1. David Edelstein, “Blood and Guts. No Urine,” New York, 16 April 2007, <http://nymag.com/movies/reviews/30321/> (2 April 2009).
[return to page 1 of essay]

2. Jack Stevenson, Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist (London: Headpress, 2003), 76.

3. Brandon Gray, “Grindhouse Dilapidated Over Easter Weekend.” 9 April 2007, <http://www.boxofficemojo.com/news/?id=2289&p=s.htm> (2 April 2009);
“The Grindhouse Second-Guessing Scorecard,” 9 April 2007 <http://www.thereeler.com/the_blog/the_grindhouse
>  (2 April 2009);
“The Morning After: Length, Timing Gutted Grindhouse B.O.,” Daily Variety, 10 April 2007, 1. For sections of the international audience even less familiar with the exploitation double feature, The Weinstein Company announced they would be distributing the two features separately—a strategy demonstrating the malleability of the film’s high concept under a global Hollywood regime (“Not the Same Old Grind,” Daily Variety, 19 February 2007, 5).

4. Caetlin Benson-Allott, “Grindhouse: An Experiment in the Death of Cinema,” Film Quarterly 62:1 (Fall 2008): 20.

5. Annalee Newitz, “What Makes Things Cheesy? Satire, Multinationalism, and B-Movies,” Social Text 63 (Summer 2000): 59-82.

6. Eric Schaefer, “Bold! Daring! Shocking! True!” A History of Exploitation Films, 1919-1959 (Durham: Duke University Press, 1999)

7. Douglas Gomery, Shared Pleasures: A History of Movie Presentation in the United States (Madison: University of Wisconsin Press, 1992).

8. Ina Rae Hark, ed., Exhibition, the Film Reader (New York: Routledge, 2002); Gregory A. Waller, Moviegoing in America: A Sourcebook in the History of Film Exhibition (Oxford: Blackwell, 2002).

9. Bill Landis and Michelle Clifford, Sleazoid Express: A Mind-Twisting Tour Through the Grindhouse Cinema of Times Square (New York: Fireside, 2002); Eddie Muller and Daniel Faris, Grindhouse: The Forbidden World of “Adults Only” Cinema (New York: St. Martin’s Press, 1996); Stevenson, Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist.

10. Eddie Muller and Daniel Faris, Grindhouse: The Forbidden World of “Adults Only” Cinema, 8.

11. Larry Carroll, “Tarantino and Rodriguez Eager to Exploit More Exploitation Flicks,” 27 March 2007,
< http://www.mtv.com/movies/news/articles/
> (2 April 2009).

12. Jeffrey Sconce, “‘Trashing’ the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style,” Screen 36:4 (Winter 1995): 371-393.

13. <http://www.42ndstreetpete.com> (24 April 2010).

14. Emmanuel Itier, "Planet Terror/Death Proof: A Modern Day Double Feature from the Masters of the Grindhouse," 29 March 2007
(10 September 2012).

15. Gerald Peary, ed., Quentin Tarantino: Interviews (Jackson: University Press of Mississippi, 1998), vii.

16. Chuck Stephens, “The Whole She-Bang: The Incredible Two-Headed Tarantino and the Last of His Double Bills,” Film Comment 40 (July-August 2004): 44.

17. Cindy Pearlman, “Blood & Guts: Quentin Tarantino and Robert Rodriguez Dare to Bring Bloody Back with Grindhouse, Their Late-Night Double Feature Gorefest,” Chicago Sun-Times 1 April 2007, D1.

18. Chris Willman, “Celluloid Heroes,” in Quentin Tarantino: Interviews, ed. Peary, 139-140.

19. Alain Bielik, “Grindhouse: Pistol-Packing VFX,” 6 April 2007,
> (30 March 2009);
Martin McEachern, “Grindhouse,” Computer Graphics World 30 (April 2007), <http://www.cgw.com/Publications/CGW/2007/
> (10 September 2012) [return to page 2]

20. Though Rodriguez, Wright, Roth all discussed in interviews the possibility of expanding these trailers into actual films, the financial failure of Grindhouse has made this less likely. Only Machete (2010) has made it to the theater, starring Danny Trejo, Lindsay Lohan, Robert DeNiro, and Cheech Marin. Hobo with a Shotgun, originally the winner of a Grindhouse trailer competition at 2007’s South by Southwest festival in Austin, was shot in Halifax and released in 2011 with Rutger Hauer as the titular hobo.

21. Caetlin Benson-Allott, “Grindhouse,” 21.

22. Paul Grainge, Monochrome Memories: Nostalgia and Style in Retro America (Westport: Praeger, 2002), 19-40.

23. Grainge, Monochrome Memories, 29.

24. Fredric Jameson, Postmodernism, Or, The Cultural Logic of Late Capitalism (Durham: Duke University Press, 1997), 19-20, 279-296.

25. Simon During, “Postmodernism or Post-colonialism Today,” Textual Practice 1:1 (1987): 32-47; Linda Hutcheon, “Irony, Nostalgia, and the Postmodern,” 1998
<http://www.library.utoronto.ca/utel/criticism/hutchinp.html - N69> (2 April 2009).

