“Exploitation Cinema”… it’s all in the name, isn’t it? One of those rare instances in which bigotry and kyrarchy brazenly names itself. And we, collectively, brazenly accept it as a legitimate aspect of our cultural discourse regardless.
How, exactly, is it that white male hipsters can go around describing themselves as fans of “exploitation film” and get a pat on the back for their “good taste”? Where the racism and misogyny of filmmakers like Quentin Tarantino is accepted as “genius” so long as it remains filtered through “contextual” qualifiers of “retro-aesthetics”, “irony” and its allegedly “empowering” nature for whosoever is the target of the exploitation? [Read more...]