Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972

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Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972

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dc.contributor.advisor Schatz, Thomas, 1948-
dc.creator Metz, Daniel Curran
dc.date.accessioned 2010-11-01T17:32:53Z
dc.date.accessioned 2010-11-01T17:33:10Z
dc.date.available 2010-11-01T17:32:53Z
dc.date.available 2010-11-01T17:33:10Z
dc.date.created 2010-05
dc.date.issued 2010-11-01
dc.date.submitted May 2010
dc.identifier.uri http://hdl.handle.net/2152/ETD-UT-2010-05-1383
dc.description.abstract “Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subject Art house
dc.subject Sexploitation
dc.subject Hardcore
dc.subject Film history
dc.subject Art
dc.subject Sex
dc.subject Film exhibition
dc.subject Movie theatre
dc.subject Brigitte Bardot
dc.subject The Immoral Mr. Teas
dc.subject Art film
dc.subject European art film
dc.subject Ambiguous art film
dc.subject Sex kitten
dc.subject I am curious (yellow)
dc.subject Blow-up
dc.subject Stanton art theatre
dc.subject Lorna
dc.subject I, a woman
dc.subject Censorship
dc.subject Production code
dc.subject Hollywood
dc.subject Little cinema
dc.subject Sure seater
dc.title Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972
dc.date.updated 2010-11-01T17:33:10Z
dc.contributor.committeeMember Berg, Charles R.
dc.description.department Radio-Television-Film
dc.type.genre thesis
dc.type.material text
thesis.degree.department Radio-Television-Film
thesis.degree.discipline Radio-Television-Film
thesis.degree.grantor University of Texas at Austin
thesis.degree.level Masters
thesis.degree.name Master of Arts

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