![]() ![]() This freedom, once I paid my debt to the requirements of the genre, allowed me to address what interested me… political and social conflicts and the changes they produce. Please notice, I did not say sex, I said nudity. In an interview with Henry Jenkins, she said, “…we were free to develop the story of the nurses as we wished, as long as there was enough nudity and violence distributed throughout it. The genius of Rothman is that she could take the expected - men have fantasies over nurses - and make a movie that sure, has all the nudity that the exploitation tag demands, but also challenge viewers and make them see more than just breasts. If that was going to be my lot, then that’s what I was going to try and do with it.” It was dismaying to me, but at the same time I decided to make the best exploitation films I could. Then I went and did some research to find out exactly what exploitation films were, their history and so forth, and then I knew that’s what I was doing, because I was making low-budget films that were transgressive in that they showed more extreme things than what would be shown in a studio film, and whose success depended on their advertising, because they had no stars in them. So that’s how I learned that I had made an exploitation film. She said to Interview, “I had never heard that term before. Rothman had no idea what an exploitation movie was until she saw a review that called her movie one. ![]() When Roger Corman got New World Pictures running, he hired Stephanie Rothman - who started working for him since 1964 as his assistant - to write and direct its second film. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |