Excerpt: Produced in the late sixties and seventies, hillbilly sexploitation and blaxploitation signify contemporaneous moments of hybridized and degraded cinema production that challenged the norms of sexual presentation on screen utilizing widely held cultural notions of race, space, and subjectivity. Created cheaply and quickly by B-level studios, hillbilly sexploitation represented an amalgamation of the sexploitation genre (itself a blend of sex and exploitation categories) and the film and television hillbilly genres. Blaxploitation film represented both a category of exploitation film and a subgenre of action film. While hillbilly sexploitation represented a popular imagining of the country for urbanized populations, blaxploitation's country people presented a way of distancing Black people from rural locales and naturalizing the city as the primary location for African American culture. I argue that both subgenres of popular film, now relegated to the classification of "trash cinema," contradict the idea that the faults of the city can be blamed on the economically disadvantaged people that dwell there. Rather, these films challenge and parody mainstream ideas of the country and the city and their inhabitants.
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