Vansploitation

Last updated

Vansploitation is a term and film genre used to describe American independent films from the 1970s, in which a van or vans are the main key element to the plot, and feature comedic stories about young adults. [1]

Contents

History

The short-lived [2] [3] genre emerged in the United States during the early 1970s, exploiting the popularity of vans with young adults, and was very popular in the mid to late 1970s, but quickly fell off after the 1970s. Vansploitation films were originally made mostly for young audiences. Blue Summer (1973) is credited as the first film of the genre, which continued with films like The Van (1977) [4] and Van Nuys Blvd. (1979), the latter having been called "the most technically competent Vansploitation film". [5]

Defining qualities of the genre

Coffman argues that the mere appearance of a van in a film does not make it a vansploitation film. The van has to serve a special purpose in the story, which is summed up in the trailer of Van Nuys Blvd.: "Freedom, fun and fine transportation". [4] Often, vans were highly customized, up to the extent of having an entirely custom body in Supervan. [6] Besides the van itself, van culture (wardrobe, magazines, meetings of van drivers) is also often featured prominently. [7]

The van (or vans) must provide the engine that drives the plot forward and/or provide the stage in which the action of the plot actually takes place. ... The characters in Vansploitation films generally have goals oriented toward spending as much time in their van as possible, or in putting money into improving their van's performance and/or appearance via customization. ... In short, most van movies are about getting laid (in a van) and winning road games or other competitions (also in a van).

Jason Coffman, article about the Vansploitation genre. [4]

Most vansploitation movies were about harmlessly rebellious young people outwitting the stodgy authority figures bent on stopping them from having a good time.

Scott Ashlin, review of the film Twister's Revenge! .

The Van was one of those typical American exploitation movies. Central to the theme was a young man who gets the notion to forget about college and buy an expensive Dodge van.

George Barris / David Fetherston, book about Barris' work on the vans in the film. [8]

The genre follows two earlier ones that also dealt with car-related topics popular in youth culture at their respective times: In the 1950s, films featuring Hot Rods became very popular, and they were followed by motorcycle films in the 1960s (for example, The Wild Angels and Easy Rider ). As the popularity of vans in youth culture increased in the early 1970s, the first vansploitation films were created. [4] Multiple factors are credited with creating the "customized van craze". [9] For example, in 1975, the song "Chevy Van" by Sammy Johns sold about three million copies, and is credited for an increase in van sales the following year. [10] The song (among others by Sammy Johns) was used prominently in the soundtrack of The Van (1977).

Notable films

Coffman names six films as "essential texts" for the vansploitation genre: [4]

Related Research Articles

<span class="mw-page-title-main">Action film</span> Film genre

Action film is a film genre in which the protagonist is thrust into a series of events that typically involve violence and physical feats. The genre tends to feature a mostly resourceful hero struggling against incredible odds, which include life-threatening situations, an indestructible villain, or a pursuit which usually concludes in victory for the hero.

The decade of the 1980s in Western cinema saw the return of studio-driven pictures, coming from the filmmaker-driven New Hollywood era of the 1970s. The period was when "high concept" films gained popularity, where films were expected to be easily marketable and understandable. Therefore, they had short cinematic plots that could be summarized in one or two sentences. The modern Hollywood blockbuster became the most popular form of cinema from the 1980s onwards. Producer Don Simpson is usually credited with the creation of the high-concept picture.

<span class="mw-page-title-main">Art film</span> Film genre

An art film, art cinema, or arthouse film, is typically an independent film, aimed at a niche market rather than a mass market audience. It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal", "made primarily for aesthetic reasons rather than commercial profit", and containing "unconventional or highly symbolic content".

<span class="mw-page-title-main">Exploitation film</span> Informal film genre

An exploitation film is a film that tries to succeed financially by exploiting current trends, niche genres, or lurid content. Exploitation films are generally low-quality "B movies", though some set trends, attract critical attention, become historically important, and even gain a cult following.

The New Hollywood, also known as American New Wave or Hollywood Renaissance, was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on a key authorial role.

<span class="mw-page-title-main">Cinema of the Netherlands</span> Filmmaking industry in Netherlands

Cinema of the Netherlands refers to the film industry based in the Netherlands. Because the Dutch film industry is relatively small, and there is little or no international market for Dutch films, almost all films rely on state funding. This funding can be achieved through several sources, for instance through the Netherlands Film Fund or the public broadcast networks. In recent years the Dutch Government has established several tax shelters for private investments in Dutch films.

