Exploitation Cinema and the Lesbian Imagination
When they were first released, exploitation films were harshly criticized for their depiction of women and homosexuals. However, with the distance of time and the transformation of society, feminist audiences are reclaiming films whose quaint queers they can now enjoy not only as a trace of the past...
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| Format: | Article |
| Language: | English |
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Association Française d'Etudes Américaines
2016-07-01
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| Series: | Transatlantica |
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| Online Access: | https://journals.openedition.org/transatlantica/7869 |
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| _version_ | 1832580819603947520 |
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| author | Anne Crémieux |
| author_facet | Anne Crémieux |
| author_sort | Anne Crémieux |
| collection | DOAJ |
| description | When they were first released, exploitation films were harshly criticized for their depiction of women and homosexuals. However, with the distance of time and the transformation of society, feminist audiences are reclaiming films whose quaint queers they can now enjoy not only as a trace of the past, but also as subversive characters they are seeing in a new light. This paper focuses on exploitation films such as Faster Pussycat! Kill! Kill! (1965) or Cleopatra Jones and the Casino of Gold (1975), and their reassessment, including in films and TV series that pay homage to female action heroines of the past. |
| format | Article |
| id | doaj-art-42eccf5e62924319b657885bc097743e |
| institution | Kabale University |
| issn | 1765-2766 |
| language | English |
| publishDate | 2016-07-01 |
| publisher | Association Française d'Etudes Américaines |
| record_format | Article |
| series | Transatlantica |
| spelling | doaj-art-42eccf5e62924319b657885bc097743e2025-01-30T10:42:58ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662016-07-01210.4000/transatlantica.7869Exploitation Cinema and the Lesbian ImaginationAnne CrémieuxWhen they were first released, exploitation films were harshly criticized for their depiction of women and homosexuals. However, with the distance of time and the transformation of society, feminist audiences are reclaiming films whose quaint queers they can now enjoy not only as a trace of the past, but also as subversive characters they are seeing in a new light. This paper focuses on exploitation films such as Faster Pussycat! Kill! Kill! (1965) or Cleopatra Jones and the Casino of Gold (1975), and their reassessment, including in films and TV series that pay homage to female action heroines of the past.https://journals.openedition.org/transatlantica/7869gaylesbianLGBTreceptionfeminismcinema |
| spellingShingle | Anne Crémieux Exploitation Cinema and the Lesbian Imagination Transatlantica gay lesbian LGBT reception feminism cinema |
| title | Exploitation Cinema and the Lesbian Imagination |
| title_full | Exploitation Cinema and the Lesbian Imagination |
| title_fullStr | Exploitation Cinema and the Lesbian Imagination |
| title_full_unstemmed | Exploitation Cinema and the Lesbian Imagination |
| title_short | Exploitation Cinema and the Lesbian Imagination |
| title_sort | exploitation cinema and the lesbian imagination |
| topic | gay lesbian LGBT reception feminism cinema |
| url | https://journals.openedition.org/transatlantica/7869 |
| work_keys_str_mv | AT annecremieux exploitationcinemaandthelesbianimagination |