Hick Flicks: The Rise and Fall of Redneck Cinema

Hick Flicks: The Rise and Fall of Redneck Cinema

Scott Von Doviak

Language: English

Pages: 222

ISBN: 0786419970

Format: PDF / Kindle (mobi) / ePub

While the pimps and players of blaxploitation movies dominated inner-city theaters, good old boys with muscle under their hoods and moonshine in their trunks roared onto drive-in screens throughout rural America. The popularity of these hick flicks grew throughout the '70s, and they attained mass acceptance with the 1977 release of Smokey and the Bandit. It marked the heyday of these regional favorites, but within a few short years, changing economic realities within the movie business and the collapse of the drive-in market would effectively spell the end of the so-called hixploitation genre. Chapters are divided into three major topics. Part One deals with good ol' boys, from redneck sheriffs, to moonshiners, to honky-tonk heroes and beyond. Part Two explores road movies, featuring backroad racers, truckers and everything in between. Part Three, In the Woods, covers movies about all manner of beasts - some of them human - populating the swamps and woodlands of rural America. Film stills are included, and an afterword examines both the decline and metamorphosis of the genre. A filmography, bibliography and index accompany the text.

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Table of Contents Acknowledgments Foreword: Triumph of the Hick (Chris Gore) Preface: Downriver PART I: GOOD OL’ BOYS 1. Moonshiners 2. Smokey the Red-Necked Sheriff 3. Honky Tonk Heroes 4. Crackerjacks 5. Hick Chicks 6. Dixie DeMilles PART II: ON THE ROAD 7. Around the Track 8. From Sea to Shining Sea 9. Fender Benders 10. Keep on Truckin’ PART III: IN THE WOODS 11. The Death of Bigfoot 12. Creepy Critters 13. Hillbilly Horror Afterword:

that embraced Gator Bait, and its star in particular. Jennings’ Cajun accent was shaky, but her confident embodiment of the sexy action hero was indisputable. A decade before Sigourney Weaver’s supposedly groundbreaking turn in Aliens, Jennings was already kicking ass and taking names. The denim short-shorts, flowing red locks and lopsided grin all added up to a drive-in icon. Gator Bait was a pedestrian vehicle, but Jennings made it a box office smash. Queen of the hick flicks Claudia

evil as one that is more and more bucolic.” When cult filmmaker and Lewis fan John Waters asked the director if his movies were made for a redneck audience, the answer was, “It turned out that way, but that wasn’t the intention. Redneck is not quite the word—‘gorehound’ is probably better.” Yet when asked to describe the audience for his films by John McCarty, Lewis replied, “A typical audience member would live south of the Mason-Dixon Line, would be between twenty-five and forty-five, would

Bobby and Rose (1975, d. Floyd Mutrux) Amateur Night at the Dixie Bar and Grill (1979, d. Joel Schumacher) American Hollow (1999, d. Rory Kennedy) American Movie (1999, d. Chris Smith) Any Which Way You Can (1980, d. Buddy Van Horn) Attack of the Giant Leeches (1959, d. Bernard L. Kowalski) Back Roads (1981, d. Martin Ritt) Bad Georgia Road (1977, d. John C. Broderick) Bigfoot (1970, d. Robert F. Slatzer) Bigfoot: Man or Beast? (1975, Lawrence Crowley) Black Dog (1998, d. Kevin Hooks)

and find out more about these films in Chapter 3, “Honky Tonk Heroes.” 5. Surely you remember Jack Chick comics? These tract-sized fundamentalist funnies with titles like Are Roman Catholics Christians? and This Was Your Life were ubiquitous in the Seventies, terrifying millions of youngsters with tales of hippies being cast into the lake of fire. Chapter 7 1. Reynolds and Anderson also appeared together in the TV-movie B.L. Stryker: Grand Theft Auto, and both provided voices for the animated

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