<i>Simon, King of the Witches</i> 1971 film by Bruce Kessler

Simon, King of the Witches is a 1971 American exploitation horror film directed by Bruce Kessler and starring Andrew Prine, Brenda Scott, George Paulsin, Norman Burton and others. The film centers on the title character as he attempts to become a god through magic rituals.

Sammy Reginald Johns was an American singer and songwriter, known for his 1975 sleeper hit song, "Chevy Van", which was released in 1973. The song was certified gold by the RIAA on May 5, 1975.

<i>The Van</i> (1977 film) 1977 American low-budget independent teen comedy film by Sam Grossman

The Van is a 1977 American low-budget independent teen comedy film directed by Sam Grossman and starring Stuart Getz, Deborah White, Danny DeVito, Harry Moses, Marcie Barkin, Bill Adler, Stephen Oliver, and Connie Lisa Marie.

A Midsummer Night's Rave is a 2002 American film adapted from Shakespeare's A Midsummer Night's Dream released on November 1, 2002. The film stars Corey Pearson, Lauren German, Andrew Keegan, Chad Lindberg, and Sunny Mabrey; and was directed by Gil Cates Jr. It is set at a rave, rather than the forest where most of the original is set. The film received little attention from professional movie critics, but is considered a success with teen audiences, and has been used as an exemplar for a category of movies in more academic publications.

Sex comedy, erotic comedy or more broadly sexual comedy is a genre in which comedy is motivated by sexual situations and love affairs. Although "sex comedy" is primarily a description of dramatic forms such as theatre and film, literary works such as those of Ovid and Geoffrey Chaucer may be considered sex comedies.

<span class="mw-page-title-main">Masala film</span> Film genre

Masala films of Indian cinema are those that blend multiple genres into one work. Masala films emerged in the 1970s and are still created as of the 2020s. Typically these films freely blend action, comedy, romance, and drama or melodrama. They also tend to be musicals that include songs, often filmed in picturesque locations.

Tara Strohmeier is a retired actress who appeared in memorable B-movies in the 1970s, many of them made for drive-in theater business and have since acquired large cult followings.

<span class="mw-page-title-main">Blaxploitation</span> Film genre

Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. The genre does rank among the first after the race films in the 1940s and 1960s in which black characters and communities are the protagonists and subjects of film and television, rather than sidekicks supportive characters, antagonists or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.

<i>Van Nuys Blvd.</i> (film) American film

Van Nuys Blvd. is a 1979 comedy film written and directed by William Sachs and released by Crown International Pictures. It features 1974 Playboy Playmate of the Year Cynthia Wood. The film's tag line is: "The Greatest Cruisin' in the Land Takes Place on the Street -- Where it all Began ..."

<i>Bat Pussy</i> 1970s American pornographic parody film by an anonymous director, released in 1996

Bat Pussy is an American pornographic film, believed to have been produced and possibly released in the early 1970s. Ostensibly a spoof of the 1966–1968 Batman television series, it has been cited as the earliest example of a pornographic parody film and more infamously considered to be the worst pornographic film ever made.

William Sachs is an American film director/producer and writer. Besides his work as a writer and director, since working on Joe, Sachs has been particularly noted for successfully doctoring others' films prior to release in order to conform them to the producers' wishes for broader commercial appeal. His films have screened and received more than 25 awards at various festivals.

<i>Supervan</i> (film) American film

Supervan is a 1977 American vansploitation film directed by Lamar Card. It features a very heavily modified van central to the storyline. It is an action adventure comedy road movie and is rated PG.

<i>C.B. Hustlers</i> 1976 American film

C. B. Hustlers is a 1976 American Action-adventure/comedy film directed by Stu Segall. Although the film has been referred to as a vansploitation film, vans play a smaller role than in other films of that genre.

References

  1. "Gutterfilms.com: Article about vansploitation films" . Retrieved May 27, 2016..
  2. "Hemming's Daily: Note about the film "supervan"" . Retrieved May 27, 2016.
  3. "AV Club: Article about the film "supervan"" . Retrieved May 27, 2016.
  4. 1 2 3 4 5 "Jason Coffman: A brief guide to vansploitation cinema, page 1".
  5. "Jason Coffman: A brief guide to vansploitation cinema, page 2".
  6. "Chromjuwelen: Article about the van used in Supervan, mentioning it was a "Vansploitation" film" . Retrieved May 27, 2016..
  7. "Balls Academy: Review of "The Van", talking about vansploitation" . Retrieved May 27, 2016..
  8. Barris, George (1996). Barris TV and Movie Cars. MBI Publishing Company. p. 75.
  9. "Moviefone: Review of the film "Supervan"".
  10. "Biography of Sammy Johns, written by Linda Seida". Allmusic.com. Retrieved June 10, 2016.