Australian Cinema in the 70s and 80s: A Unique Landscape for Exploitation Films

While the 1970s and 1980s saw a proliferation of various exploitation films from countries like Spain, the United States, Brazil, and Switzerland, Australia remained unique in its cinematic landscape. Notable films such as Spain’s 99 Women, America’s Big Doll House, Brazil’s Behind Bars, and Switzerland’s Women in Cellblock 9 garnered attention worldwide, but no equivalent were produced in Australia. This essay explores the reasons behind this phenomenon, delving into cultural, industry, and regulatory contexts.

Cultural Context

Australia in the 1970s and 1980s was undergoing significant social changes, including the women's liberation movement. As part of this movement, there was a growing awareness and critique of sexism and objectification in media. Unlike in other countries, Australian filmmakers faced a growing resistance to producing films that were overly misogynistic or exploitative. As a result, there was less inclination to delve into exploitation genres that were widespread internationally.

Film Industry Structure

The Australian film industry was, and still is, considerably smaller and less commercially driven than its counterparts in Hollywood or international markets. This meant that filmmakers had to focus on creating content that could resonate with local audiences or achieve broader international acclaim, rather than pursuing niche exploitation genres. The relative size and market demands of the industry contributed to a different approach to filmmaking.

Regulatory Environment

The Australian film classification system was also more stringent. Films deemed excessively exploitative or offensive often faced significant censorship and distribution hurdles. This stringent regulatory environment discouraged filmmakers from pursuing certain types of exploitation narratives. Instead, they often leaned towards more socially conscious or dramatic genres.

Alternative Genres

Australian cinema during this era often focused on genres other than outright exploitation films. For instance, gritty dramas and films that delved into more serious topics gained more traction. Examples include the critically acclaimed series “Orange is the New Black,” which is relatively tame compared to some of the more explicit content produced in the 1970s and 1980s.

The Female Prison Genre

The female prison genre, often linked with exploitation, was not about titillations or pornography. Instead, it tended to delve into more socially critical narratives. Australian filmmakers during this period produced a series that, in comparison, made “Orange is the New Black” seem rather tame. Films like “Number 96,” while explicit, were more focused on drama and social critique.

Technological and Legal Constraints

Technological and legal constraints also played a role. In Australia, the making and distributing of pornographic materials were technically illegal in most states. Consequently, such content was produced in the Northern Territory or the Australian Capital Territory (ACT). However, owning unclassified films from these territories or from overseas was not prohibited. This legal and technical environment further influenced the content and distribution of such films in the country.

Commercial Viability and Market Demands

Commercially, the Australian market for regular films was small, and wages were high, leading to a focus on niche markets rather than mainstream exploitation genres. While some adult content was indeed produced, it often struggled to gain mainstream acceptance or profitability.

Conclusion

While the 1970s and 1980s saw significant productions in various countries, Australia’s cultural, regulatory, and industry contexts likely contributed to a lack of similar exploitation films being produced during that era. Australian cinema tended to lean towards more socially conscious and dramatic narratives, making it distinct from its international counterparts in that period.