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Aussie Sexploitation 8x10s

DavidDavid Member Posts: 10,213 admin
edited November 2017 in Dating the Poster
I got a few of these but I am unsure of the release dates in Oz. I am fairly confident it wasn't when the movies came out as the person from whom I got these cards from worked there from the mind/late 70s thru to the late 80s.












Post edited by David on
David

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  • HONDOHONDO Member, Wizard of Aus Posters Posts: 7,920 ✭✭✭✭✭ Elite Collector
    David said:
    I got a few of these but I am unsure of the release dates in Oz. I am fairly confident it wasn't when the movies came out as the person from whom I got these cards from worked there from the mind/late 70s thru to the late 80s.












    All the three titles,Good Morning And Goodbye ( 1967 ), Finders Keepers, Lovers Weepers ( 1968 ) and Super Vixens ( 1975 ) were submitted by Columbia Pictures for Australian censorship and passed for exhibition in 1976 with R certificates. Super Vixens was initially banned but a reconstructed version was passed on appeal. A full length version of Super Vixens was later submitted by Regent Films and passed for exhibition with an R certificate in 1981. My feeling is the three cards with the credits on the bottom would be from the Columbia Pictures release circa 1976. The yellow card with just Russ Meter's Super VIXENS featured of the top section of the image is most likely printed on heavy stock paper. A similar heavy stock style card of Super Vixen featuring a different scene had Bruce pondering if this style of card was printed for use overseas. I don't know the answer but as the heavy stock card is completely different in style from the other three, perhaps the card was used by Regent Films when they re-released a longer running version in circa 1981. 
    Lawrence
  • DavidDavid Member Posts: 10,213 admin
    Thanks Lawrence

    The stock weight is the same no matter what colour or title. I do have others of the same title of another colour (all are either pink or yellow). eg




    I was thinking the one you mention is likely the title card.

    I forgot to mention they were all printed by MAPS.

    David
  • HONDOHONDO Member, Wizard of Aus Posters Posts: 7,920 ✭✭✭✭✭ Elite Collector


    This is the  one Bruce states is on heavy card stock, I cannot see MAPS on any of the four cards or on this one either. Is MAPS printed on the back of the cards?  Perhaps Bruce if he reads this could check it out and let us know his thoughts ?

    David's card is similar in presentation so I wouldn't think there were too title cards, Lobby cards aren't my strong point. but I'm wondering if by the 1970's title cards were still being produced ? 
    Lawrence
  • PanchoPancho Member Posts: 583 ✭✭✭ Daybiller
    The daybill for 'Super Vixens' was also printed on heavier stock that the usual daybill. Another Russ Meyer film - 'Up!' - is the same. I have two types of daybill for that film and they are both on the heavy stock.

    No idea for the difference, as films like 'F.K.L.W' and 'Vixen' are normal daybills.
  • HONDOHONDO Member, Wizard of Aus Posters Posts: 7,920 ✭✭✭✭✭ Elite Collector
    Pancho said:
    The daybill for 'Super Vixens' was also printed on heavier stock that the usual daybill. Another Russ Meyer film - 'Up!' - is the same. I have two types of daybill for that film and they are both on the heavy stock.

    No idea for the difference, as films like 'F.K.L.W' and 'Vixen' are normal daybills.
    O.k. -  F.K.L.W. ( Finders Keepers, Losers Weepers ) and Vixen were Columbia Pictures releases in Australia, along with Good Morning And Goodbye and the original release of Super Vixens. There were possibly other Russ Meyer productions as well released by Columbia but am not interested enough to check into that. The two Columbia titles you mentioned as being ''normal daybills''. I would suggest that all the other Columbia 1970's releases were also printed as ''normal daybills'' as well. I believe Columbia due to the content of Russ Meyer's sexploitation films made the decision not to promote themselves as being the distributor on the daybills, hence no credits.