26. Given the film’s exploitation origins, it may not be surprising that both missing reels happen during scenes promising erotic activity—a love scene in Planet Terror, a lap dance in Death Proof—which, of course, never arrive (though the lap dance does resurface in Death Proof’s stand-alone “extended” DVD release).

27. Laura U. Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis: University of Minnesota Press, 2002), 93-94.

28. Lucas Hilderbrand, “Grainy Days and Mondays: Superstar and Bootleg Aesthetics,” Camera Obscura 57 (2004): 71.

29. Hilderbrand, “Grainy Days and Mondays,” 71.

30. Grant McCracken, Culture and Consumption: New Approaches to the Symbolic Character of Consumer Goods and Activities (Bloomington: Indiana University Press, 1991) 13; see also Erving Goffman, “Symbols of Class Status,” British Journal of Sociology 2 (December 1951): 294-304.

31. Grainge, 3.

32. In fact, in 2010 yet another version of Planet Terror was released on Blu-ray, dropping the Machete trailer and removing nearly all the digital scratches and other damage done to the film. The Blu-ray of Death Proof, which had from its theatrical release shown less aggressive print degeneration, remained in this respect “intact.”

33. Charles R. Acland, Screen Traffic: Movies, Multiplexes, and Global Culture (Durham: Duke University Press, 2003), 62-67.

34. Acland, Screen Traffic, 65.

35. Janet Staiger, Perverse Spectators: The Practices of Film Reception (New York: New York University Press, 2000), 2.

36. Staiger, Perverse Spectators, 55.

37. Acland, 68.

38. At the theaters of the now-defunct Kerasotes chain in the Midwest, I have often laughed at the Panopticon-like warning preceding the show: “We are always nearby.”

39. Acland, 57-58.

40. Acland, 243.

41. Landis and Clifford, Sleazoid Express: A Mind-Twisting Tour Through the Grindhouse Cinema of Times Square, 79.

42. Michael Bérubé, “Theory Tuesday V (part two),” 6 September 2006,
> (5 January 2009).

43. Schaefer, “Bold! Daring! Shocking! True!” A History of Exploitation Films, 1919-1959, 123-124.

44. José B. Capino, “Homologies of Space: Text and Spectatorship in All-Male Adult Theaters,” Cinema Journal 45 (Fall 2005): 50-65; John Champagne, “Stop Reading Films! Film Studies, Close Analysis, and Gay Pornography,” Cinema Journal 36 (Summer 1997): 76-97; Scott MacDonald, “Confessions of a Feminist Porn Watcher,” in Film Quarterly: Forty Years—A Selection, eds. Brian Henderson and Anne Martin (Berkeley: University of California Press, 1999).

45. Samuel R. Delany, Times Square Red, Times Square Blue (New York: New York University Press, 1999). For an account of the Times Square redevelopment project and its ramifications, see Benjamin Chesluk, Money Jungle: Imagining the New Times Square (New Brunswick: Rutgers University Press, 2007).

46. Delany, Times Square Red, Times Square Blue, 15.

47. Don Gibalevich, “Out of the Past: Quentin Tarantino—On Ambition, Exploitation, and Playing Psycho,” in Peary, 177.

48. Gomery, Shared Pleasures: A History of Movie Presentation in the United States, 169. Jane Gaines has written intriguingly on the possibility of a long history of white spectators attending “race movies” at segregated theaters, as well as the historiographic dilemmas involved in such a project. Gaines, “The White in the Race Movie Audience,” in Going to the Movies: Hollywood and the Social Experience of Cinema, eds. Richard Maltby, Melvyn Stokes, and Robert C. Allen (Exeter: University of Exeter Press, 2007).

49. Delany, 179.

50. Steven Cohan, Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical (Durham: Duke University Press, 2005); Andrew Ross, No Respect: Intellectuals and Popular Culture (New York: Routledge, 1989).
[return to page 3]

51. Annalee Newitz, “What Makes Things Cheesy? Satire, Multinationalism, and B-Movies,” 59.

52. Newitz, “What Makes Things Cheesy?” 61.

53. Newitz, 60.

54. Newitz, n31.

55. For some considerations of Grindhouse and feminism, from multiple perspectives, see Richard Corliss, “Why Can't a Woman... Be a Man?” Time, 5 April 2007,
<http://www.time.com/time/magazine/article/0,9171,1607257,00.html> (2 April 2009);
Dana Stevens, “Bloody Good,” Slate, 5 April 2007,
<http://www.slate.com/id/2163590/> (30 March 2009).

56. Newitz, 61.

57. Marks, Touch: Sensuous Theory and Multisensory Media, 109.

58. Is there is a better film example to argue for the potential research value of downloading in-theater recordings of films off the Internet? As I was unable to afford (or stomach) buying the Japanese 6-disc theatrical release, my Bittorrent file was until fairly recently the only access I had to the theatrical version.

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