Latsploitation
From The Art and Popular Culture Encyclopedia
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'''Latsploitation''' is a term used to denote [[Latin American]] [[exploitation film]]s. | '''Latsploitation''' is a term used to denote [[Latin American]] [[exploitation film]]s. | ||
- | The term was coined in 2010 with the publication of Exploring the much neglected area of Latin American exploitation cinema, this anthology challenges established continental and national histories and canons which often exclude exploitation cinema due to its perceived ‘low’ cultural status. It argues that Latin American exploitation cinema makes an important aesthetic and social contribution to the larger body of Latin American cinema – often competing with Hollywood and more mainstream national cinemas in terms of popularity. | + | The term was coined in 2009 with the publication of ''[[Latsploitation, Exploitation Cinemas, and Latin America]]'' (2009) |
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+ | Exploring the much neglected area of Latin American exploitation cinema, this anthology challenges established continental and national histories and canons which often exclude exploitation cinema due to its perceived ‘low’ cultural status. It argues that Latin American exploitation cinema makes an important aesthetic and social contribution to the larger body of Latin American cinema – often competing with Hollywood and more mainstream national cinemas in terms of popularity. | ||
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Revision as of 11:15, 26 June 2019
"Latsploitation embraces the Argentine 'sexploitation' films of Armando Bo and Isabel Sarli, the Brazilian pornochanchada subgenre, and Ecuador's ultra low-budget 'hitmen' films. By far the largest producer in the region, however, is *Mexico—giving rise to the term mexploitation." --A Dictionary of Film Studies (2012), Annette Kuhn, Guy Westwell |
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Latsploitation is a term used to denote Latin American exploitation films.
The term was coined in 2009 with the publication of Latsploitation, Exploitation Cinemas, and Latin America (2009)
Exploring the much neglected area of Latin American exploitation cinema, this anthology challenges established continental and national histories and canons which often exclude exploitation cinema due to its perceived ‘low’ cultural status. It argues that Latin American exploitation cinema makes an important aesthetic and social contribution to the larger body of Latin American cinema – often competing with Hollywood and more mainstream national cinemas in terms of popularity.