    Up! was an circa 1980 release in Australia by Regent Trading Enterprises ( RFD ), and this along with the re-release of Super Vixens in circa 1981 by Regent, would link the two posters as coming from the same source.. Sorry Pancho your Super Vixens daybill would appear to be the re-release and not the Columbia original. Why heavy stock paper was used by Regent in the the very early 1980's is anyone's guess.Do you own any other Regent daybills from the early 1980's printed on heavy stock ? Interested to know ?
    Lawrence
  • DavidDavid Member Posts: 10,213 admin
    Bruce's one puts to be my Title Card theory - obviously the same print batch. 

    He can change the country of origin for his one too, not USA definitely Australia they came from an employee of MAPS at the time; she also had a pile of other titles (not sexploitation) none had MAPS on them. I can't say I have ever seen the printers names on LCs...not that LCs is my bag as it were.

    Bear in mind these Russ Meyer ones are 8x10s not 11x14.

    David
  • HONDOHONDO Member, Wizard of Aus Posters Posts: 7,920 ✭✭✭✭✭ Elite Collector
       
    Another Russ Meyer film Cherry, Harry & Raquel ( 1970 ) that was released in Australia by Columbia Pictures circa 1976. Columbia pictures in this case displayed their logo on the daybill poster. Above an advertisement taken from a newspaper, for a drive-in theatre screening  in Canberra, A.C.T. in 1981. of a Columbia Russ Meyer triple screening.                                                       

    Lawrence
  • PanchoPancho Member Posts: 583 ✭✭✭ Daybiller
    HONDO said:
    Pancho said:
    The daybill for 'Super Vixens' was also printed on heavier stock that the usual daybill. Another Russ Meyer film - 'Up!' - is the same. I have two types of daybill for that film and they are both on the heavy stock.

    No idea for the difference, as films like 'F.K.L.W' and 'Vixen' are normal daybills.
    O.k. -  F.K.L.W. ( Finders Keepers, Losers Weepers ) and Vixen were Columbia Pictures releases in Australia, along with Good Morning And Goodbye and the original release of Super Vixens. There were possibly other Russ Meyer productions as well released by Columbia but am not interested enough to check into that. The two Columbia titles you mentioned as being ''normal daybills''. I would suggest that all the other Columbia 1970's releases were also printed as ''normal daybills'' as well. I believe Columbia due to the content of Russ Meyer's sexploitation films made the decision not to promote themselves as being the distributor on the daybills, hence no credits.

    Up! was an circa 1980 release in Australia by Regent Trading Enterprises ( RFD ), and this along with the re-release of Super Vixens in circa 1981 by Regent, would link the two posters as coming from the same source.. Sorry Pancho your Super Vixens daybill would appear to be the re-release and not the Columbia original. Why heavy stock paper was used by Regent in the the very early 1980's is anyone's guess.Do you own any other Regent daybills from the early 1980's printed on heavy stock ? Interested to know ?
    The only one that immediately comes to mind is 'The Northville Cemetery Massacre'. I have 2 daybills for this film - presumably an original (full colour) and a RR (B&W). The B&W one is on thicker stock. I'll look to post pics to show the differences.
  • PanchoPancho Member Posts: 583 ✭✭✭ Daybiller
  • HONDOHONDO Member, Wizard of Aus Posters Posts: 7,920 ✭✭✭✭✭ Elite Collector

    Thanks for the two images.The above red, black and white daybill poster that was printed on normal paper was produced for the original Australian release. The importer and distributor was the obscure David Dunningham Films ( Aust ) Pty Ltd. It would appear to me that the film ended years later up with Regent Films, who had the distribution side well established, whereas David Dunningham would have struggled to obtain bookings. Along with Super Vixens and Up!, that were previously mentioned by Pancho as being on thicker stock, The Northville Cemetery Raid was also printed for Regent Films on heaver stock, in black and white, as it appears above.
    Lawrence
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