Film Posters: Exploitation

by Graham Marsh, Tony Nourmand (Editor), Dave Kehr (Foreword)

Sex, drugs, delinquency, Black power, alternative culture and, of course, rock and roll: these are just some of the themes, which have attracted the attention of the cinema's bottom-feeders over the past eighty years. A few of the resulting films have become cult classics, but most were simply tacky - few would probably now want to sit through two hours of "High School Hellcats" (1958) or "Hot Rod Rumble" (1957). The posters produced to promote them, on the other hand, are wonderful period pieces that vividly evoke the social fears, temptations and taboos of bygone eras. Up until the introduction of the Hayes Code in 1934 Hollywood had few inhibitions; the poster for "Girl Without A Room" (1933), for example, left audiences in little doubt as to how the young lady planned to find accommodation. Later in the decade, it became necessary to adopt the old tabloid trick of pretending that titillating content had a redeeming social message - thus the producers of "Marihuana" (1936) were obliged to present it as a warning about the dangers of drug addiction. In the 1950s, it was the Beats and juvenile delinquents who put a chill into middle-class hearts - and, of course, attracted middle-class kids to the drive-in screens. Then, in the 60s and 70s, came 'Blaxploitation' movies like "Shaft", Russ Meyer's mammary-obsessed epics like "Faster Pussycat, Kill, Kill", and even an animated sexploitation story, "Fritz The Cat". The posters for these films, from Alberto Vargas' artwork for "Ladies They Talk About" (1933) to Alan Aldridge's photomontage for Warhol's "Chelsea Girls" (1966), are masterpieces of visual innuendo, offering, in most cases, far more that the movies actually delivered.

Genres: Art, Film, Nonfiction, Collections, Design

191 pages, Paperback

First published October 1, 2005

About the author

Graham Marsh is an art director, illustrator and writer. He has written and art directed many ground-breaking visual books, including The Cover Art of Blue Note Records, Volumes I and II, East Coasting and California Cool. He has co-authored and art directed Denim – From Cowboys to Catwalks and a series of books with Tony Nourmand on movie posters. His most recent projects include The Ivy Look and an illustrated children’s book, Max and the Lost Note. He is also the creator of the Kamakura Vintage Ivy style shirts.
Graham’s illustrations have appeared in magazines, newspapers and on many CD and album covers. He has contributed to numerous publications including Country Life and Financial Times. He lives in Greenwich, south-east London.
Graham is the Art Director of The Rat Pack (R|A|P Two) and Weddings and Movie Stars.
He is the Art Director and Writer of Hollywood and The Ivy Look.

Reviews

[Susan · Rating 4 out of 5]

Great collection of hilarious, disturbing, weird, etc. film poster art from mostly trashy films. Not totally complete (they say it's a lot of films you'll never see, but I've seen a lot of them, or at least hard of them). I found myself looking for some that weren't there, but discovered all kind of fantastical art. It's a slice of history and art and exploitation/vulgarity/absurdity/erotica/etc., which kept me fascinated at my computer one night until very late. It sucks you in, much like the middle poster on the cover, oh dear. HELLO!

[Andrew · Rating 3 out of 5]

Exploitation films are a shady and somewhat forgotten part of cinema history, and as part of their overall cachet the posters that sold them to the audiences seeking titillation in theatres for much of the last century were most important. Marsh's book is a useful, if somewhat limited collection of these populist artworks, and one that provides a solid introduction to both the still and film visual texts that are chosen for examination. For those who are interested in either one or both media, including this reviewer, 'Film Posters: Exploitation' will be a very enjoyable read.

The format of the book is heavy on images of the film posters and much lighter on the supporting text. However this is not an indication that Marsh doesn't provide enough considered thought into his critiques of the posters, or for that matter the background history that is either related specifically to the poster and film in question, or the exploitation sub-genre that is represented. One can find much value in what Marsh writes about the films and their posters, such as important biographical information on key identities such as film makers Kroger Babb, Roger Corman et al, or artists like Antonio Vargas. Marsh also details significant events and developments in the history of film censorship as it effected Hollywood's studio industry during the so-called Hays Code era. There is not enough textual content for a more expansive study of censorship, sex, drugs and race as issues in Hollywood's film industry during much of the Twentieth Century; one would need to go to a more focused text to garner a fuller understanding of these issues instead of Marsh's book. However what is presented is most ubiquitous.

