apes , Moonraker and Flash Gordon - , and Badi or Turkish ET (1983).

Webcamploitation 

The webcamploitation is characterized by recording movies with a webcam. In 2014, Open Windows was directed by Nacho Vigalondo and in 2018 Searching directed by Aneesh Chaganty was released.

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