The film Sex Madness (1938) portrayed the dangers of venereal disease from premarital sex. did in their 1969 anti- LSD, anti- counterculture film The Big Cube. With enough incentive, however, major studios might become involved, as Warner Bros. Other issues, such as drug use in films like Reefer Madness (1936), attracted audiences that major film studios would usually avoid in order to keep their respectable, mainstream reputations. Child Bride (1938), for example, tackled the issue of older men marrying young girls in the Ozarks. Įxploitation films have often exploited news events in the short-term public consciousness that a major film studio may avoid because of the time required to produce a major film. The audiences of art and exploitation film are both considered to have tastes that reject the mainstream Hollywood offerings. It has been suggested that if Carnival of Souls had been made in Europe, it would be considered an art film, while if Eyes Without a Face had been made in the U.S., it would have been categorized as a low-budget horror film. Buñuel's Un Chien Andalou contains elements of the modern splatter film. Many films recognized as classics contain levels of sex, violence, and shock typically associated with exploitation films examples are Stanley Kubrick's A Clockwork Orange, Tod Browning's Freaks, and Roman Polanski's Repulsion. Exploitation films share the fearlessness of acclaimed transgressive European directors such as Derek Jarman, Luis Buñuel, and Jean-Luc Godard in handling "disreputable" content.
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Titillating material and artistic content often coexist, as demonstrated by the fact that art films that failed to pass the Hays Code were often shown in the same grindhouses as exploitation films. "Exploitation" is loosely defined and arguably has as much to do with the viewer's perception of the film than with the film's actual content. Since the 1990s, this genre has also received attention in academic circles, where it is sometimes called paracinema.
Their producers used sensational elements to attract audiences lost to television.
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The Motion Picture Association of America (and the Motion Picture Producers and Distributors of America before it) cooperated with censorship boards and grassroots organizations in the hope of preserving the image of a "clean" Hollywood, but the distributors of exploitation film operated outside of this circuit and often welcomed controversy as a form of free promotion. Such films were first seen in their modern form in the early 1920s, but they were popularized in the 60s and 70s with the general relaxing of censorship and cinematic taboos in the U.S. Exploitation films may feature suggestive or explicit sex, sensational violence, drug use, nudity, gore, the bizarre, destruction, rebellion, and mayhem.