The posters are the real raison d'etre for this book and the reproductions are from a wide and intriguing range. In many ways the populist artwork one sees in these film posters are worthy of study from an aesthetic as well as a historic perspective. Some of the illustrations demonstrate that the producers of these posters had much to offer in terms of creativity and artistic vision. Of course there is an undeniable commercial purpose for each of the selected posters, and they are often 'over the top' in their salacious and provocative textual imagery. However just because the subject of the artwork is aimed at provocation for profit doesn't mean it can also be praised for its technical qualities, its aesthetic. Marsh arguably leaves this aspect of his study slightly underdone but this is a due in part to the dual purpose of the book.

Students of film history, of commercial art and fans of exploitation cinema will definitely find this book a worthy read. Those not so familiar to the subjects treated in the book will also hopefully discover new and interesting perspectives on cinema and art. For those who want a more serious or comprehensive study one suspects 'Film Posters: Exploitation' may not be the final word on the subject.

[Adrijana · Rating 4 out of 5]

In "Film Posters: Exploitation," Graham Marsh takes us on a riveting journey through the bold and often brash world of exploitation film posters. This book isn't just a collection of images; it's a gateway into an era where cinema was unapologetically sensational and delightfully daring.

Marsh's curation is top-notch. Each poster is a vibrant echo of a bygone era, telling a story far beyond its cinematic counterpart. The colors are loud, the designs are edgy, and every page feels like a rebellious shout against the mundane. It's a visual feast that captures the essence of exploitation cinema with an almost tactile authenticity.

What I particularly appreciate is the context Marsh provides. He doesn't just show us the posters; he immerses us in their world. His commentary on the cultural and historical significance of these films and their marketing strategies is insightful. It's fascinating to see how these posters were not just advertisements but also reflections of the societal undercurrents of their time.

The book isn't without its flaws. At times, the organization feels a bit scattered, and I found myself wishing for a more chronological or thematic approach to give a clearer evolution of the genre. Also, some more obscure but culturally significant posters could have been included to give a broader perspective.

However, these are minor quibbles in what is otherwise a splendid homage to a niche of cinematic history. "Film Posters: Exploitation" by Graham Marsh is a must-have for film buffs and art enthusiasts alike. It's a reminder of a time when cinema dared to be different, and advertising was an art form that boldly said what the films sometimes couldn't. Four stars for a book that's as audacious and arresting as the posters it celebrates.

[Gonzalo Oyanedel · Rating 3 out of 5]

Repaso histórico al cartel como reclamo publicitario en el cine explotación, donde los textos adjuntos (en abundancia) reflejan la premisa de las películas publicitadas. Entretenido.

[Sebastián · Rating 5 out of 5]

Sin tratar de defender lo indefendible, esta colección de posters de películas clase B (y peores) no solo es un grandioso recorrido histórico sobre la presentación gráfica de lo absurdamente burdo (y su evolución con el tiempo) sino que los textos explicativos que acompañan las imágenes muestran cómo han cambiado las actitudes respecto al "demasiado" en el cine desde los años treinta.
No debería pretender decir que el Exploitation (y todos y cada uno de sus sub-géneros) tiene algún valor (ni porque cineastas reconocidos así lo pregonen), sólo que este cine bamba, maluco, sucio, puerco, barato y chambón ha servido de inspiración para algunos y ha sido históricamente un rasero sobre los pánicos morales y el nivel de tolerancia de las sociedades.
Me dan ganas de hacer un ciclo con varias de estas películas.

[Anthony · Rating 5 out of 5]

I love movie poster art, especially from the 60's and 70's. This book on Exploitation Poster Art was perfect. Unlike most movie poster books which just show the poster, this book fills in the gaps giving each poster a place in its history. Identifying the artist, when possible, also helps bring the poster to life as an art. Author, Tony Nourmand, really knows his material and gives an excellent look at the world of taboo films of post-Hays Code and pre-digital era of cinema.

[William · Rating 4 out of 5]

The censors and the filmmakers shared one thing: a love of publicity.

This is an excellent collection of artwork from the history of exploitation films. It differs from other books in this series in that it provides a running commentary for every poster, offering insight into the cultural contexts which spawned each film.

[Sebastien · Rating 5 out of 5]

Fantastic selection of images in this catalogue. Big time thumbs up.